Drawing on unique multi-arts, multi-city scholarly research, Understanding Audiences for the Contemporary Arts makes a timely and urgent contribution to debates about the place of arts and culture in contemporary society. The authors critically interrogate the challenges of access, diversity, privilege and responsibility in contemporary art. Asking who benefits from, pays for and consumes the arts, the book highlights fresh, forward-thinking audience and organisational attitudes that show the potential of live arts engagement to contribute to engaged citizenship. Complemented by comparative global analysis, the cutting-edge insights in this book are relevant for interdisciplinary researchers across audience studies and beyond. Enhanced by a new framework for the understanding audience engagement, the book is relevant to scholars, policymakers and reflective practitioners across the spectrum of arts and cultural industries management. Chapter 7 of this book is freely available as a downloadable Open Access PDF under a CC BY-NC-ND 4.0 license here.

What does 'heritage' mean in the twenty-first century? Traditional ideas of heritage involve places where objects, landscapes, people and ideas are venerated and reproduced over time as an inheritance for future generations. To speak of heritage is to speak of a relationship between the past, the present and the future. However, it is a past recreated for economic gain, hence sectors such as culinary tourism, ecotourism, cultural tourism and film tourism have employed the heritage label to attract visitors. This interdisciplinary book furthers understanding on how heritage is socially constructed, interpreted and experienced within different geographic and cultural contexts, in both Western and non-Western settings. Subjects discussed include Welsh linguistic heritage, tango, mushroom tourism, Turkish coffee, literary tourism and the techniques employed to construct tourist accommodation. By focusing upon heritage creation in the context of tourism, the book moves beyond traditional debates about 'authentic heritage' to focus on how something becomes heritage for use in the present. This timely volume will be of interest to students and researchers in tourism, heritage studies, geography, museum studies and cultural studies.

This book explores and critiques different aspects of arts leadership within contemporary contexts. While this is an exploration of ways arts leadership is understood, interpreted and practiced, it is also an acknowledgement of a changing cultural and economic paradigm. Understanding the broader environment for the arts is therefore part of the leadership imperative. This book examines aspects such as individual versus collective leadership, gender, creativity and the influences of stakeholders and culture. While the book provides a theoretical and critical understanding of arts leadership, it also gives examples of arts leadership in practice.

This book discusses heritage stones which were used in the making of the architectonic heritage of Delhi and Agra, encompassing UNESCO world heritage sites and heritage sites designated as prominent by the Indian government. The most famous monument of the two cities is the 'Taj Mahal' of Agra. The book focuses on the geological characteristics of the famous Makrana marble, red sandstone and other sandstone variants of the Vindhyan basin and Delhi quartzite, the most widely used stones in almost all the monuments, as well as on their quarries. The work also aims to sensitise the public to protecting and preserving the architectonic heritage of these two densely populated cities in India as repositories of our past cultures and traditions. Identifying the nature and provenance of stones/rocks used in construction will lead to better restoration for future generations, in light of the deterioration of architectonic heritage through various natural weathering agencies and anthropogenic activities. The book will serve as a useful source book to economic geologists, geologists, archaeologists, architects, historians and stone industry operators specifically and to academic and non-academic communities, travellers and tourism industry operators in general. The book will benefit students, researchers, and rock enthusiasts spanning all age groups and academic levels.

Recognised by the UN's Sustainable Development Goals as a measure to make cities inclusive, safe and resilient, conservation of natural and cultural heritage has become an increasingly important issue across the globe. The equity principle of sustainable development necessitates that citizens hold the right to participate in the cultural economy of a place, requiring that inhabitants and other stakeholders are consulted on processes of continuity or transformation. However, aspirations of cultural exchange do not translate in practice. Equity in Heritage Conservation takes the UNESCO World Heritage City of Ahmedabad, India, as the foundational investigation into the realities of cultural heritage conservation and management. It contextualises the question of heritage by citing places, projects and initiatives from other cities around the world to identify issues, processes and improvements. Through illustrated chapters it discusses the understanding of heritage in relation to the sustainable development of living historic cities, the viability of specific measures, ethics of engagement and recommendations for governance. This book will appeal to a range of scholars interested in cultural heritage conservation and management, sustainable development, urban and regional planning, and architecture.

Situated at the crossroads of performance practice, museology, and cultural studies, live arts curation has grown in recent years to become a vibrant interdisciplinary project and a genuine global phenomenon. Curating Live Arts brings together bold and innovative essays from an international group of theorist-practitioners to pose vital questions, propose future visions, and survey the landscape of this rapidly evolving discipline. Reflecting the field's characteristic eclecticism, the writings assembled here offer practical and insightful investigations into the curation of theatre, dance, sound art, music, and other performance forms-not only in museums, but in community, site-specific, and time-based contexts, placing it at the forefront of contemporary dialogue and discourse.

