Urban planning and cultural policies often neglect electronic dance music. Now the pandemic is forcing the EDM world to come up with new strategies to survive.
Literature funding has been cut brutally in recent years and writers’ incomes are disastrously low. Yet books shape our national identity, forming an often invisible bedrock for the wider economy.
There aren’t a lot of studies on South Africa’s cultural economy. A new one finds a cluster of creative firms in Cape Town with high levels of innovation.
The COVID-19 pandemic has closed museums and cultural sites worldwide. Meanwhile, curators are already working hard to preserve the current moment so that future generations may understand it.
The Coalition government’s approach to arts and culture policy has been one of ad hocism and neglect. Perhaps most serious has been the damage done to the Australia Council and the ABC.
At a time when even accountants are looking for a more compelling understanding of value, it is imperative that the arts – where individual experience is central – resist the evangelical call of quantification.
The notion of the creative sector driving fulfilling work as cities shed old industries has worn thin. But those creatives might be delivering value of a different kind, offering a more human future.
A comparison of 36 Australian cities finds that, unlike Europe, the data on their creativity and culture are not closely linked to their capacity to generate economic value and social well-being.
Canada, a country with a similar demographic and economic profile to ours, has a very different approach when it comes to arts funding. Under Prime Minister Justin Trudeau, there is a renewed sense of vitality in the arts.
Professor of Social Inclusion - UTS Business School - Centres for Business and Social innovation, and Business Intelligence and Data Analytics, University of Technology Sydney