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Arts & Culture Plan South Australia 2019
Arts & Culture Plan South Australia 2019 - 2024 1 To Dream To Explore To Create Acknowledgment of Country Aboriginal and Torres Strait Islander people have made and continue to make a unique and irreplaceable contribution to Australia. The South Australian Government acknowledges and respects Aboriginal people as the state’s first people and nations, and recognises Aboriginal people as traditional owners and occupants of South Australian land and waters. The South Australian Government acknowledges that the spiritual, social, cultural and economic practices of Aboriginal people come from their traditional lands and waters, and that Aboriginal people maintain cultural and heritage beliefs, languages and laws which are of ongoing importance today. Front cover Production: mi:wi Organisation: Vitalstatistix Photographer: Gregory Lorenzutti Table of Contents Page Vision, Mission, 4 Values 4 6 Goals 5 Message and commitment from the Government 7 Introduction 9 An Arts Plan for the future 10 Why now is the time for the Plan 10 Four reasons to pivot 11 South Australia. A history of creative and cultural innovation 12 1 The Structure of this Plan 16 South Australia, A gateway to the first and original story 17 Songlines: Tracking the Seven Sisters 18 Goal 1 20 Goal 2 24 Goal 3 28 Goal 4 32 Goal 5 36 Goal 6 40 Capturing value and impact 42 Footnotes 44 Adelaide College of the Arts Organisation: TAFE SA Photographer: Sam Roberts The Arts and Culture Plan for This Arts Plan is about igniting a This narrative is about how we TELL South Australia 2019 – 2024 new level of connectivity – between THESE STORIES, and relates strongly artists, organisations, institutions and to South Australia’s ‘market and brand’. -
10.9 De Jesus Precarious Girlhood Dissertation Draft
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Creative Assets and the Changing Economy
Creative Assets and the Changing Economy STEVEN JAY TEPPER any arts advocates and policymakers have argued that certain Mchanges in the economy (globalization, digitalization, the rise of the “knowledge” worker, the boom in intellectual property, changes in leisure consumption) are having a catalytic effect on art and culture. In particular, the arts are heralded as engines of economic growth and development. Scholars and pundits have written about the central role of creative cities, creative clusters, creative economies, and the “rise of the creative class.” Governments have begun to measure the size and scope of the creative econ- omy as an important indicator of economic health. In short, there is a grow- ing belief that changes in the economy have pushed creative assets to the cen- ter of economic life.1 In this article I will offer a critical assessment of some of these arguments and suggest ways that scholars and policymakers might usefully approach the notion of the changing economy and culture. My gen- eral point is that rather than spend time calculating the impact or size of the creative economy, we should direct our analytical and policy energies toward better understanding how creative work and institutions are changing and what might be done to foster a more robust, more creative, and more diverse cultural life. Steven Jay Tepper is deputy director of the Princeton University Center for Arts and Cultural Policy Studies and a lecturer at the Woodrow Wilson School of Public and International Affairs. He has written about sociology of art, cultural policy, and democracy and public space and is currently completing a book on cultural conflict in seventy-five American cities. -
2018 Adelaide Biennial of Australian Art
DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations. -
South Australian Arts Plan 2019-2024 LGA Submission
South Australian Arts Plan 2019-2024 LGA Submission April 2019 LGA of SA ECM XXXXX < File Name > Page 0 of 12 Introduction As the closest government to communities, councils deliver hundreds of facilities and services that: drive economic development; protect the environment; bring communities together; support public health; and improve the local amenity enjoyed by all South Australians and visitors alike. Arts and culture is an important part of the work which many councils do, and the role of local government in arts and culture has many benefits for the South Australian community, supporting health and wellbeing, economic, social and cultural development. In this context, the Local Government Association of South Australia (LGA) welcomes the decision of the State Government to develop an Arts Plan, and the opportunity to make a submission. Local government is an experienced partner in government, and the LGA and our member councils look forward to working with the State Government and Arts South Australia to capture that involvement in the South Australian Arts Plan 2019-2024 (‘the Plan’). About the LGA The LGA is the voice of local government in South Australia, representing all 68 individual councils across the state. Our mission is to provide leadership, support, representation and advocacy on behalf of South Australian councils, for the benefit of the community. The value of LGA membership has been independently verified by UHY Haines Norton as being worth around $139 million to the local government sector in 2019. This submission has been informed by consultation with our member councils. Development of an Arts Plan for South Australia The LGA is keen to be involved in the development of the Plan and this submission is provided for consideration of the consultants engaged to prepare the Plan. -
Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Strategic Plan 2020-2024
Strategic Plan 2020-2024 ACE OPEN Lion Arts Centre North Terrace (West End) rt Kaurna Yarta a n. Adelaide SA 5000 aceope ACE Open Strategic Plan 2020-2024 1 ACE Open respectfully acknowledges the traditional Contents country of the Kaurna people of the Pg 3. Vision, Mission & Values Adelaide Plains and pays respect Pg 4. Executive Summary to Elders past and present. We recognise and respect their cultural Pg 5. Strategic Context heritage, beliefs and relationship with the land. We acknowledge that Planning Context they are of continuing importance to History the Kaurna people living today. Key Issues Artist Vibrancy SWOT Analysis Markets Pg 17. Goals Pg 23. Strategic Priorities Pg 24. Organisational Support Planning Management Financial Pg 33. Risk Management ACE Open Strategic Plan 2020-2024 2 Vision Our vision is to understand, expand and transform our world through contemporary art. Mission To be South Australia’s leading contemporary art space, nationally renowned for supporting artists, promoting artistic excellence and enriching audience experience. We will achieve this by: • Presenting and premiering new works from local, national and international artists • Nurturing the careers of artists to elevate their practice • Fostering conditions for critical engagement and explorations • Making art and spaces that are accessible, respectful and reflect Australia’s diversity Vision • Securing a sustainable future through strong management practices and strategic partnerships Mission Values Values Openness: We believe in making contemporary art accessible to everyone, inviting artists and audiences to experience contemporary art in an environment that is as engaging and challenging as it is welcoming. Artistic Freedom: We respect and nurture creative and cultural processes. -
Adelaide Fringe and the Adelaide Festival
Australian Services Union SA + NT Branch The ASU campaigns for fairness and equality in our workplaces, communities + globally Join the union for social justice activists 08 8363 1322 Foreword Together with our sponsors, the Don Dunstan Foundation is proud to present the 2019 Social Change Guide to the Adelaide Fringe and the Adelaide Festival. This Guide is our biggest yet with 181 shows featuring a diverse display of culture of which Don Dunstan would have been proud. Don was not only Premier of South Australia during the 1970s, but was also a trained actor. A strong supporter of the Arts throughout his lifetime, he was a patron of the Fringe and narrated Carnival of the Animals in the 1974 Festival of Arts. The Dunstan Decade saw South Australia lead the nation in progressive social reforms, and laid the foundation for Adelaide’s transformation into ‘the Festival State’. The Adelaide Festival was at the forefront of this transformation; since its launch in 1960 they have been showcasing diverse shows from all around the world. In 1974 the Fringe released its first Souvenir Programme, beginning its evolution into what is now the largest arts festival in the Southern Hemisphere. Each year, both go from strength to strength. The Arts bring us together, and help to create and celebrate our diversity. When we offer access to art in all its forms, we improve the quality of life for everyone in our community. Through the Arts we have a chance to see the world from a new perspective, and at its best, art can inspire us to take action for a fairer world. -
Creative Place Reputation in Dutch ‘Ordinary Cities’
Creative Industries Journal ISSN: 1751-0694 (Print) 1751-0708 (Online) Journal homepage: https://www.tandfonline.com/loi/rcij20 Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’ Yosha Wijngaarden, Erik Hitters & Pawan V. Bhansing To cite this article: Yosha Wijngaarden, Erik Hitters & Pawan V. Bhansing (2019) Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’, Creative Industries Journal, 12:1, 86-104, DOI: 10.1080/17510694.2018.1551712 To link to this article: https://doi.org/10.1080/17510694.2018.1551712 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 12 Jan 2019. Submit your article to this journal Article views: 489 View related articles View Crossmark data Citing articles: 3 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcij20 CREATIVE INDUSTRIES JOURNAL 2019, VOL. 12, NO. 1, 86–104 https://doi.org/10.1080/17510694.2018.1551712 Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’ Yosha Wijngaardena, Erik Hittersa and Pawan V. Bhansingb aDepartment of Media & Communication, Erasmus School of History, Culture and Communication (ESHCC), Erasmus University Rotterdam, Rotterdam, The Netherlands; bDepartment of Arts & Culture Studies, Erasmus School of History, Culture and Communication (ESHCC), Erasmus University Rotterdam, Rotterdam, The Netherlands ABSTRACT ARTICLE HISTORY Creative workers have a tendency to co-locate in creative places, Received 29 June 2018 and their locational decision-making processes have been the Accepted 20 November 2018 topic of numerous studies. Yet, the vast majority of research has traditionally focused on the quintessential creative cities and met- KEYWORDS ropolises. -
New Business Models in the Cultural and Creative Sectors (Ccss)