Museum Diplomacy in the Digital Age explores online museums as sites of contemporary cultural diplomacy. Building on scholarship that highlights how museums can constitute and regulate citizens, construct national communities, and project messages across borders, the book explores the political powers of museums in their online spaces. Demonstrating that digital media allow museums to reach far beyond their physical locations, Grincheva investigates whether online audiences are given the tools to co-curate museums and their collections to establish new pathways for international cultural relations, exchange and, potentially, diplomacy. Evaluating the online capacities of museums to exert cultural impacts, the book illuminates how online museum narratives shape audience perceptions and redefine their cultural attitudes and identities. Museum Diplomacy in the Digital Age will be of interest to academics and students teaching or taking courses on museums and heritage, communication and media, cultural studies, cultural diplomacy, international relations and digital humanities. It will also be useful to practitioners around the world who want to learn more about the effect digital museum experiences have on international audiences.

Museum Diplomacy in the Digital Age explores online museums as sites of contemporary cultural diplomacy. Building on scholarship that highlights how museums can constitute and regulate citizens, construct national communities, and project messages across borders, the book explores the political powers of museums in their online spaces. Demonstrating that digital media allow museums to reach far beyond their physical locations, Grincheva investigates whether online audiences are given the tools to co-curate museums and their collections to establish new pathways for international cultural relations, exchange and, potentially, diplomacy. Evaluating the online capacities of museums to exert cultural impacts, the book illuminates how online museum narratives shape audience perceptions and redefine their cultural attitudes and identities. Museum Diplomacy in the Digital Age will be of interest to academics and students teaching or taking courses on museums and heritage, communication and media, cultural studies, cultural diplomacy, international relations and digital humanities. It will also be useful to practitioners around the world who want to learn more about the effect digital museum experiences have on international audiences.

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world.

The concept of preventive conservation has successfully introduced the knowledge that "prevention is better than cure" into the built heritage sector. The benefits of this approach are the cost-effectiveness, the improved protection of heritage values, the reduced risk for accumulating deterioration and additional damage, the prolongation of the physical service life of buildings and building parts and the empowerment of local communities in dealing with heritage. Increasingly, arguments rise against reactive treatment patterns, which result too often in postponed interventions and increasing costs for restoration. WTA-Nederland-Vlaanderen, the Raymond Lemaire International Centre for Conservation and the Civil Engineering Department of KU Leuven jointly organised an international conference on preventive conservation approaches - including climate and damage monitoring - and how to implement these monitoring tools within a systemic approach. The conference took place in context of the international WTA days, 3-5 April 2019, and the 10th anniversary of the UNESCO Chair on Preventive Conservation, Monitoring and Maintenance of Monuments and Sites (PRECOM(3)OS). The contributions meet the increasing demand for information, case studies and practical examples to support the transition towards more preventive rather than reactive conservation actions. The volume aims at academics and professionals involved or interested in the conservation of buildings, building parts and heritage.

Emotional Heritage brings the issues of affect and power in the theorisation of heritage to the fore, whilst also highlighting the affective and political consequences of heritage-making. Drawing on interviews with visitors to museums and heritage sites in the United States, Australia and England, Smith argues that obtaining insights into how visitors use such sites enables us to understand the impact and consequences of professional heritage and museological practices. The concept of registers of engagement is introduced to assess variations in how visitors use museums and sites that address national or dissonant histories and the political consequences of their use. Visitors are revealed as agents in the roles cultural institutions play in maintaining or challenging the political and social status quo. Heritage is, Smith argues, about people and their social situatedness and the meaning they, alongside or in concert with cultural institutions, make and mobilise to help them address social problems and expressions of identity and sense of place in and for the present. Academics, students and practitioners interested in theories of power and affect in museums and heritage sites will find Emotional Heritage to be an invaluable resource. Helping professionals to understand the potential impact of their practice, the book also provides insights into the role visitors play in the interplay between heritage and politics.

Doing Public Humanities explores the cultural landscape from disruptive events to websites, from tours to exhibits, from after school arts programs to archives, giving readers a wide-ranging look at the interdisciplinary practice of public humanities. Combining a practitioner's focus on case studies with the scholar's more abstract and theoretical approach, this collection of essays is useful for both teaching and appreciating public humanities. The contributors are committed to presenting a public humanities practice that encourages social justice and explores the intersectionalities of race, class, gender, and sexualities. Centering on the experiences of students with many of the case studies focused on course projects, the content will enable them to relate to and better understand this new field of study. The text is essential reading for undergraduate and graduate classes in public history, historic preservation, history of art, engaged sociology, and public archaeology and anthropology, as well as public humanities.

