Immigrant Services Association of Nova Scotia’s Post

Fantastic Arts Beasts and Where to Find Them. - Can Suffolk Arts survive a 100% cut, and what are the ramifications for the Creative and Cultural Sector. (CCS) The answer to the first question seems to be no, at least not in their current form, leaving a consumer driven, sponsorship model to dissect the remains of this Fantastic Arts Beast. And that raises the key question across the CCS, why does the sector continue to under-performe in the political arena. Given the plethora and robustness of a myriad of global and EU reports that link the CCS to creatively and innovation, all of which name the sector as the key and core supplier of content for digital media content, how has it come to pass that support for the sector can be cut so completely? The evidence clearly supports the economic and social necessity of funding the sector, so why does has the message not gotten through? As a recognised expert in the CCS I belive the core issues are a naissante and incomplete understanding of the sector, has, & continues to play, a significant part in not getting the message out. The CCS itself finds it difficult to clearly populate the connectivity between local theatre and popcorn cinema and even more so between dance and digital media. This is primarily due to a number of key factors; The complexity nature and interconnectedness of the CCS to other sector's. Ring-fence of all sector's in terms of ideation and innovative practices. An oudated understanding of profit or benefit as fiscal only. Work like that conducted by Culture Action Europe recently on the Pro-CCS project addressees some of these issues and the opening chapter, for which I was the core author, goes a long way to connecting the dots. However connecting the dotes for ourselves (CCS) is not the same as doing it for a wider society. Some opportunities may lay in layering the sector over more complex models such as the models for donut of circular economics. However we must also look to gaining a greater and more widespread traction with the public at large and there political representation. The CCs needs to adopt new methods of communication, it needs to talk to and convince the people who remain unconvinced. The CCS needs to let more people know about these Fantastic Beasts and Where to Find Them.

My first article on Italy Magazine is about street art festivals transforming Italy's rural area. "In recent years, a wave of urban art initiatives has helped transform some of Italy’s depopulated villages, rekindling the vibrancy of communities left behind due to brain drain, low birth rates and other big-picture cultural and infrastructural issues. Such festivals — often run by local enthusiasts or cosmopolitan artists with roots in the host villages — are helping to redefine Italy’s sleepy hamlets not as relics of bygone eras, but as living, breathing cultural centers." https://lnkd.in/dcsJuv-s

Want to market your arts organization/project or other quirky arts-related info to the Berkeley Community? Or just find out what's going on? Join the Berkeley Arts and Culture Hotline (BACHotline) by sending me your email. The BACHotline is a resource for local groups and individuals wanting to announce or receive info on art events, festivals, newsletters, press releases, art openings, art jobs, RFPs, or anything else about the arts and culture scene in and around Berkeley.   The BACHotline currently has over 1,000 people on it who are active in the local art community. Receiving the info is free.   Events should be about arts and culture and take place in or near Berkeley. I reserve the right to refuse a post. If you are not charging for your event, services, etc. I may post it for free. Otherwise, the options for forwarding your email to this targeted group are:   $5 per post $25 for 6 unique posts over 2 months $200 per year for unlimited posts   Send your post to: BACHotline@AnotherBullwinkelShow.com. Please include a subject line prefaced by: POST to BACHotline.  

Aberdeen Performing Arts has joined over 100 Scottish organisations in an open letter to express our grave and deep concern over the Scottish Government's failure to provide certainty surrounding the £6.6 million Grant in Aid budget for Creative Scotland, resulting in the abrupt closure of the Open Fund for Individuals, the primary route to public funding for Scottish Artists to develop their projects. The resilience of Scotland’s cultural sector is not infinite. Artists cannot continue to bear the burden of delayed and inadequate support. We strongly urge the Scottish Government to recognise the severity of this situation and take immediate action to release the necessary funds to Creative Scotland, allowing the Open Fund for Individuals to be reinstated. This is a necessary first step towards securing the future of the arts in Scotland, but alone it is not enough to reverse decades of shrinking support. It is now more vital than ever that the Scottish Government follows through on its promises to “more than double” investment in arts and culture and we seek urgent clarification on the timeline and mechanisms for delivering the pledged £100m increase in funding by 2028-29. Read the full letter here: https://lnkd.in/eSYJW_kk

