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In 2021, Dr Shang-Ying Chen, chair of the Department of Theatre Arts at National Sun Yat-sen University, invited me to teach in Taiwan for the 2022 academic year. I taught six 16- to 18-week courses, including creativity, marketing, theater management, and research methods, to 100 undergraduate and graduate college students in English.

As a published sociologist and practitioner of accessibility, diversity, equity, and inclusion (ADEI), I seek to center ADEI in every aspect of my own life, which includes my teaching. My chapter “Teaching ADEI in Taiwan” is an autoethnographic study, utilizing participant observation in documenting the ways in which inclusive pedagogies of ADEI impact teaching and learning in Taiwan. As a Jewish white English-speaking researcher-teacher, I also interrogate my own racial awareness and the impact it has on my efforts to provide my Taiwanese students with an education that is culturally responsive. ¹

As part of the accessibility, diversity, equity and inclusion (ADEI) conceptual umbrella, how accessibility is envisioned and requires increasingly greater attention and involvement from both cultural managers and audiences of inclusive arts organizations? But what is the scope of an accessibility management plan? What exactly does an accessibility plan include, and how do cultural institutions engage with accessibility requirements today? Such questions drive this chapter, illustrated by the case of Teatro Villa Mayor, located in Bogota. Since this cultural institution opened in 2000, its goal has been to “bring people together around shows of quality and diversity that make the theater a symbol of the city.” In 2016, the city approved a new managerial plan for this facility. In response, Teatro Villa Mayor implemented a three-part management strategy for its teams, outlined in this chapter. First, the “Mindset” phase redefined this place as a cultural institution accessible by not one but multiple communities. Second, the “Possibility and capacity” phase activated awareness and training to prepare the theater to be able to receive any kind of event. Third, the “Productive learning” phase encouraged concrete actions to design, implement, and promote new experiences for the audiences. By detailing the strategic changes and evaluation measures adopted by the Teatro Villa Mayor to sustain accessibility, the positive results from accessibility management in cultural industries, such as an increased capacity to organize more events and to welcome new participants, can be discussed.

This study aims to examine the construction of feminine beauty by onnagata kabuki actors in Japan’s history, with a focus on their narratives in modern advertorials about beauty products. The objective is to identify emerging themes in their narratives and to analyze the symbolism and rhetoric used to persuade the audience to enhance traditional feminine “beauty” by using the specific brand in the wake of Japan’s modernization and Westernization.

The study primarily employs semiotic analysis of advertorials in the newspaper and in the kabuki theatre’s program. They are supplemented with images from premodern prints. Visual content is described and analyzed as well.

The narration of the onnagata in the advertorial is the process of “truth-telling,” where the primary concern of the storyteller is persuasion about truth, such as belief in the new method of makeup with the advertised brand, and falsehood, such as belief in the old method of skincare. Four themes and binary oppositions of values emerged from the data: (1) Identity: selves vs others; (2) Material objects, cosmetics: scientific vs primitive; (3) Practice: competent vs incompetent, and (4) Transformations: intentional vs incidental.

The research shows that Japan’s onnagata transvestism tradition and its influences on women’s beauty practice have existed since the premodern period, preceding contemporary cross-gender beauty practices observed in social media.

In an era of polycrisis, we argue that responsible leaders need to unlearn common thinking patterns imprinted by old (management) paradigms in order to find new solutions to the grand challenges of our time. To be able to overcome the “crisis of the imagination” and spur narratives about more sustainable futures, leaders need to update and restructure their skill sets and invest in developing anticipatory and futures (thinking) skills, as well as futures literacy as a competence. To achieve this on the student level, we also need to rethink business and management education at the university level by challenging the ways we teach, i.e., teaching pedagogics, as well as the content and story we want to tell about the future of management. Thus, with this chapter, we aim to rethink pedagogical methods and tools by introducing educators to potential pathways for equipping students with adequate skills to be able to “use-the-future”. As the process of unlearning is difficult, we argue that we need to venture out of the business discipline and push the barriers of the business and management curriculum so as to be able to further unleash creativity and imagination. To achieve this aim, we propose the integration of methods and approaches from art-related disciplines, such as theater, visual arts, or design, into the business curriculum.

