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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 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 chapter focuses on the educational potential of the arts for at-risk students in educational contexts. The aim is to understand how arts are experienced by students who are struggling for various reasons, and to highlight the arts' role in education. The idea is based on international studies from the last decades, where arts are promoted as sources to strengthen motivation, academic achievement and engagement among students who are at risk for school failure. Here, three boys who have struggled throughout their educational journey are examined due to their general interest in different art forms such as music and art (paintings, drawings, crafts, etc.). Through a qualitative, indirect interview technique, the boys have been approached with the aim of gathering life stories and understanding the contexts that surround them. The boys' stories convey that learning through music and art differs from other experiences at school and promotes positive emotions. Furthermore, the discussion focuses on the emotional and perceptual aspects of learning through arts, and suggests that curriculums emphasizing arts might strengthen at-risk students' chances for educational completion.

Nonprofit organizations (NPOs) increasingly view social entrepreneurship as means to expand their mission scope while simultaneously diversifying revenue streams and strengthening financial foundations. However, the pursuit of social entrepreneurial ventures often incites a tug-of-war phenomenon between the deep-rooted social welfare logic of the parent NPO and a newly evolving commercial logic at the subsidiary social enterprise (SSE). The present study seeks to understand how NPOs navigate such logic conflicts as they strive to become more entrepreneurial. Based upon case studies of two NPOs, we found divergence in organizational identity, legitimacy, and mission/vision between parent nonprofits and their SSEs as they struggled with a defining question: Are we a program or are we a business? Our research indicates that organizations reconcile such cognitive dissonance through four distinct processes: connecting, variegating, separating, and augmenting social welfare and commercial logic spheres. We, thus, contribute to the social entrepreneurship and nonprofit management literatures by illustrating ways in which noncommercial organizations may address issues of logic divergence when engaging in revenue-generating commercial activities.

By introducing readers to the educational turn in contemporary art, this chapter shows how contemporary artworks and exhibitions can offer educational experiences in themselves. Furthermore, that such artworks constitute a radically expanded or situated form of art teaching. The author argues that educational turn art issues an important challenge to conventional methods of education which are still rooted in the classroom. The first section of this chapter surveys the art of the educational turn, demonstrating its pedagogic effects and innovations. The second section of this chapter draws on some of the lessons of these artworks, alongside some of the ideas from critical pedagogy (Dewey, 1916; Freire, 1996 [1970]; Rancière, 1991, 1999, 2004, 2009, 2010) which complement them. In conclusion, the author attempts to synthesize both into the outlines of a pedagogy of the pedagogical turn, based on principles of humanism, institutional critique, and democracy.

In a service-led, knowledge-based economy, employers increasingly expect universities to deliver a workforce suited to this environment. This emphasis is evident in contemporary Australian higher education, which is shifting to an acquisition of vocational outcomes. However, vocational outcomes are not traditionally viewed as outcomes of liberal arts programs. Balancing new expectations with traditional perspectives generates a tension between assuring graduates employment outcomes and maintaining the integrity of the Bachelor of Arts (BA) as a liberal arts program. Getting it wrong can result in fragmented and unstable curricula. One of the many ways that Australian BA programs are grappling with this problem is through the provision of work-integrated learning (WIL) opportunities for liberal arts students. In professions-based programs such as engineering or dentistry, the shape and nature of these courses may be obvious. It is less so in the generalist BA. Australian BA programs offer students the opportunity to engage with WIL in a variety of ways. Evidence from national studies investigating the Australian BA between 2008 and 2016 highlight common features of practice – such as the objectives, activities, and structure, and indicate that two approaches to providing WIL opportunities in the BA are evident. In order to meet the goals and aspirations of both economic and social purposes of higher education, liberal arts programs tend to adopt either a transactional or a transformational model. Each model has particular characteristics and approaches to practice that can inform the development of new programs and policies more globally.

The main purpose of this conceptual paper is drawing up a framework to assess the company responsibility regarding culture and fine arts. Since a rich cultural life requires variety and commitment to innovative and bold forms of cultural activity, the model should measure the corporate commitment to fostering axiological pluralism in the cultural sphere. A subordinate purpose is testing that model using primary data on the biggest Spanish listed companies. First, we define the corporate cultural responsibility (CCR) as a specific field of the corporate social responsibility. Second, we defend that corporate citizenship involves accepting some risks to be in line with the public expectations on arts and culture. Third, it is proposed an assessment model that takes into account the kind of cultural activities promoted by the firms, from conventional and uncommitted to innovative and provoking. The model makes possible to rank the companies according to the quality of their CCR and take into account the influence of size and sector. The model reveals whether firms support conventional versus challenging cultural activities. This should be taken into consideration both by CSR managers and policy makers. In spite of the mounting economic significance of symbols and creativity, there is still little literature that specifically addresses the role of firms regarding arts and culture as another facet of their responsibility as corporate citizens.

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.

The rise of arts and culture is transforming citizen politics. Though new to many social scientists, this is a commonplace for many policy makers. We seek to overcome this divide by joining culture and the arts with classic concepts of political analysis. We offer an analytical framework incorporating the politics of cultural policy alongside the typical political and economic concerns. Our framework synthesizes several research streams that combine in global factors driving the articulation of culture into political/economic processes. The contexts of Toronto and Chicago are explored as both enhanced the arts dramatically, but Toronto engaged artists qua citizens, while Chicago did not.