Evaluation of Australian Performing Arts Market 2014-2018: APAM inter-year report 2015

In the awarding of the tender for APAM by the Australia Council to Brisbane Powerhouse for the delivery of the market in 2014-2018, a requirement is that a formal evaluation of the three iterations of APAM be undertaken by the Queensland University of Technology, Creative Industries Faculty, under the leadership of Associate Professor Sandra Gattenhof. The agreed research model delivers reporting on outcomes not only in the year in which APAM is delivered (2014, 2016, 2018) but also in the years between (2015, 2017). This inter-year report focuses on the domestic and international touring outcomes resulting from engagement in the 2014 Market and responds two of the three key research foci for the evaluation that are articulated in the Brisbane Powerhouse Tender (2011) document as: • Evaluation of international market development outcomes through showcasing work to targeted international presenters and agents • Evaluation of national market development outcomes through showcasing work to national presenters and producers. The reporting for mid-year 2015, a non-APAM year, collects data from two key sources – six identified case study productions that have been tracked for eighteen months, and an online survey delivered to all APAM 2014 delegates. This inter-year report is a six month follow-up with delegates and identified case studies companies that track the ongoing progress of market outcomes and levers for ongoing improvement of the APAM delivery model that was tabled in the Year One Report delivered to Brisbane Powerhouse in October 2014.

Arts Subject Area Syllabuses – Literature Review

The following document is a discussion of the key factors and ideas that need to be taken into consideration in the reworking of Arts Subject Area Syllabuses (SAS). The review consists of short summaries of key academic texts, reports and policy documents that may be useful in the rethinking of the subject offerings under the banner of the Arts. The concentration of citations included in this literature review is situated in the last fourteen years of investigation into arts and education from the years 2000 to 2014. The review begins with a summary of key considerations arising from the literature that may be taken into account when redeveloping SAS syllabi in the arts subject areas. Immediately following the summary is the review of literature captured under the following headings – role of the arts in educational contexts, arts engagement, learners & achievement, content, teaching and learning approaches, skills for the 21st century workforce, national and international syllabus directions.

The importance of neighborhood context in arts-led development

This article contributes to the creative city–community development arts policy debate by examining the association of arts organizations to various neighborhood contexts in New York City. Results from multivariate regression analyses show that arts organizations regardless of type are positioned to serve the creative class rather than play a community development role. Notably, only a small subset of locally focused organizations and organizations with smaller expenditures locate in disadvantaged and immigrant neighborhoods where they might play a direct role in community development. Instead, most arts organizations tend to locate in the most highly urbanized, amenities-rich areas with young working singles and creative industries. These findings raise important questions for incorporating the arts into neighborhood planning efforts.

Measuring impact: Positioning evaluation in the Australian arts and culture landscape

Arts culture organisations and funding authorities increasingly need to evaluate the impact of festivals, events and performances. Economic impacts are often privileged over 'soft data' about community experience and engagement. This new book offers a timely and scholarly demonstration of how cultural value and impact can be evaluated. It offers an innovative approach whereby the relationship developed between the researchers/evaluator and the commissioning arts and cultural producer provides an opportunity to rethink the traditional process of reporting back on value and impact through the singular entity of funds acquittal. Using three commissioned evaluations undertaken at an Australian university as an extended case study, the book investigates the two positions most often adopted by researchers/evaluators - embedded and collaborative, or external and distanced - and argues the merits and deficiencies of the two approaches. Offering an examination of how arts evaluation 'works' in theory and practice and more importantly, why it is needed now and in the future to demonstrate the reach and cultural gains from arts and cultural projects, this will be essential reading for students in arts management, professionals working in arts and cultural organisations, scholars working in association with creative industries and cultural development.

Fundraising and boards: be a leader and a meddler!

The old board maxim says, ‘Be a leader not a meddler’! However, in the case of board members and fundraising, meddling is wise. Why? Because the board has a responsibility and a unique opportunity to guide and support its organisation’s fundraising. Indeed, in successful nonprofit organisations (NPOs) fundraising is an attitude, not a department.

Creating choices in advertising's newest frontier

Not much has happened in Myanmar for most of the past 50 years; not much that is, for Western media, investors or even tourists to notice. Myanmar remained isolated for most of that time; an isolation that was partly self-imposed and, especially after the violent military crackdown against large-scale protests in 1988, externally reinforced via Western sanctions set up at the request of democracy leader Daw Aung San Suu Kyi after her National League for Democracy was denied power following its landside triumph in the 1990 election for a constituent assembly.

Evaluation of a school-based creative arts therapy programme for adolescents from refugee backgrounds

Creative arts therapy programs have been identified as effective interventions with adolescents affected by adversity. The current study provided a controlled trial of creative arts therapy to address the psychosocial needs of students from refugee backgrounds. Forty-two students participated in a therapy trial, comprising an intervention and control group. Mental health and behavioural difficulties were assessed pre and post intervention. Hopkins Symptoms Checklist-25 (HSCL-25) and the Strengths and Difficulties Questionnaire (SDQ) were used to assess wellbeing. Findings suggested an effect for a reduction in behavioural difficulties for the treatment group. A significant reduction in emotional symptoms was found for the treatment group. Findings provide empirical support for school-based creative arts therapy interventions specific to refugee young people.

