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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.

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.

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.

European performing arts companies, intrinsically fragile, have been severely hit by the economic crisis. Within the global search for new economic models in the sector, a growing number of initiatives have been taken in the form of establishing collective and participatory firms. Their forms vary from simple interorganization resource pooling to proper registration of a cooperative. Our research aims to understand the motivations of project initiators for collectively organizing their business. We test the influence of instrumental versus ideologically driven motives as well as the influence of the socio-economic context on the decisions of performing arts entrepreneurs (artists, producers, or directors) to establish participatory firms. We relate these results to the success or failure of collective firms and to the degree of cooperation. We use a qualitative method based on semi-directive interviews conducted in 21 performing arts collective organizations, over two years and in six European countries. Interviews were integrally transcripted and processed using qualitative data analysis software (QSR NVivo 10) in order to realize axial coding. We found that while the context, instrumental logic, and ideologically driven motives influence the decision to establish collective organizations in performing arts, it is the ideological dimensions that are predominant and constitute a necessary condition for the success of a participatory organization. We observe that the more collective organizations are ideologically motivated, the more they are likely to be successful in the long run (success being assimilated to economic sustainability). We also find that the greater the importance of the ideological motive, the more integrated the cooperation. Eventually, these results provide significant information regarding the form of collective firms in performing arts. We observe the emergence of new forms of cooperatives that comprise cooperatives of production and projects or companies, establishing participatory and democratic governance, and pooling resources and financial risk while preserving the artistic freedom of artists. We view these emerging types of cooperatives as a promising avenue both for the sector itself and for the development of the cooperative movement beyond its traditional sectors. The findings suggest that public incentives, as they are currently set up, may miss their objective of promoting shared practices in the arts or even be counterproductive; thus, it would be to their advantage to be modified in light of the above results. We also defend the interest of trans-border cooperative organizations inspired by the cooperatives of production and their governance models and organizations. Despite a number of studies highlighting cooperation in the cultural sector, research on cooperatives in this sector remains embryonic. This paper contributes to this literature. We argue that applied research in this sector can be of contributive value to the literature on cooperatives and participatory firms.

Using literature and related documents, the study reviews and analyzes the global trend of liberal arts education (LAE) resurgence and experimentation in different societies across three continents, East Asia, North America, and Western Europe. The study explores how LAE has been incorporated into different societies, how the variations in each model reflect local traditions and values, and what these adaptations contribute to the new LAE model. Through the angle of new institutional theory, the study focuses specifically on how these local models are impacted by institutional factors, the constraint of market, policy, state, as well as historical figures or organizations. This research with document analysis of global LAE summarizes the innovation and insights to date and calls for further research on LAE through new institutional theory and ideal types. This study builds the foundation for further research exploring the implementation and educational outcomes of LAE in different societies.

Does civic participation, especially in the arts, increase democracy? This chapter extends this neo-Tocquevillian question in three ways. First, to capture broader political and economic transformations, we consider different types of participation; results change by separate participation arenas. Some are declining, but a dramatic finding is the rise of arts and culture. Second, to assess impacts of participation, we include multiple dimensions of democratic politics, including distinct norms of citizenship and their associated political repertoires. Third, by analyzing global International Social Survey Program and World Values Survey data, we identify dramatic subcultural differences: the Tocquevillian model is positive, negative, or zero in seven different subcultures and contexts that we explicate, from class politics and clientelism to Protestant and Orthodox Christian civilizational traditions.

