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This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

This paper aims to study the information needs and online information-seeking behaviors on mobile platforms of performing arts students at a college level.

Survey instruments were used to collect data from performing arts students at the Hong Kong Academy of Performing Arts (HKAPA), a metropolitan’s major performing arts tertiary institution. Data collected were analyzed through descriptive statistics and other statistical methods, and the music-related students were compared with the production-related students.

The result reveals that performing arts students all owned their mobile devices and often used mobile apps for non-academic purposes, but they did not often use mobile library services or read online academic contents with their mobile devices. The participants considered inadequate signal coverage, slow loading time, difficulty in reading on a mobile device and the lack of specialized mobile apps as more significant barriers affecting their usage. There are some significant differences between the music-related and production-related student groups in that music-related students watched lectures on the library websites and used electronic music scores more often than the production-related students.

This study contributes to the input for enhancements and policies to future mobile services and facilities of performing art libraries.

There have been scant studies on the mobile learning needs of performing arts students, especially in Asia.

While holistic studies devoted to the information behavior of humanist scholars have begun to appear more frequently in the literature, there has been, until quite recently, a persistent tendency to consolidate humanists rather than attend to the variant gestalts, material working conditions, and values that might distinguish one from another. This chapter is a response to recent calls for more finely granulated descriptions of specific humanist disciplinary practices. It offers a close examination of the information behavior of theatre researchers, both academics and practitioners. For reasons that the chapter explores, theatre researchers constitute a user group that has been profoundly neglected. Using both quantitative and qualitative data obtained through a survey of listserv members of the American Society for Theatrical Research and the Theatre Library Association, the chapter examines the impact of theatre culture on theatre research practices. Moreover, inspired by Brenda Dervin's “Sense-Making Methodology,” this chapter offers the embedded perspective of a researcher who is herself a theatre scholar as well as a practicing librarian. The chapter ranges widely, illustrating its findings with, for example, published rehearsal memoirs, statistics from the U.S. Bureau of Labor, white papers produced by the National Endowment of the Arts, performance theory texts. Topics covered include the history of theatre studies as an academic discipline, the multiple job-holding/unemployment culture of practitioners such as actors and directors, the differences in focus and methodology that distinguish practitioners from scholars, the marginalized status of dramatic literature in university English departments. Several themes that emerged through analysis of qualitative data are discussed: the contrast between scholarly rigor and the tendency of the practitioner to “satisfice,” the conflicting claims of text and artifact, the impact of geography and teaching-intensive institutional affiliation on researchers’ access to resources. The author concludes that it is not only inadvisable and inaccurate to generalize behaviors across humanistic disciplines; it is equally inaccurate to assume that all researchers within the same discipline will manifest the same characteristics, or even that the same researcher will apply the same strategies to all projects. The only generalization about the information behavior of the theatre researcher that can be made is that it is highly task and context dependent.

This paper aims to explore the advantages of applying best pedagogical practice to library-based teaching, using targeted content in order to contextualise the teaching within a performing arts curriculum. The author, dual-qualified in music and librarianship, is responsible for providing library user education and instructing readers in the use of electronic resources, literature review, related research and bibliographic skills and Scottish songbook history in a performing arts institution. A recent opportunity to take a short course, The Teaching Artist, prompted the author to re-examine her approach to such library-based teaching. Her observations arise from the reflective practice that was a core component of The Teaching Artist course.

The main focus of this concept paper is a consideration of best pedagogical practice, and a discussion of how best to embed it in a curriculum designed for performers and other creative artists. Turning from a role as a bibliographic instructor to that as an academic adjunct, the author addresses similar pedagogical issues in a session on Scottish songbooks, which is delivered each year to second-year undergraduates.

The author wrote a paper on user education for a librarianship journal in 1991. The present paper reflects upon the discernible differences in approach between then and now, and finds that gaining pedagogical expertise has enabled significant improvements.

There is comparatively little published about user education in music libraries, about pedagogical training for librarians working in this field, or about scholar-librarians availing themselves of suitable training to improve their delivery of academic course components.

This article's aim is to provide an annotated bibliographic resource guide for scholars researching butoh and academic and research libraries with collection development areas specializing in modern dance and/or Asian studies. Butoh is a Japanese avant‐garde dance form developed in 1959 as a reaction against Western influence in Japanese politics and culture. Butoh's founders, Tatsumi Hijikata and Kazuo Ohno, have created a dance movement that is growing in popularity in the USA, influencing psychology, fashion, music, art and architecture.

Searches were performed using a variety of databases, catalogs and online sources in dance and videos were reviewed at the New York Public Library of Performing Arts.

Unlike most modern dance forms, butoh does not have a specific technique that can be passed down from teacher to student, yet it has characteristics (e.g. extremely slow movements) that create the butoh “look”. Butoh collections are fairly small, which will appeal to organizations with small budgets.

No other scholarly, annotated bibliography currently exists for those interested in researching or collecting information on butoh.

The humanities are facing considerable difficulties and pressures in Australian universities, as staff numbers fall and research funds shrink. Despite this, various innovative projects, aimed at creating electronic versions of texts and other cultural materials, are currently in progress. A range of different cultural institutions is involved, though the university and state libraries are the most active participants. Funding for such projects is difficult to come by, and the future looks somewhat uncertain. If a more coordinated and coherent approach to building digital libraries is to succeed in Australia, researchers and cultural institutions will need to work together to establish the appropriate financial and organizational frameworks.