Mapping the arts: Industry concentrations, distribution, and change in the US, 1980-2010

This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities.

Speaking of supervision: A dialogic approach to building higher degree research supervision capacity in the creative arts

In the emergent field of creative practice higher degrees by research, first generation supervisors have developed new models of supervision for an unprecedented form of research that combines creative practice and written thesis. In a national research project, entitled 'Effective supervision of creative practice higher research degrees', we set out to capture and share early supervisors' insights, strategies and approaches to supporting their creative practice PhD students. From the insights we gained during the early interview process, we expanded our research methods in line with a distributed leadership model and developed a dialogic framework. This led us to unanticipated conclusions and unexpected recommendations. In this study, we primarily draw on philosopher and literary theorist Mikhail Bakhtin's dialogics to explain how giving precedence to the voices of supervisors not only facilitated the articulation of dispersed tacit knowledge, but also led to other 20 discoveries. These include the nature of supervisors' resistance to prescribed models, policies and central academic development programmes; the importance of polyvocality and responsive dialogue in enabling continued innovation in the field; the benefits to supervisors of reflecting, discussing and sharing practices with colleagues; and the value of distributed leadership and dialogue to academic development and supervision capacity building in research education.

Community uses of co-creative media digital storytelling and co-creative Media: The role of community arts and media in propagating and coordinating population-wide creative practice

How is creative expression and communication extended among whole populations? What is the social and cultural value of this activity? What roles do formal agencies, community-based organisations and content producer networks play? Specifically, how do participatory media and arts projects and networks contribute to building this capacity in the contemporary communications environment? The latest issue of CSJ article in a special issue on “Broadening Digital Storytelling Horizons” edited by Burcu Simsek.

Building creative connections: An analysis of a creative arts widening participation program

Widening participation or outreach agendas have been a major part of higher education policy since the early 2000s. These policies and programs seek to increase marginalised groups’ access to further study through activities, tutoring programs, workshops, and other provisions. Some programs openly state their intention to assist people from low socioeconomic backgrounds to become more civically engaged and socially mobile by improving their education, which creates an immediate link between education and social capital (see Morley 2012; Hillmert and Jacob 2010). Social capital refers to the ‘connections among individuals’ and the consequent value of the things they do together (Putnam 2000; Gauntlett 2011). Media and creative arts widening participation programs, arguably, are better equipped to build social capital than any other form of outreach, due to their relationship-building capacity (Gauntlett 2011; Kinder and Harland 2004). This article analyses Queensland University of Technology’s Creative Industries Widening Participation Program. It investigates social capital and its relationship with higher education in outreach initiatives in order to identify how media and creative arts widening participation programs have the capacity to influence the attitudes of low socioeconomic background students towards higher education.

Widening participation creatively: Creative arts education for social inclusion

University participation among students from low socio-economic backgrounds in Australia is low and nationwide strategies are in place to help bridge the gap. This article presents a preliminary evaluation of a creative arts-based outreach program to raise awareness and aspiration for university study among students from low-income backgrounds. The program is part of a national Australian federally funded initiative, the Higher Education Participation and Partnerships Program. It reviews an outreach advertising program facilitated by a Brisbane university. We argue that arts education has a particular role in provoking attitudinal change, due to the self-reflective, meaning-making and expressive characteristics of arts-based disciplines. In evaluating the advertising program, the value of creativity and trust as techniques of student engagement is considered. Evaluation occurred in two outer suburban high schools in Brisbane (a State capital city), using surveys and ethnographic fieldwork. The findings support an engagement model that employs creativity and uses student facilitators (undergraduate and postgraduate) to deliver the program, to meet the program's aims.

Transition: Exchange establishing a visual arts practice based on personal pedagogy

There is a perceived tension in the relationship between the roles of art teacher and artist that led to the question: can an art teacher use their professional training and experience to establish an authentic artistic identity? This self-study tracked and analysed how the process of making her own art enabled an art teacher to also identify as an artist. Drawing on Lamina, the public exhibition of her multimedia artworks, the final exegesis proposes five conditions for art teachers in developing their own art practice: developing an identity as artist, using time and space mindfully, tolerating uncertainty, mentoring, and privileging the process.

Exploring university-community partnerships in arts-based service learning with Australian First Peoples and Arts Organizations

In this chapter we focus on the importance of partnerships in arts-based service learning with Australian First Peoples and community arts organizations. Drawing on six years of our own partnership and a wide body of literature, this chapter aims to act as a trigger for further reflection on ways to engage in meaningful partnerships with First Peoples and arts organizations. In particular, the continuum between transactional and transformational types of relationships provides a useful means for understanding our work and for positioning the various benefits and challenges associated with university-community partnerships more broadly.

