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The purpose of this paper is to review and compare the implementation of “arts inclusion” policies (AIPs) by 14 different public administrative systems around the world. It aims to provide a consolidated source which informs further studies in this field, and to develop a framework to compare AIPs at a global level.

Using “arts inclusion policy” as the search term, academic journals from a wide spectrum of fields were reviewed. A data set was extracted from the Compendium of Cultural Policies and Trends’ online database which provided real-time information of national cultural policies. Another data set is from the United Nations’ Inequality-adjusted Human Development Index, as the geographic scope of the review – largely focussing on UK, US, Australian, Scandinavian and Asian contexts. Using existing policy-making literature as benchmark, the authors designed and applied a comparative framework dedicated to AIPs which focussed on “policy-making structures” as the main ground of comparison.

An important finding is that the policy development and implementation of AIPs often underscore inter-sectoral involvement in many public administrations in this study. With policy leadership and financial incentives pivotal to effective AIPs, central governments should take a more concerted leadership role to include AIPs in national inter-sectoral policies, encourage evidence-based research, expand funding and advocate the recognition of the impacts of arts inclusion. It is concluded that AIPs in western countries remain more developed in targeted scopes and programme diversity compared to those of Asian countries and regions. Continued studies in this field are encouraged.

This review is the first of its kind to include a number of Asian and western countries within its research scope, allowing it to offer a more holistic outlook on the development and implementation of AIPs in different countries and regions. A common critique with all relevant existing literature was usually their lack of concrete comparative grounds, and the present study’s all-encompassing review of literature from across different levels and sectors of respective public administrative systems contribute to a unique and comprehensive perspective in the arts and health discourse.

Collaboration between creative professionals (artists and designers) and companies has become more prominent. In so-called “crossovers,” indicated with the acronym CoCreaCO (collaboration of creative professionals with companies) when they concern specific crossover of creative professionals with companies, societal and organizational challenges such as becoming more innovative are addressed through multidisciplinary collaboration that increasingly embraces and exploits the distinctive way of thinking and working of artists and designers. Over the past years, several scholars focused their research on the effect of artistic interventions or arts-based initiatives (ABIs) and design thinking in organizations. Hardly any research has been done on the conditions (organizational and individual factors) that are conducive to ABIs in organizations, such as trust and common ground. The central question for this study is which conditions foster successful collaboration between creative professionals and organizations in crossovers. For this study, the conditions for collaboration between creative professionals and four Dutch organizations were studied by interviewing ten creative professionals, project managers and employees who worked together, following which a survey of 60 questions was filled in by 41 Dutch respondents. This study shows that despite the differences between the disciplines of creative professionals and employees for this type of crossover, both disciplines requested quite similar conditions for collaboration. Both creative professionals and employees should realize and encourage trust and common ground by focusing on an open process and outcome, a shared creative process started with a shared problem. Experience with this type of collaboration, art disciplines, the role and qualities of the artist (individual factors) as well as the organization's sector seem to influence neither expectations of collaboration nor the intention to engage in this type of cooperation in the future.

Both ten employees (project managers) and creative professional(s) with whom the organization cooperated were interviewed (four case studies, semistructured interviews). Thereafter, 41 respondents have been filled in a survey.

Successful cooperation can be explained by six concepts of determinants, which are briefing, qualities of creative professionals, organizational qualities, organization factors and common ground. More particular, creative professionals' independency and their ability to render observations and to reflect of these and organization's role by informing employees and organizing a clear work process need to be addressed before or during collaboration.

past years, many scholars focused their research on the effects of artistic interventions or ABIs and design thinking in organizations. There is hardly any research on the conditions that are conductive to artistic interventions in organizations such as trust and common ground.

The purpose of this paper is to explore the potential of creativity in work-based research and practice to yield deeper understanding of practice situations. Unexpected insights can lead one (or a team) to identify new approaches, tackling workplace issues differently, leading to unexpected outcomes of long-term impact.

This paper draws on work conducted for a doctoral thesis, investigating the impact of work-based learning for recent masters graduates of a work-based learning programme. Fiction was incorporated into analysis of the data, creating play scripts to represent key aspects of the researcher's perceptions and interpretations for each participant.

Research participants experienced personal, professional and organisational impact, although there was considerable variability between individuals. Additionally, societal impact was wished for and/or effected. The approach to representation of analysis, which involved fictionalising participants' experiences, created a strong Thirdspace liminality. This appeared to deepen awareness and understanding.

Such approaches can transform the researcher's perspective, prompting insights which lead to further adventure and development in work-based research and practice.

Managers and employees taking creative approaches in the workplace can prompt wide-ranging development and, with professional judgement, be constructive.

Managers and employees taking creative approaches in the workplace can prompt wide-ranging development and, with professional judgement, be constructive.

