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The aim of the article is to develop a framework for assessment for contemporary commercial music (CCM) in a music department that is still organised in a traditional way. Assessment of CCM in tertiary institutions and external graded music exams were described and analysed, followed by the presentation of an assessment framework.

This research design is a content analysis. Data was collected through purposive sampling of primary sources of CCM syllabi. These syllabi are used descriptively and analytically for comparison.

The major findings from the content analysis are presented as an assessment framework for CCM. The assessment framework has implications for teaching and learning vocal CCM at both undergraduate and postgraduate in higher education.

The study focused on the development of assessment criteria for CCM, in a music department where no degree specialisation for CCM exists, and CCM is manifested in the principal instrument only. The framework for assessment may be useful to practitioners and academics who are attempting to introduce CCM in classically oriented music departments and where external constraints prohibit the introduction of a degree specialising in CCM.

This article presents an authentic assessment framework for CCM, that considers its style and performance practices.

Through a case study of the Po Klaong Girai temple in Vietnam, this paper explores how indigenous community perceive tourism benefit sharing (TBS) associated with their cultural tourism at sacred living-heritage sites and how this TBS enhances the equality and inclusion for indigenous community in the context of tourism in Vietnam.

This study employed ethnographic fieldwork and semi-structured interviews with 35 indigenous Cham priests directly associated with managing and preserving the Po Klaong Girai temple.

This research found that Cham community perceive inequality and exclusivity on tourism benefit sharing at this religious site. While Cham Ahier priests face economic barriers in providing these services to the community, annual tourism revenue is allocated to local government budgets. Such economic pressure forces the priests to seek alternative economic avenues to support their families at the expense of their traditional commitments to communal, cultural and religious activities, significantly impacting sustainable heritage conservation. This has led to strained relations between the local community and local authorities.

This research provides evidence to improve living heritage management practices by proposing tourism development policies for equality and inclusion among stakeholders, especially minorities and disadvantaged groups. This can be an experiential and necessary lesson for “dealing” with sustainable heritage management in heritage living sites in other ethnic minority areas in Vietnam and globally.

The findings from this study address the knowledge gap on equitable revenue sharing in heritage tourism, where financial benefits from the commodification of minority cultures should be used to support local communities and the custodians of indigenous heritage.

In this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.

The paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.

Tensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.

The study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

This paper argues that Bruno Latour’s work on translation provides an alternative to dominant anthropocentric, individualistic and managerial approaches in career studies by considering careers as precarious effects of networks instead of the implicit assumption of individual strategic career actors in extant career research paradigms.

The article first compares the three main current approaches to studying careers – structural functionalist, interpretivist and critical – illustrated by three exemplary empirical studies. Subsequently, three concepts from the sociology of translation that are relevant for the study of careers are introduced: career making as translating interests, careers as effects of networks and career action as dislocated and overtaken. Taken together, these three concepts allow us to conceive of careers as practices performed by human and nonhuman actors. Finally, an example from an ethnographic case study in the field of contemporary art illustrates how a Latourian approach can be used.

Latour’s work on translation provides conceptual and methodological tools to investigate career processes and practices in an era of unpredictability.

The paper introduces Bruno Latour’s work on translation to the study of careers.

The fundamental relationship between art and resilience is striking in this passage and in the reflections shared by other artists. This paper aims to attempt to piece together the fragmented and insecure realities in South Sudan through the lens of different artists. The paper argues that focusing on art is an important way into a deeper more nuanced picture of how women and men find and maintain resilience in humanitarian contexts.

The data is qualitatively collected through an innovative art-based creative method known as story circles. The circles consisted of artists who shared what their art form meant to them.

The picture that emerges contrasts starkly against the dark narratives that commonly portray South Sudan. Art making spaces and the outputs that come from them are cultural resources often overlooked by humanitarian stakeholders and yet, as the authors show, hold the potential to support more locally rooted and responsive approaches to resilience building.

Very little research has been conducted on the ways in which people in South Sudan draw on and find resilience in art and art making.

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.

This conceptual, multi-voiced paper aims to collectively explore and theorize family entrepreneuring, which is a research stream dedicated to investigating the emergence and becoming of entrepreneurial phenomena in business families and family firms.

