Professional artists in Vietnam : intellectual property rights, economic and cultural sustainability

The article outlines the legal context for Vietnamese artists that is not discussed in other literature, including the scarcity of data on the art market, the reasons for failure to enforce intellectual property (IP) rights and legal contracts, and the rapid growth of private-sector art dealing that makes an examination of the legal context so essential. The author's field research in Vietnam since 2003 is linked to analyses of Vietnam's art market and to civil codes and other international agreements that determine professional artists’ IP rights. This illustrates the reasons why IP rights have not been enforced or arbitrated in Vietnam. The author includes a discussion of the importance of enforcing IP law for the maintenance of artists’ incomes and careers, the development of a national art market, and for innovation and cultural sustainability in Vietnam.

Making it real : pre-service music teacher education students ideas about artists-in-schools

Globally teacher educators try to prepare culturally inclusive students in an ever-crowded curriculum It is difficult to give students in-depth experiences of other musics and their cultural contexts. In schools, teachers are also faced with the. same challenges. This shortfall may be met by artists-in-schools programs. This paper focuses on the perceptions of pre-service music educators concerning artists-in- schools programs. The study builds on ongoing research (2003-2008), Intercultural attitudes of preservice music education students, between Deakin and Monash universities. Australia only the 2008 interviews (analysed using interpretative Phenomenological Analysis) are discussed. The paper reports only on one aspect that underpins artists-in-schools programs — the importance of authentic practice. Although international studies have, provided insights into artists-in—schools programs little attention has been paid to pre-service specialist music teacher understandings of such programs. It is imperative to know the attitudes that our teachers carry with theta into their future professional engagement The findings of this study provide insight into the need br artists-in-schools programs and the ways in which teachers can link theory to practice, fill in omissions in their own knowledge, skills and understandings. and also heighten student understandings of multicultural musics.

Teaching like an artist : the pedagogic identities and practices of artists in schools

This article reports findings from an ethnographic study of the arts curriculum and pedagogy in a British primary school. The policy context for the study is the school's involvement in promoting creative partnerships between teachers and artists. The pedagogies of three different artist-led projects are analysed, using a Bernsteinian framework, and are characterised in relation to notions of 'competence' and 'performance' pedagogies. These characterisations are then used to consider the impact of the artists' pedagogies on teachers in the school, and the extent to which the different pedagogies promote inclusion. Broad conclusions are drawn about the relative difficulty of adopting competence pedagogies in the current educational culture of British schools; more specific conclusions are drawn about the importance of time, text, discourse and interpretation in arts pedagogies.

Escape artists

The figure of the female visual artist within literature has attracted a great deal of attention from feminists. In this thesis, the author examines the idea of a feminist gaze located in the female protagonists within fiction that insists on the sense of touch to alter the principle of vision.

Australian women artists and domesticity in the twentieth century

The professionalism of women artists around the turn of the century coincided with the growing expectation that female members of the family should do the housework formerly done by domestic servants. The Women's Art Register was the research base for the compilation of a twentieth century history of Australian women artists and their attitude towards domesticity and housework. The authors work as located within this artistic tradition is also discussed.

Valuing participation : artists and the Adelaide fringe festival

Based on interviews and focus group discussions with participating artists in the 2009 Adelaide Fringe Festival, this paper is an interrogation of one aspect of the cultural value of the festival in terms of the benefits it delivers to one of its key constituent communities. The evaluation of special events has tended to focus on measuring the economic benefits that festivals can deliver to local economies. However, scant attention has been paid to the indirect impacts of arts events on communities and in particular to the impacts felt by the artists who participate. The Fringe festival plays a critical role as a facilitator of new work dedicated to creating opportunities for artists to practice their craft. Our research findings suggest that the stated goals of the Fringe – to provide a multi-artform and inclusive platform for the presentation of art works through the provision of resources and other services to artists – are largely being met, and that participating artists report a high degree of satisfaction with the work of the organisation. In terms of impact, the research finds that artists see themselves as the beneficiaries of a number of positive short-term outcomes resulting from their participation in the festival. We call for further longitudinal study to address the potential long-term career development impacts of festival participation for artists.