While referring to the inability of South Africa (SA) to absorb the large number of new musicians produced by SA universities each year and how South African music practitioners find limited employment opportunities for themselves in SA's cultural sector, a panel member at a musicology symposium in 2011 stated that “we are creating exiles.” The panel member made the statement during dialogue on the state of national higher education level music curricula, whether they were transformed to mirror the needs of the country or not, and what this meant for a contemporary music performance career in SA. Exile is the point of departure of this chapter, where conditions of public and institutional policy during and after apartheid are framed as encouraging the expanded borders of SA musicians. The emphasis is on how exile is a desired economic result especially among Black musicians who have a scarcity-prone SA music marketplace. This chapter also engages with multilevel policy-led interventions of inclusion and diversity that attempt to grow the SA Black music market.

Artificial intelligence (AI) applications are increasingly used for day-to-day operations in healthcare. Each has a relatively limited scope or task, and several find application in managerial and organizational processes. More and more, AI and machine learning (ML) devices have received US FDA approval in the last decade. This chapter covers the main AI applications in healthcare, with a focus on organizational AI solutions (administrative AI), the main AI developers, their investment and real-world data and case studies in healthcare and other sectors. AI can be applied in resource management and procurement, resource allocation, clinical case management, staff work shift scheduling and handling of emergencies. AI applications are becoming ubiquitous in hospital (e.g. emergency room and operating theatre) and outpatient settings (e.g. ambulatory care and dentistry clinics). Their implementation is expected to bring direct benefits for patient care and satisfaction. This chapter gives a broad definition of AI in healthcare settings, with a focus on administrative applications and their use in case study data.

In Canada today, Francophone minority communities (FMCs) outside Québec exist in every province and territory and cross all sectors of Canadian Francophonie (French-Canadians, Francophone immigrants, Francophone Métis as well as Francophile anglophones). Besides their linguistic immersion in primary, secondary, and postsecondary educational institutions, these Francophones living outside Quebec counter linguistic assimilation and affirm their place in Canada's bilingual and multicultural society through their cultural productions (music, theatre, dance, cuisine, literature). In this study, we take up the case of L'Association, La Girandole d’Edmonton, a cultural association dedicated to the teaching and promotion of French-Canadian dance in Edmonton (Alberta) to examine the multiple challenges such organizations face despite the crucial role they play in ensuring the vitality of linguistic minority communities in Canada.

In this first chapter of the book, we present our perspective of the cultural sector along with the terminological choices we have made. Subsequently, we provide a brief literature review on issues of accessibility, diversity, equity, and inclusion (ADEI) in the cultural sector. Finally, we outline the structure of the book, which is divided into five sections. The first four sections group chapters that discuss ADEI initiatives in specific sectors. The first section focuses on the performing arts sector and includes three chapters presenting cases from a theater, the opera sector, and a dance organization. The second section delves into the music sector, with four chapters covering cases from an orchestra, the electronic music sector, musicians from South Africa, and hip hop in Haiti. The third section comprises three chapters presenting cases from the visual arts sector, including Canadian and Chilean museums and a cultural organization. The fourth section explores the events sector, presenting three chapters, two of which discuss festivals and one focuses on the Super Bowl. The final section presents two chapters not tied to a specific discipline. The first chapter shares an experience of teaching ADEI in art in Taiwan, while the second chapter deals with policies related to ADEI from a federal cultural administration in Canada.

This chapter examines how the nature of World War I catalyzed significant changes in the laws of war, the Treaty of Versailles, the failed Leipzig Trials, and the multiple treaties enacted in the 1920s, with particular focus on the Geneva Convention of 1929.

Though scholarship has documented Black opera leaders' contributions to the art form in the United States (André, 2018; Caplan, 2017; Cuyler, 2021; Southern, 1997; Turner, 2015), they have received scant attention in rubrics that theorize a definition of Black opera (André, 2018; Cheatham, 1997; Schmidt & Schroeder, 1999). However, as their recent advocacy for racial justice (Cuyler, 2022) through their Letter to the Opera Field in 2020 revealed (Cuyler, 2023), Black opera leaders play a powerful and unique role in shaping audiences' appreciation, engagement with, and understanding of Black opera (André, 2018; Cuyler, 2023; Floyd & Cuyler, 2023). In addition to their positionality as observers of and participants in opera companies' decision-making processes, their advocacy for racial justice can compel an opera company to program Black opera, or not (Cuyler, 2021, 2022, 2023). Therefore, in this chapter, I explore the research question, what is the role of Black opera leaders in Black opera? Lastly, I propose a theory of the dynamic process that includes artistic programming and casting, hiring, community engagement, and audience development which enables the development of an audience for Black opera when Black opera leaders view their leadership of these areas of work through the lens of racial justice.