Sharing Authority in the Museum provides a detailed and fully contextualised study of a heritage assemblage over time, from the mid-nineteenth century to the present day. Focussing on Maori objects, predominantly originating from the Nga Paerangi tribe, housed in Oxford's Pitt Rivers Museum, the book examines thenuances of cross-cultural interactions between an indigenous community and an anthropological museum. Analysis centres on the legacy of historic ethnographic collecting on indigenous communities and museums, and the impact of different value systems and world views on access to heritage objects. Questions of curatorial responsibilities and authority over access rights are explored. Proposing a method for indigenous engagement to address this legacy, and making recommendations to guide participants when forging relationships based around indigenous cultural heritage, Michelle Horwood shows how to negotiate power and authority within these assemblages. She argues that by doing this and acknowledging and communicating our difficult histories, together we can move from collaborative approaches to shared authority and indigenous self-determination, progressing the task of decolonising the museum. Addressing a salient, complex issue by way of a grounded case study, Sharing Authority in the Museum is key reading for museum practitioners working with ethnographic collections, as well as scholars and students working in the fields of museum, heritage, Indigenous or cultural studies. It should also be of great interest to indigenous communities wishing to take the lessons learned from Nga Paerangi's experiences further within their own spheres of museum engagement.

Today's libraries and museums are heavily indebted to the passions and obsessions of numerous individual collectors who devoted their lives to amassing collections of books, manuscripts, artworks, and other culturally significant objects. Collecting the Past brings together the latest research on a wide range of significant British collectors from the eighteenth to the twentieth centuries, including Hans Sloane, Sarah Sophia Banks, Thomas Phillipps, Sydney Cockerell, J. P. Morgan Jr., Alfred Chester Beatty and R. E. Hart. Contributors to the volume examine the phenomenon of collecting in a variety of settings and across a range of different materials. Considering the aims and motives that led these collectors to assemble such remarkable collections, the book also examines the history of these collections after the collector's death. Particular attention is given to the often complicated relationship between collectors and the public institutions that subsequently came to house their collections. Situated within the framework of cultural collecting more generally, this book offers an authoritative series of essays on key collectors. Collecting the Past should be most interesting to researchers, academics and postgraduate students engaged in the study of museum studies, book history, manuscript studies, museum history, library history and the history of collecting. Professionals in libraries, museums and galleries will also find the volume of great interest.

This book makes a significant contribution to the history of placemaking, presenting grassroots to top-down practices and socially engaged, situated artistic practices and artsled spatial inquiry that go beyond instrumentalising the arts for development. The book brings together a range of scholars to critique and deconstruct the notion of creative placemaking, presenting diverse case studies from researcher, practitioner, funder and policymaker perspectives from across the globe. It opens with the creators of the 2010 White Paper that named and defined creative placemaking, Ann Markusen and Anne Gadwa Nicodemus, who offer a cortically reflexive narrative on the founding of the sector and its development. This book looks at vernacular creativity in place, a topic continued through the book with its focus on the practitioner and community-placed projects. It closes with a consideration of aesthetics, metrics and, from the editors, a consideration of the next ten years for the sector. If creative placemaking is to contribute to places-in-the-making and encourage citizenled agency, new conceptual frameworks and practical methodologies are required. This book joins theorists and practitioners in dialogue, advocating for transdisciplinary, resilient processes.

Heritage Sites in Contemporary China: Cultural Policies and Management Practices focuses on cultural heritage policies in China emerging in the period of the 11th and 12th Five Year Plans. Various important Chinese sites across China are investigated, including Luoyang Sui, Daming Gong, Niuheliang, Xinjiang, and Nanyuewang through the dual perspective of archaeological debate and as a case study of policy making. It explores the relationship between policy and the institutional and administrative conditions, such as budgeting and land concerns, which affect it. Building on the research project implemented by the China Academy for Cultural Heritage (CACH) from 2012-2014, which focused on the impact of the Dayizhi Policy for Great Archaeological Sites, the book provides an interdisciplinary insider's approach to viewing archaeological discoveries; policies and emerging practices in site and archaeological management; and public administration in China. Featuring contributions from experts within CACH and from the Chinese community of archaeologists, and including numerous tables, data and maps, it will appeal to researchers and scholars in disciplines such as archaeology, heritage management, public administration, and policy making.