Building capacity or burning out? Supporting indigenous performing artists and filmmakers

Public support for both Indigenous filmmaking and the live performing arts has a number of common features: at a national level the present schemes were introduced in the early 1990s, and both sets of schemes aim to improve the capacity of Indigenous practitioners to tell their stories to national and international audiences. Yet, in the late 2000s, Screen Australia’s support for filmmaking has contributed to well-known successes, whereas Australia Council support for performing arts has been withdrawn from two of the three state-based Indigenous companies. This article reviews the capacity-building strategies offered by the funding agencies to Indigenous filmmaking and performing arts. While the film policies appear to have been more successful than those in the performing arts, both sectors continue to experience obstacles to capacity-building for Indigenous practitioners and organisations.

Reflections on multicultural artists' employment and career prospects

This paper analyses multicultural artists' perceptions of their employment and career prospects in the arts. We do this first by reviewing the relatively small body of literature on multicultural artists' careers and supplement that with a literature review of general vocational development literature. Further, we examine the degree to which multicultural artists possess the generic employability skills necessary to gain and retain employment in Australia. We use data from a small-scale qualitative study, conducted in Western Australia, which identified artists' perceptions of barriers to participation in the arts in general and to paid employment in particular. From the literature and studied data, we propose a 'Dual Responsibilities Framework for Career Management of Multicultural Artists'.

Hunger artists : literacy, testing & accountability

This article interrogates the dominant ideology that is shaping education in Victoria at the current moment. It does so by analysing the government school publication, Education Times, focusing on the years 2000–2003. During those years the Victorian Government invested a significant amount of money into improving the literacy outcomes of so-called underperforming students through initiatives such as Restart and Access to Excellence. Education Times played an important role in promoting these initiatives, and thus provides a useful vehicle for examining the ideology driving educational reform in Victoria.

Festivals, artists and entrepreneurialism : the role of the Adelaide Fringe Festival

This paper addresses the role of the Adelaide Fringe Festival in facilitating entrepreneurialism amongst participating artists. Tracing the discursive development of the notion of the entrepreneur, the paper identifies how entrepreneurialism has been taken up by the discourses of the creative industries. While we note that entrepreneurialism is a key strategy within the creative industries framework, it would appear for artists the concept does not necessarily connote the achievement of commercial outcomes. The paper argues that these cultural entrepreneurs are defined by self-reliance, the focus on the development of their craft, and the cultural value of their work.

So much more than just the music : Australian pre-service music teacher education students’ attitudes to artists-in-schools

Contemporary Australia is a country of ongoing migration and increasing cultural diversity which is reflected in its arts practices. This article considers the views held by Australian pre-service music education student teachers and their tertiary music educators about their perceptions concerning artists-in-schools programs in school music. This discussion reports on data collected for a study undertaken in Melbourne, Victoria, Intercultural Understandings of Pre-Service Music Education Students (2005–2009). Fifty-three interviews were analyzed using interpretative phenomenological analysis. The findings provide insight into teachers’ recognition of the need for artists-in-schools programs. In particular the ways in which teachers can link theory to practice, fill in omissions in their own knowledge, skills and understandings, and heighten student understandings of multicultural musics. The promotion and provision of multicultural music education is essential at all levels of education. This can be achieved by the inclusion of diverse culture bearers, artists-in-schools, and community engagement to work with both teachers and their students.

Bowerbirds, art and aesthetics : are bowerbirds artists and do they have an aesthetic sense?

Male bowerbirds create and decorate a structure called a bower which serves only to attract females for mating, and females visit and choose one among many bower owners before deciding which male to mate with. Is what they do art, and do they have an aesthetic sense? I propose operational definitions of art, judgement, and an aesthetic sense which depend upon communication theory which allow one to get explicit answers to this question. By these definitions Great Bowerbirds are artists, judge art, and therefore have an aesthetic sense.