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Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better understand what can encourage reservations in proenvironmental hotels, this study aims to investigate the connection between the performing arts watching experience and the preference for such a hotel.

Five scenario-based experiments were conducted. A total of 1,024 participants for the five studies were recruited with the help of Credamo, a commonly used Chinese data collection platform.

The results indicated that viewing performing arts could increase tourists’ preferences for proenvironmental hotels. This phenomenon occurred due to the fact that performing arts watching experience can induce a psychological state of self-transcendence in individuals, which, in turn, can raise their levels of altruism, and ultimately lead to proenvironmental hotel choices. This effect will not occur, however, when people watch performing arts with either an extrinsic motivation or in an analytical state.

The findings of this study provide hotel managers with a novel approach to market the proenvironmental attributes of their hotels and to promote tourists’ proenvironmental behaviors.

This study proposes performing arts viewing experiences as a novel way to encourage proenvironmental hotel choice. To the best of the authors’ knowledge, this is the first study to explore the impact of the performing arts watching experience on tourist behavior.

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.

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education.

The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education.

Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education.

The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts.

The purpose of this study is to examine the perceptions and attitudes of arts and design faculty on teaching sustainability in higher education institutions in the USA.

Arts and design faculty from nine universities in the USA were approached for the study, using both closed and open-ended questions in a survey instrument. Descriptive statistics and content analysis were used to analyze the collected data.

Results related to arts and design faculty’s perception of sustainability showed high confidence in teaching sustainability but lower confidence in inspiring students to take action on sustainability issues. Faculty also perceived time, resources, knowledge and support as barriers to the integration of the topic into the curriculum. This study revealed that the faculty’s attitude toward sustainability demonstrated their recognition that sustainability should be at the core of their discipline and that they support its integration into courses.

This study is limited to arts and design faculty in higher education institutions in the USA. The results may not be generalizable to other fields or locations. In addition, the use of self-reported data may be subject to bias.

The findings of this study can inform the development of curriculum and pedagogy in arts and design sustainability education. It can also guide institutions in addressing the challenges and barriers related to incorporating sustainability into their curriculum.

Prioritizing sustainability education is crucial in addressing global climate change and related issues. Art and design educators’ perspectives on teaching sustainability can contribute to constructing a sustainable future for everyone.

This study provides insight into the perception and attitude of sustainability among arts and design faculty in higher education in the USA and highlights areas for improvement such as training and resources to better integrate sustainability into the curriculum.

It is well known that culture is a catalyst for change, helping economies respond to societal problems and demands and that culture is where people turn to in moments of crisis. In this case study around designing and implementing evaluation methodologies/frameworks for Coventry UK City of Culture 2021, it is suggested that in English public policy and within publicly invested arts there is a maturation of thinking around recognising/measuring the public value of culture including its social value. The purpose of this paper is to chart the recent policy of justifying cultural expenditure with social value claims and highlight challenges for evaluating activity within Coventry UK CoC 2021 as a change in wider policy is taking place.

This paper provides creative insights into the design and implementation of the evaluation methodologies/frameworks for Coventry UK City of Culture 2021. The authors of this paper as the collective team undertaking the evaluation of Coventry's year as UK City of Culture 2021 bring first-hand experiences of challenges faced and the need for a cultural mega-event to evidence its value.

The case study aims to address the concepts of measuring value within cultural events and argues that a paradigm shift is occurring in methods and concepts for evidencing the aforementioned value.

The case study within this paper focuses on the build-up period to the UK City of Culture 2021 year and the thinking and logic behind the creation of the evaluation/measurement framework and therefore does not include findings from the actual cultural year.

It is acknowledged that there are papers examining measuring and evidencing the “value” of cultural mega-events, the authors bring real-life first-hand experience of the concepts being utilised by them on the ground in the delivery and evaluation design of Coventry, UK City of Culture 2021.

The refugee journey is fraught with challenges before, during and after resettlement. There is a critical need for mental health support upon arrival, and refugees face language, cultural and logistical barriers. Arts-based therapies are a promising approach to mitigating such barriers. The purpose of this study was to elicit professional stakeholder perspectives on mental health challenges among refugees, the value of arts-based programs and future directions.

The authors conducted three 90-min focus groups with 19 professional stakeholders in North Carolina, USA. This included mental health professionals, professors and community services/resettlement workers. Participants were identified from professional networks and snowball sampling. Each group was held by videoconference, audio recorded and transcribed. Data were analyzed through a team-based approach using applied thematic qualitative analysis.

Interviewees described a need for targeted, culturally compatible mental health services for refugee families, including trauma-informed, family-focused services with language interpretation. Arts-based therapies were viewed as highly acceptable and culturally responsive approaches for understanding distress and building resilience and less stigmatizing than traditional mental health services. Services in schools and community settings would further reduce stigma and minimize logistical barriers. Participants identified needing strong, culturally sensitive assessment tools to measure treatment progress as a key future direction.

The study offers novel insights into the value of arts-based approaches and considerations for program development. The next phase of the project will obtain the perspectives of refugee parents and children to understand client preferences for arts-based therapies.

The purpose of this paper is to develop an understanding for the social inclusion of disabled performers in a developing country to create awareness and improve policies/practices.

The study employed qualitative methodology, and data were collected through semi-structured interviews, site visits/observations and review of secondary data.

The data from different respondent groups showed the social inclusion should be reviewed at three levels: the state, society and individual. The review of existing policies revealed the neglect of the state regarding disabled people in general and even more so in performing arts due to the lack of enforcement of national and international agreements. Findings indicate that social inclusion of disabled performers is a minor issue, especially in a developing country where access to basic human rights and needs may be difficult. Amidst such difficulties, performing arts is not seen as a priority compared to other needs of disabled people and performers.

Limitations include the limited number of disabled performers who could be identified and were willing to participate in the study. Those working in venues/public offices were also reluctant to participate. The greatest limitation was the broad lack of interest in disabled performers.

In Türkiye, studies on disabled people tend to focus on basic needs like health, education and employment. None, to best of researchers' knowledge, explore the social inclusion of disabled performers. This is an original study because it collects and discusses primary data on this topic, revealing the state-level negligence/oversight, the apathy of society and the degree to which an individual with disabilities must struggle to participate in performing arts. Consequently, this study shows the difficulty of developing social inclusion, equality and diversity in an emerging economy for disabled performers to raise awareness and present grounds for further legal enforcement. Moreover, implications allow for a global understanding of social inclusion that moves beyond a biased or privileged understanding/critique of disability centered on the developed world.

The very soul of cultural and arts entrepreneurship (CAE) is aesthetic. However, what is the importance of being aesthetic in CAE? An understanding of aesthetics substantially improves both our comprehension of CAE and our capacity to theorise about entrepreneurship and creative industries. Furthermore, when seeking to understand CAE, the authors expand their knowledge about aesthetics, an ordinary but complex and neglected kind of knowledge. The authors mobilise three perspectives in organisational aesthetics theory (sensible knowing, connection, and judgements) to develop and propose initial ways to connect aesthetics to CAE. These perspectives help to explore and explain the vital importance of aesthetics in CAE and its innovation process. Aesthetics is a source of innovation in CAE, and the authors propose to perceive entrepreneurial innovations as aesthetic learning, persuasion, and flow.