In line with the reappraisal of the welfare state concept started in the 1980s and culminated in the recent economic crisis, governments have reduced the public funding available to cultural institutions. Thus, cultural institutions have progressively adopted more market-oriented practices, rethinking their relationship with the world of business in order to get additional economic resources. This chapter addresses corporate support to the arts and culture in the case of Italy, a country where government has traditionally played a central role in supporting culture. Drawing on the extant literature on sponsorships and corporate philanthropy, we propose a cluster analysis carried out on 160 investments in artistic or cultural activities made by 95 mid-sized Italian companies between 2008 and 2015. Results provide an up-to-date empirical evidence of corporate giving patterns in Italy and suggest an original typology of business investments in the arts and culture. Our study, focusing on the case of a Latin country and on a sample of mid-sized companies, extends the empirical settings usually investigated. Moreover, different from previous studies, we elucidate the influence that the characteristics of supporting organizations have on business investments in the arts and culture.

Contemporary art organizations play a key role in driving cultural tourism, offering visitors memorable experiences. Among the segments of visitors, young adults represent a key target because they are the most interested customers in contemporary arts and they represent 23% of the international travelers. Despite their relevance, little is known about their customer experiences in contemporary arts, and the resulting arts engagement. Although their contemporary arts experiences are expected to generate great benefits in terms of social, ethical, and economical values for the entire society, the relationship between young adults and contemporary arts is typically difficult to understand and, consequently, to facilitate. To address this issue, we run a complex qualitative research project. Distinguishing young adults between those who are familiar with contemporary arts and those who are not, we conduct four research projects by applying two qualitative techniques: the in-depth interview and the Zaltman Metaphor Elicitation Technique (Z-Met). Further, we extend the in-depth interviews to the contemporary arts experts. In total, 70 consumers and 10 experts participate in the research project providing cognitive and emotional insights by exploring barriers and benefits of consumption in contemporary arts. Our findings show that arts engagement is the key concept, linked to three levels of consumer reactions – cognitive, emotional, and social responses – and that it is caused by three antecedents, namely – involvement, sharing, and comprehension. Implications for the actors in the world of contemporary arts and cultural tourism are discussed to obtain higher levels of arts engagement among young adults, and, consequently, their attractiveness.

Arts festivals use projects to showcase creative works, configuring a creative field, whether locally, regionally or internationally, by whom engages and attends to the arts festival: artists, funders, media and audiences. This study compares the Edinburgh and Berlin arts festivals founded after World War II. Each city began with a founding festival. Edinburgh International Festival of Music and Drama sought to reconcile and heal international relations whereas the Berlin International Film Festival sought to showcase free expression and democracy. Both founding festivals were internationally oriented, as seen in their names. Each city added festivals over time and engaged in distinct temporal strategies and configured different creative fields. Edinburgh’s additional festivals entrained to its founding festival, synchronizing in time and place five festivals which led to greater duration and intensity of the experience and configured an international creative field: artists, media, and audiences who attended and engaged with the city festivals. In contrast, Berlin’s founding Film festival, which was internationally oriented, was followed by festivals that were treated as distinct, scheduling each festival sequentially across a yearly calendar and configuring a creative field regionally oriented around Germanic language and culture. Thus, a city’s temporal strategies for arts festivals may configure international, regional and local creative fields, changing who comprises the field to interact.

In this chapter, we develop a conceptual framework on how cultural value can be lost in conflict and created by the arts, artists and arts organisations again and how the arts may also help victims of conflict. We explore examples of the different ways that the effects of cultural engagement are manifested and articulated in the depiction of armed conflict, especially looking at the civil war in Syria (2011–present as of 2020) and discuss three stages in the life-cycle of cultural value. Our conceptual framework of cultural value in the depiction of armed conflict is based on the multifaceted private, public, intrinsic and instrumental benefits of the arts as well as the cultural value created by arts, artists and arts organisations. We discuss universal value at the first stage of a potential loss of cultural value. The second stage addresses the politics of aesthetic value, as the cultural value created by artists and artistic activities which may evolve during armed conflict with examples of two international war artists, John Keane and Ben Quilty. Finally, we review social value as the impact of the cultural value created in overcoming armed conflict as well as restoring and transforming impaired individuals, communities and societies. Within this context, we reinforce the notion of cultural value as an alternative framework for understanding the value constructs surrounding the creation of art in this chapter.