Why British museums must start charging entrance fees'–With low pay for workers, decreased funding, and recent theft scandals, Ben Lewis suggests that difficult choices must be made to secure sustainable financing for museums

While I work in Scotland's property sector with a focus on science, tech and advanced manufacturing, I'm immensely proud that my two daughters have chosen a different career path. Both are in the Arts - one in Theatre (just graduated from QMU and recently stage manager for the excellent The Spilling Cup) and one at college undertaking an HND in Television. Proud, but concerned that the Arts isn't getting the financial support it needs. UCL stated in a post pandemic report "Although the pandemic has caused significant economic and psychological hardship, particularly for those working in the arts and cultural sector, many people turned to the arts as a vital means of coping with the challenges of the pandemic." And more recently 180,000 people visited the recent record breaking 10 week Banksy exhibition in Glasgow. I thoroughly recommend you spend two minutes reading Fran Hegyi's article below. But with the knowledge Edinburgh has 11 annual festivals. And the core festival organisers (EFI, Fringe, Book, Jazz, Film etc) permenantly employ only c.120 people. In 2022, and according to the recently published BOP/Edinburgh Festival City report, those 120 people generated 3.2m event attendances from an audience of 700,000, GVA in Edinburgh of £407m and 5,850 FTE jobs. BOP note 2022 public sector investment in the Festivals was £11m. For every £1 invested by the public sector in the Edinburgh Festivals, there is a return of c£33 to Scotland. Imagine the impact if we funded our creative industries as we really value them...or alternatively the loss to Edinburgh/Scotland's vibrant landscape and the impact on our collective wellbeing if they disappear! https://lnkd.in/ewbYarCV #edinburgh #edinburghfestivals #artsandculture #artsscotland

Good collection management involves disposal as well as acquisition but it isn’t easy. It’s been a long and thoughtful process for the team, as it should be, and you can read more about it here

Art festivals aren't just cultural gatherings; they're significant economic contributors. Our latest article explores this dynamic. Join the discussion on the role of art festivals in shaping the art market 👇

Utah’s cultural industry is supporting more jobs than before the COVID-19 pandemic, with the movie and sound recording industry growing faster than any other sector, according to a new report. The report, released Friday by the University of Utah’s The Kem C. Gardner Policy Institute, found that the culture industry — film, performing arts, museums, publishing and so on — directly supported nearly 70,000 jobs in 2022, spending $14.9 billion. That’s more than 4,000 jobs above the number of such jobs in 2019, before the pandemic. It’s around 10,000 more jobs than in 2020, when the pandemic began. Ernesto Balderas, interim executive director of the Utah Cultural Alliance, noted Friday during a news conference at the Utah Capitol that nearly 2,000 of the jobs added in 2022, compared to 2021, were in the motion picture and sound industry. That’s an increase of 35.5% in Utah’s motion picture industry, higher than any other state in the nation, he said. #movies #filmindustry #culture #performingarts #filmbusiness By Palak Jayswal

The recent surge of news headlines announcing the impending and/or permanent closure of various Museums and Art Galleries is deeply concerning. Having seen and read three or four such articles over the past few weeks; one can only imagine the bleak situation that these institutions found themselves in; and this most likely only represents a fraction of the hidden struggles occurring across the sector. Beyond the pandemic, cultural institutions are navigating a complex and evolving landscape: dwindling funding, outdated operating models, difficulties attracting skilled professionals, shifting audience preferences, and ever-escalating operating costs. Yes, the issues that these institutions are facing are complex and require a multi-disciplinary approach to address them. However, the first step should be the introduction of agile and forward-looking practices. Interventions cannot always only be launched and implemented towards the end. But then again. This is my opinion.