China has surged into the 21st century as one of the most rapidly modernizing countries in the world. Its burgeoning cities reflect this extraordinary growth with a dazzling array of new architectural forms and designs. In its transformation, the 5000-year old heritage of its built civilization, embedded in its villages, towns and cities, has often been replaced. The Chinese Government, aware of the value of this heritage, has in recent years taken concrete steps to conserve and preserve not just national icons such as the Forbidden Palace in Beijing, the Great Wall of China and the Grey Goose Pagoda in Xian but also the more general historic fabric of its urban development over the centuries. The challenges are great, particularly as population growth and rural-urban drift have combined to place enormous pressure on city resources. The chapters in this book explore these challenges as well as analysing other institutional, cultural, social and economic issues related to urban heritage conservation and utilization, with a focus on the role of tourism in reinforcing conservation values by finding new uses for old buildings and districts. This book covers new areas of heritage tourism research in Chinese cities. The chapters were originally published in a special issue of the Journal of Heritage Tourism.

Although the Smithsonian Institution has grown to be over a hundred years old, no full length account of its various collections and fascinating activities had ever been written before Mr. True put them down here in 1950. Founded through a generous bequest by a lonely Englishman who had never visited this country, The Smithsonian, often identified with its headquarters in the quaint Norman castle on the Mall in Washington D.C., also includes the United States National Museum now called the National Museum of Natural History with its collection of natural history and American historical treasures, the National Gallery of Art, with its outstanding collection of paintings, prints and sculpture, the Freer Gallery of Art, the National Air Museum now called the National Air and Space Museum. Mr. True sets forth a biography that covers the treasures of the Smithsonian in the Fifties, while also illuminating the organization of the Smithsonian museums in the Fifties; some things have remained remarkably unchanged over the intervening years, while others are drastically different. Mr. True holds up the Smithsonian Institute as the national treasure it is, one whose value is incalculable."

Museums must comply with a myriad of laws and ethical codes regulating virtually every aspect of their organization and operations. While some of these issues are common to businesses of all kinds, some apply to nonprofit organizations, and others are unique to the museum community. Museum Administration: Law and Practice explores the many areas of law applicable to museums, including governance, personnel, facilities, intellectual property, collections management, and fundraising. Designed as a textbook for use in connection with museums studies programs and law school courses, the book utilizes a "casebook" approach: relevant court decisions and other primary source materials illustrate and enliven the descriptive text. Study questions are included in each chapter so that readers can apply legal and ethical principles to museum-focused fact situations. A comprehensive but concise introductory text to the legal and ethical issues facing museums, Museum Administration: Law and Practice is also an authoritative resource for museum professionals and lawyers.

At a time of dramatic struggles over monuments around the world, this book examines monuments that have been erected in post-conflict Bosnia and Herzegovina (BiH) since 1996. Examining the historical precedents for the high rate of monumentbuilding, and its links to ongoing political instability and national animosity, this book identifies the culture of remembrance in BiH as symptomatic of a broader shift: a monumentalisation and privatisation of history. It provides an argument for how to account for the politics of contemporary nation-state formation, control of space, trauma and revisions of history in a region that has been subject to prolonged instability and crisis. This book will be of interest to scholars in contemporary art, museum studies, war and conflict studies, and European studies.

This book elaborates on different aspects of the decision making process concerning the management of climate risk in museums and historic houses. The goal of this publication is to assist collection managers and caretakers by providing information that will allow responsible decisions about the museum indoor climate to be made. The focus is not only on the outcome, but also on the equally important process that leads to that outcome. The different steps contribute significantly to the understanding of the needs of movable and immovable heritage. The decision making process to determine the requirements for the museum indoor climate includes nine steps: Step 1. The process to make a balanced decision starts by clarifying the decision context and evaluating what is important to the decision maker by developing clear objectives. In Step 2 the value of all heritage assets that are affected by the decision are evaluated and the significance of the building and the movable collection is made explicit. Step 3. The climate risks to the moveable collection are assessed. Step 4: Those parts of the building that are considered valuable and susceptible to certain climate conditions are identified. Step 5. The human comfort needs for visitors and staff are expressed. Step 6: To understand the indoor climate, the building physics are explored. Step 7. The climate specifications derived from step 3 to 5 are weighed and for each climate zone the optimal climate conditions are specified. Step 8: Within the value framework established in Step 1, the options to optimize the indoor climate are considered and selected. Step 9: All options to reduce the climate collection risks are evaluated by the objectives established in Step 1.