Slovo lider i ego upotreblenie v sovremennoj rossijskoj presse

Venäjän kieleen on kautta historian lainautunut sanoja muista kielistä. Historian tapahtumat ovat vaikuttaneet siihen, mistä kielistä sanoja on lainautunut eri aikakausina. Viime vuosikymmeninä venäjän kieleen on tulvinut lainasanoja englannin kielestä yhteiskunnan eri alueille. Tiiviit poliittiset, taloudelliset ja kulttuurisuhteet maiden ja kansojen välillä ovat ulkoisia, ei-kielellisiä syitä sanojen lainaamiseen. Kielen osa-alueista sanasto on kaikista avoimin ulkoisille vaikutteille ja samalla se on alue, johon heijastuvat yhteiskunnassa tapahtuvat muutokset. Lainasanojen ilmaantumiselle kieleen on myös sisäisiä, kielellisiä syitä. Lainasanojen ilmaantumisessa kirjallisessa muodossa venäjän kieleen voidaan erottaa kolme tapaa: transplantaatio eli sitaattilaina, translitteraatio sekä käytännöllinen transkriptio, jossa jokainen vieraskielinen foneemi pyritään esittämään vastaavalla venäjän foneemilla, jolloin vieraskielisen sanan ääntämys säilyy mahdollisimman alkuperäisenä. Lider-sana on esimerkki käytännöllisestä transkriptiosta, jossa venäläinen kirjoitusasu vastaa englannin kielen ääntämystä. Tutkimuksen kohteena on englanninkielinen lainasana lider, joka on ilmaantunut venäjän kieleen jo 1800-luvun puolivälissä. Sana on johdettu verbistä lead, merkityksessä ’johtaa, olla johdossa’, ja siinä on muodostunut substantiivi leader, ’johtaja’. Tutkimusaineistoa varten on poimittu 100 poliittiseen kielenkäyttöön liittyvää lider-sanaa sähköisessä tietokannassa Integrumissa olevassa Izvestija-lehdestä kahtena eri ajanjaksona, vuoden 1994 alusta alkaen sekä vuoden 2004 alusta alkaen. Tutkimuksessa keskityttiin lider-sanan käyttöön poliittisessa kielenkäytössä, mutta tutkimusaineiston keräysvaiheessa kirjattiin ylös myös muilla aihealueilla esiintyneet lider-sanat niidenkin käytön tarkastelua varten. Tutkimusta varten tarkasteltiin, millaisia määrityksiä lider-sanalle löytyy erilaisista nykykielen sanakirjoista eri vuosikymmeniltä. Vanhin mukana oleva sanakirja on venäläis-suomalainen sanakirja vuodelta 1912, jossa lider-sana määritellään yhdellä sanalla, ’puolueenjohtaja’. Aineisto jaettiin myös kolmeen ryhmään maantieteellisen sijainnin mukaan: Venäjä, entiset neuvostotasavallat ja ulkomaat. Tällä haluttiin selvittää, käytetäänkö lider-sanaa enemmän ulkomaisten vai venäläisten tapahtumin yhteydessä. Tutkimuksessa ilmeni, että suurin osa lider-sanoista liittyi Venäjän tapahtumiin molempina tarkasteluajanjaksoina – v. 1994 osuus oli 54 % ja v. 2004 50 %. Tähän tulokseen vaikuttavat varmaankin v. 1993 joulukuussa pidetyt ensimmäiset parlamenttivaalit sekä vuoden 2003 joulukuussa pidetyt duuman vaalit. Tutkimuksessa lider-sana jaettiin seitsemään eri kategoriaan käyttöyhteytensä mukaan ja saatujen tulosten perusteella suuri9n osa sanoista kuului kategoriaan ”puolueen johtaja”, v. 1994 osuus oli 47 % ja v. 2004 oli 40 %. Lider-sanan käyttö on levinnyt myös monelle muulle alueelle: urheilu, liike-elämä, kulttuuri, taide, tiede ja tekniikka. Venäjän kieleen ilmaantuu koko ajan vieraskielisiä sanoja, mutta kaikki niistä eivät sopeudu eivätkä juurru kieleen. Lainasanan on täytettävä tiettyjä edellytyksiä, jotta sitä voitaisiin pitää kieleen sopeutuneena: mukautumien kielen foneettiseen järjestelmään, sopeutuminen kielen graafiseen järjestelmään, sopeutuminen kieliopilliseen ympäristöön, semanttinen vakiintuminen sekä vakiintuminen vähintään kahdelle temaattiselle alueelle. Lainasanan juurtumisesta ja sopeutumisesta ovat todisteena myös siitä johdetut sanat. Lider-sana täyttää kaikki em. ehdot, joten sitä voidaan pitää venäjän kieleen sopeutuneena ja juurtuneena.