Because of the novelty of this research stream, the authors asked 20 scholars in entrepreneurship and family business to reflect on topics, methods and issues that should be addressed to move this field forward.

Authors highlight key challenges and point to new research directions for understanding family entrepreneuring in relation to issues such as agency, processualism and context.

This study offers a compilation of multiple perspectives and leverage recent developments in the fields of entrepreneurship and family business to advance research on family entrepreneuring.

There is a lack of clarity about what constitutes Science, Technology, Engineering, Arts and Mathematics (STEAM) education and what the arts contribute. In this paper the authors discuss a distinct model, theorised from a five-year study of a particular, innovative STEAM education project (The Imagineerium), and developed by the researchers through working with primary school teachers in England within a second project (Teach-Make). The paper examines how teachers implemented this model, the Trowsdale art-making model for education (the TAME), and reflected on its value and positive impact on their planning and pedagogy.

The paper draws on two studies: firstly, a five-year, mixed methods, participative study of The Imagineerium and secondly a participative and collaborative qualitative study of Teach-Make.

Study of The Imagineerium showed strong positive educational outcomes for pupils and an appetite from teachers to translate the approach to the classroom. The Teach-Make project showed that with a clear curriculum model (the TAME) and professional development to improve teachers' planning and active pedagogical skills, they could design and deliver “imagineerium-like” schemes of work in their classrooms. Teachers reported a positive impact on both their own approach to supporting learning, as well as pupil progression and enjoyment.

The paper argues that the TAME, a consolidation of research evidence from The Imagineerium and developed through Teach-Make, offers both a distinctive and effective model for STEAM and broader education, one that is accessible to, valued by and manageable for teachers.

This paper considers the exhibition: UnDoing. This research-through-curation project examined interactions within existing spaces and situations. This established links between the selected exhibits, the gallery, the city and with the continuum of the previous exhibition.

Carefully selected architects, designers and artists were invited to contribute—those who pursued a contextual approach; whose practice explored the way buildings, places and artefacts are reused, reinterpreted and remembered.

Through the act of curation, this research uncovered a series of different approaches to constructed sites and existing buildings, from layered juxtaposition, the refusal to undo, to interventions of new elements within architectural works.

Curation offered the opportunity to consider works of architecture and of art through the same lens, for direct comparisons to be made and the influence of one upon the other to be comprehended.

The examination processes the architect employs is similar to that of the artist; the development of an understanding of place, and from this synthesis, creative interpretation. However, despite the similarities in the starting position, the elucidation developed by the artist can be vastly different to that of the architect.

The juxtaposition and new classifications created by the exhibition encouraged visitors to look at art, architecture and the city in a different way; to grasp the direct link between the different subjects; and the possibilities created.

The two driving factors for UnDoing were places of previous occupation and the city of Manchester. The qualities of surrounding constructed environment combined were combined with attitudes towards existing structures and places.

This research aims to examine the performativity of corporate reports as an example of an accounting inscription that can frame the relationship between Aboriginal and Torres Strait Islander entities and their stakeholders. The framing and overflow effects of these reports have been explored to consider whether they strengthen or undermine the reputation and capability of these community-controlled entities.

Aligned with actor–network theory and a decolonising research protocol, qualitative interviews were conducted with senior managers and directors of Aboriginal and Torres Strait Islander entities and their key stakeholders to explore their experiences of corporate reporting. Additional analysis of these organisations' annual reports was conducted to corroborate key reporting themes.

This research has identified a dual role for corporate reporting, simultaneously framing performance against an expectation of failure, but with the potential for accounting inscriptions to highlight positive contributions to cultural and community priorities. It also indicates the need for sector specifics within the reporting frameworks and adequate resourcing for Aboriginal and Torres Strait Islander entities to meet reporting obligations.

This research makes policy-based recommendations in terms of user-driven and culturally informed performance measures. It also highlights the importance of adequate funding for Aboriginal and Torres Strait Islander entities to carry out meaningful performance evaluations beyond the preparation of financial statements.

One of the few empirical studies to capture the performativity of accounting inscriptions from the perspective of Aboriginal and Torres Strait Islander entities. This sector has received minimal attention within the accounting discipline, despite significantly contributing to community well-being and cultural protection. There is emancipatory potential via policy frameworks that resonate with Aboriginal and Torres Strait Islander cultural beliefs and practices.