Heritage, Tourism, and Race views heritage and leisure tourism in the Americas through the lens of race, and is especially concerned with redressing gaps in recognizing and critically accounting for African Americans as an underrepresented community in leisure. Fostering critical public discussions about heritage, travel, tourism, leisure, and race, Jackson addresses the underrepresentation of African American leisure experiences and links Black experiences in this area to discussions of race, place, spatial imaginaries, and issues of segregation and social control explored in the fields of geography, architecture, and the law. Most importantly, the book emphasizes the importance of shifting public dialogue from a singular focus on those groups who are disadvantaged within a system of racial hierarchy, to those actors and institutions exerting power over racialized others through practices of exclusion. Heritage, Tourism, and Race will be invaluable reading for academics and students engaged in the study of museums, as well as architecture, anthropology, public history, and a range of other disciplines. It will also be of interest to museum and heritage professionals and those studying the construction and control of space and how this affects and reveals the narratives of marginalized communities.

At the beginning of the 21st century museums are challenged on a number of fronts. The prioritisation of learning in museums in the context of demands for social justice and cultural democracy combined with cultural policy based on economic rationalism forces museums to review their educational purposes, redesign their pedagogies and account for their performance. The need to theorise learning and culture for a cultural theory of learning is very pressing. If culture acts as a process of signification, a means of producing meaning that shapes worldviews, learning in museums and other cultural organisations is potentially dynamic and profound, producing self-identities. How is this complexity to be 'measured'? What can this 'measurement' reveal about the character of museum-based learning? The calibration of culture is an international phenomenon, and the measurement of the outcomes and impact of learning in museums in England has provided a detailed case study. Three national evaluation studies were carried out between 2003 and 2006 based on the conceptual framework of Generic Learning Outcomes. Using this revealing data Museums and Education reveals the power of museum pedagogy and as it does, questions are raised about traditional museum culture and the potential and challenge for museum futures is suggested.

The claim that heritage practice in Asia is Eurocentric may be well-founded, but the view that local people in Asia need to be educated by heritage practitioners and governments to properly conserve their heritage distracts from the responsibility of educating oneself about the local-popular beliefs and practices which constitute the bedrock of most people's engagement with the material past. Written by an archaeologist who has long had one foot in the field of heritage practice and another in the academic camp of archaeology and heritage studies, Counterheritage is at once a forthright critique of current heritage practice in the Asian arena and a contribution to this project of self-education. Popular religion in Asia - including popular Buddhism and Islam, folk Catholicism, and Chinese deity cults - has a constituency that accounts for a majority of Asia's population, making its exclusion from heritage processes an issue of social justice, but more pragmatically it explains why many heritage conservation programs fail to gain local traction. This book describes how the tenets of popular religion affect building and renovation practices and describes how modernist attempts to suppress popular religion in Asia in the early and mid-twentieth century impacted religious 'heritage.' Author Denis Byrne argues that the campaign by archaeologists and heritage professionals against the private collecting and 'looting' of antiquities in Asia largely ignores the regimes of value which heritage discourse has helped erect and into which collectors and local diggers play. Focussing on the Philippines, Thailand, and Taiwan but also referencing China and other parts of Southeast Asia, richly detailed portraits are provided of the way people live with 'old things' and are affected by them. Narratives of the author's fieldwork are woven into arguments built upon an extensive and penetrating reading of the historical and anthropological literature. The critical stance embodied in the title 'counterheritage' is balanced by the optimism of the book's vision of a different practice of heritage, advocating a view of heritage objects as vibrant, agentic things enfolded in social practice rather than as inert and passive surfaces subject to conservation.

Heritage tourism is a global multi-million-dollar phenomenon, influencing national, regional and local cultural identities. Hong Kong finds itself at the confluence of several post-colonial economic, political and social developments and with this comes a greater awareness of the need for more meaningful cultural and heritage tourism products, especially in the form of revitalised heritage attractions. Taking a qualitative approach and using semi-structured in-depth interviews with practitioners and stakeholders in the field, this study explores the role of interpretation in heritage revitalisation projects for tourism in Hong Kong. It seeks to examine why the interpretive element of these projects so often gets diminished during the course of implementation and outlines five propositions that may inform it going forward. Ultimately, the findings of this study suggest that, as issues of local identity become ever more important in Hong Kong, the role of interpretation in the development of its heritage tourism products needs to be holistic, integrated and consistent across public, private and non-governmental sectors. Developing a framework of understanding to identify the contextual issues of interpretation and commodification, this book will be useful to students and scholars of tourism, heritage studies and Asian studies more generally.