The creation of play scripts, representing an interpretation of participants' stories about their work-based learning experience, is an innovative feature of this work.

Past research on luxury is fragmented resulting in challenges to define what the construct of luxury means. Based on a need for conceptual clarity, this study aims to map how research conceptualises luxury and its creation.

This study presents a scoping review of luxury articles published in peer-reviewed journals. Of the initial 270 articles discovered by using the database of Scopus, and after control searching in Web of Science and reference scanning, 54 high-quality studies published before the end of 2020 were found to meet the inclusion criteria and comprised the final analytical corpus.

The findings demonstrate that research approaches luxury and its creation from three different perspectives: the provider-, consumer- and co-creation perspectives. In addition, the findings pinpoint how the perspectives differ from each other due to fundamental and distinguishing features and reveal particularities that underlie the perspectives.

The suggested framework offers implications to researchers who are interested in evaluating and developing luxury studies. Based on the identified luxury perspectives, the study identifies future research avenues.

The study contributes to the luxury research stream by advancing an understanding of an existing pluralistic perspective and by adding conceptual clarity to luxury literature. It also contributes to marketing and branding research by showing how the luxury literature connects to the evolution of value creation research in marketing literature.

This paper concerns the pivotal role that entrepreneurial universities can play in developing knowledge transfer and translation processes tailored to the cultural ecosystem.

The paper examines IncubiAmo Cultura, an innovative project that aims to mentor potential entrepreneurs and offer incubation and acceleration for cultural start-ups. The research methodology is based on action research and theory building from cases. An interventionist approach has been adopted, as one of the authors is also the founder of the ongoing project.

The in-depth collection of first-hand information on this pilot project has allowed the authors to formulate an analytical reflection and generate the design of a knowledge translation model driven by an entrepreneurial university that manifests itself through the creation of cultural and creative start-ups.

This article offers an original contribution to scholarship by offering a conceptual model for knowledge translation in cultural ecosystems. Common values (i.e. social, cultural, ethical and aesthetic ones) emerge as the basis on which to build open innovation and knowledge circulation.

For local policymakers, this study provides a clue to understand the need for both an integrated vision of knowledge translation and policies that aim to make an impact at the cultural ecosystem level. For entrepreneurial university governance, our investigation offers suggestions on the design and implementation of knowledge translation processes that fit with the specificity of the cultural ecosystem. For practitioners in the cultural field, a change of mindset is required to combine resources, energies and knowledge.

This work fills several gaps in the literature, as research generally concerns knowledge transfer from entrepreneurial universities to the market with regard to high-tech sectors. In contrast, the cultural sector is often neglected, despite its importance in the renewal and development of a territory.

As an exploration of how “impact” might be reconsidered, the purpose of this paper is to suggest that current contemporary understandings of “impact” fail practice and research by obscuring the space for reflexive criticality that is crucial for an individual or organisation to flourish. That it thus leads to an already predefined enculturated understanding of “impact”.

Offering some interrogation and folkloristic analogy of the meaning of “impact”, three brief expositions of differing arts-based práxes concerned mainly with reflection and connection, are then discussed through the lens of Ricœur’s et al. (1978) conflation of the hermeneutical process with phenomenology.

It is suggested that the implications of restoring, refreshing, or representing “impact” give license to a personal/professional revitalisation, and that reformulating an understanding of “impact” through re/search might offer a potential pedagogic tool, and alternative organising feature.

Through the introduction of inter-disciplinary thinking and práxes, the paper offers novel autoethnographic arts-based methods for personal, professional and organisational development and growth.

The purpose of this study is to fill a gap in the literature by examining the import and impact of the generative leadership philosophy and praxis of Ambassador Aurelia Erskine Brazeal, an African American Female Foreign Service Officer.

This single subject case study, augmented by portraiture, employs an interdisciplinary methodological design also using polyvocal narrative, oral history and arts-based research.

The research revealed that a prosocial disposition, compassion, strategic vision, clarity of purpose, commitment to fair play, focus on balance, hearing everyone out and the practice of leadership as a potentiating art are the hallmarks of a generative leadership praxis.

The research posits that to be effective in the 21st century, leaders would do well to incorporate generative leadership qualities and characteristics into their praxis.

This study found that listening, co-creating connections and safe spaces, promoting dialog, critical reflection and collective action are as important to diplomatic tradecraft as they are to generative leadership practice.

The challenge of epistemic exclusion suggests that a well-conceived case study examining the life, leadership philosophy and praxis of Aurelia Erskine Brazeal – an individual of merit and distinction – can serve as an exemplar in efforts to reimagine public leadership in the 21st century.

The value of this research is found in its phenomenological approach which shares insights drawn from personal biography as well as key perspectives on public history.

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.