First published in 1998, this volume considers the subject of arts policy as a subject of public policy making proper in UK and Ireland, with a particular focus on theatre as a profession rather than a mere hobby. Previous studies have placed the burden of policy improvements on the arts themselves, looking at what ‘the arts’ can do to be worthy of government funding and favourable policy, and have seen government actions as if they have a uniform effect. This study takes ‘the arts’ out of the abstract and discusses specific ways that diverse activities with even more diverse needs can be best approached with government policy, assessing the strengths and weaknesses of government initiatives. It is aimed at both political scientists and anyone with an interest in arts and cultural policy.

First published in 1998, this volume considers the subject of arts policy as a subject of public policy making proper in UK and Ireland, with a particular focus on theatre as a profession rather than a mere hobby. Previous studies have placed the burden of policy improvements on the arts themselves, looking at what 'the arts' can do to be worthy of government funding and favourable policy, and have seen government actions as if they have a uniform effect. This study takes 'the arts' out of the abstract and discusses specific ways that diverse activities with even more diverse needs can be best approached with government policy, assessing the strengths and weaknesses of government initiatives. It is aimed at both political scientists and anyone with an interest in arts and cultural policy.

Based on rare archival material and numerous interviews with practitioners, Art in the North of England 1979-2008 analyses the relation between political and economic changes stemming from the 1980s and artistic developments in the principal cities of the North of England in the late 20th century. Looking in particular at the art scenes of Liverpool, Manchester, Leeds, Sheffield and Newcastle, Gabriel Gee unveils a set of powerful aesthetic reactions to industrial change and urban reconstruction during this period on the part of artists including John Davies, Pete Clarke, the Amber collective, Richard Wilson, Karen Watson, Nick Crowe & Ian Rawlinson, John Kippin, and the contribution of organisations such as Projects UK/Locus +, East Street Arts, the Henry Moore Sculpture Trust and the Bluecoat Gallery in Liverpool. While the geographical focus of this study is highly specific, a key concern throughout is the relationship between regional, national and international artistic practices and identities. Of interest to all scholars and students concerned with the developments of British art in the second half of the 20th century, the study is also of direct pertinence to observers of global narratives, which are here described and analysed through the concept of trans-industriality.

The idea of diversity dominates cultural policy in the twenty-first century. Against the perceived elitism of the past, policy-makers seek to use culture to address social exclusion. Drawing on original research, this book exposes problems with this approach, making the case for universalism in cultural and political life.

Cultural heritage is a complex and elusive concept, constantly evolving through time, and combining cultural, aesthetic, symbolic, spiritual, historical and economic values. The Handbook on the Economics of Cultural Heritage outlines the contribution of economics to the design and analysis of cultural heritage policies and to addressing issues related to the conservation, management and enhancement of heritage. The Handbook takes a multidisciplinary approach, using cultural economics as a theoretical framework to illustrate how crucial and stimulating cross-disciplinary dialogue actually is. Contributors scrutinise the co-existence of cultural and economic values as well as the new challenges that arise from changes brought about by technology, and relationships between the different actors engaged in the production, distribution and consumption of heritage services. The roles of public, private and non-profit organizations are also explored. Case studies underpin the discussion, demonstrating the clear and vital link between theory and practice. This highly unique Handbook will prove a fascinating and informative read for academics, researchers, students and policymakers with an interest in cultural economics.

Is business, for music, a regrettable necessity or a spur to creativity? In the 11 essays in this text the authors wrestle with this question from the perspective of their chosen area of research.

Commerce in Culture is an innovative study of how states have responded to the globalization of the film sector. Concerned with more than film content or substance, the book exposes the ongoing political and economic struggles that shape cultural production and trade in the world. The historical focus is on Hollywood's engagement with rivals and partners in two leading developing countries, Egypt and Mexico, beginning with the birth of their national film industries in the late 1920s. State and market institutions evolved differently in each context, acting like national prisms to mediate international competition and produce distinctive results. As filmmaking has become a dynamic focal point in the new economy, Commerce in Culture reveals a vital but neglected part of the global terrain.

This book brings together, for the first time, twenty-two chapters on arts marketing and audience development. Edited and curated to be accessible to both academics and those working in the cultural sector, the book provides an invaluable resource for anyone interested in the traditions, philosophies and approaches which underpin our ideas about increasing audiences for the arts. Covering a range of topics and international perspectives, it tells the story of how arts marketing and audience development came to be such an important management practice in the cultural sector. This edited volume discusses the relationship of audience development to arts management and cultural policy and outlines the foundational arguments which have led to contemporary debates around everyday creativity and cultural democracy. By providing vital insights from both the theory and practice of arts marketing and audience development, the book will serve as an excellent reference work for researchers. Simultaneously, this book will also be an invaluable read for those working in cultural leadership and arts management roles. The chapters in this book were originally published in various Routledge journals.

This book reassesses central topics in cultural economics: Public finance and public choice theory as the basis for decision-making in cultural and media policy, the role of welfare economics in cultural policy, the economics of creative industries, the application of empirical testing to the performing arts and the economics of cultural heritage. Cultural economics has made enormous progress over the last 50 years, to which Alan Peacock made an important contribution. The volume brings together many of the senior figures, whose contributions to the various special fields of cultural economics have been instrumental in the development of the subject, and others reflecting on the subject's progress and assessing its future direction. Alan Peacock has been one of the leading lights of cultural economics and in this volume Ilde Rizzo and Ruth Towse and the other contributors ably capture the import of his contributions in a broader context of political economy. In doing so, they offer an overview of progress in cultural economics over the last forty years. Tyler Cowen, Professor of Economics and Director of the Mecatus Center, George Mason University, Fairfax, Virginia, USA A fitting tribute to Professor Sir Alan Peacock's inspiring intellect leadership and his outstandingly rich and varied legacy in the domain of cultural economics, this book draws together illuminating analyses and insights from leading cultural economists about the role and value of this dynamic and increasingly policy-relevant field of enquiry. Gillian Doyle, Professor of Media Economics and Director of Centre for Cultural Policy Research, University of Glasgow, UK

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