New Business Models in the Cultural and Creative Sectors (CCSs) EENC Ad hoc question June 2015 1/17 The present paper has been prepared, at the request of DG EAC, by the European Expert Network on Culture (EENC). This paper reflects the views only of the EENC authors and the European Commission cannot be held responsible for any use which may be made of the information contained therein. Background Being at the crossroads between arts, business and technology, the cultural and creative sectors find themselves in a strategic position to trigger innovation and spill-overs in other sectors. The 2012 Communication on promoting cultural and creative sectors for growth and jobs in the EU contributed to mainstreaming their potential into other EU policies. Beyond possible spill-overs, innovation is also vital within the cultural and creative sectors themselves in order for them to further grow and to adapt to a constantly evolving technological and financial environment. The decreases in public funding, the challenges of globalisation, the opportunities of digitisation or the increasing empowerment of audiences have already pushed the cultural and creative sectors to test new approaches and to explore new business models. These innovative approaches can be powerful drivers for the strengthening of cultural diversity and for the development of entrepreneurship, as well as for growth, jobs or social inclusion. As specified in the Regulation establishing the Creative Europe Programme 2014-20, in order to promote transnational policy cooperation, the Cross Sectoral Strand shall support "transnational exchange of experiences and know-how in relation to new business and management models, peer- learning activities and networking among cultural and creative organisations and policy- makers related to the development of the cultural and creative sectors, promoting digital networking where appropriate". -
How to Make a Living in the Creative Industries © WIPO, 2017
How to Make a Living in the Creative Industries © WIPO, 2017 World Intellectual Property Organization 34, chemin des Colombettes, P.O. Box 18 CH-1211 Geneva 20, Switzerland Attribution 3.0 IGO license (CC BY 3.0 IGO) When content published by WIPO, such as images, graphics, trademarks or logos, is attributed to a third- party, the user of such content is solely responsible for This booklet was written by BOP Consulting clearing the rights with the right holder(s). on behalf of the World Intellectual Property Organization. BOP is an international consultancy To view a copy of this license, please visit specializing in culture and the creative economy. https://creativecommons.org/licenses/by/3.0/igo/ Established for 20 years, it is a leading authority on mapping and evaluating the socio-economic Printed in Switzerland impact of the cultural and creative industries. Table of contents 1. Introduction 4 2. What is copyright and why does it matter? 4 3. Protecting and exploiting your rights 5 What rights do you own? 6 Identifying yourself as the rights holder 6 Exploiting your rights 6 Licensing and assignment 7 Protecting your copyright 7 4. The creative industries 8 Defining the creative industries 8 Diversity of the creative industries 9 What is the global value of the creative industries? 9 Employment in the creative industries 10 Copyright in the digital age 10 5. How do different creative sectors use IP? 13 Advertising 13 Film and television 13 Music 14 Publishing 14 Video games 15 Monetization of copyright assets by creative enterprises 15 Managing creative enterprises 16 6. -
Creative Industries
KEY INDUSTRY CREATIVE INDUSTRIES Colorado is a global leader in the creative INDUSTRY FACTS industries, which include six creative sub-groups: design, film and media, heritage, literary and publishing, performing arts, and visual arts and crafts: • Design applies artistic content to commercial products, services and the $300 environment, and includes companies that purchase fabrics, design, cut, sew and assemble garments and other sewn products ranging from footwear to handbags and luggage. Companies that provide design-related services (such as architectural, MILLION home interiors, graphic, and advertising-related agencies) are also included. EXPORTS 2013 TOTAL • Film and media companies provide technical and distributive elements of EXPORT Colorado’s entertainment industry, including companies that provide technical TOP 3 MARKETS production support systems such as sound, lighting, digital art, animation, sets and studios, broadcasting and distribution channels via motion picture, video and music 1. Canada production companies. • Heritage includes Colorado’s historical sites, museums and botanical gardens. 2. Mexico • Literary and publishing companies print newspapers, books, labels, stationary 3. Japan and other materials, and perform support activities such as data imaging and bookbinding. Companies that wholesale and publish newspapers, magazines, books, directories and mailing lists, and software are also included. • Performing arts includes actors, musicians, promoters, producers and directors and the venues at which they perform. Musical instrument and supply stores are also NUMBER OF included. COMPANIES • Visual arts and crafts companies manufacture metal, wood, jewelry, silverware, dolls and stuffed toys, games, musical instruments, wholesale toy and hobby goods, jewelry and precious metals. Photography studios, galleries, photofinishing laboratories, fine arts schools, art dealers, and sewing and needlework stores are also included.