Manual The Value of Culture: On the Relationship between Economics and Arts

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Fortunately, these values are increasingly prized in the broader economy, as markets for traditional arts and for travel linked to the cultural uniqueness of particular places have grown substantially over the last several decades. They will continue to grow over the next several.

160: Arjo Klamer on the Value of Culture and Art in Economics

This review of eight of those projects concludes that efforts to strengthen traditional culture and build the business skills of traditional artists and arts organizations registered important gains, but only if measured in terms that may be new to some economic developers. Some of the projects we reviewed helped solidify the community bonds vital to the continuation of artistic practices. For example, several projects encouraged youth to learn skills and increased a community's understanding of its own cultural traditions.

These community-building gains constitute a necessary pre-condition for artists' broader market participation in the future.

Center for the Study of Economic Culture — Факультет свободных искусств и наук

In the near term, new market relationships have not generated, nor should they be expected to generate, large gains in product sales or income to artists and arts organizations. But from a long-term perspective, we find solid grounds for future collaboration between traditional arts organizations and economic developers. Despite their different interests, capabilities, ways of communicating, ties to community, and links to various stakeholders, development agencies and traditional artists and arts organizations have quickly developed rudimentary relationships with one another.

These can be used in the future to aid regional planning, develop markets for traditional arts, and connect these markets to regional promotion efforts. But the respective interests and capacities of traditional artists and arts organizations on the one hand, and economic developers on the other, do not always match up in ways that support productive partnerships.

Many traditional artists and arts organizations are not yet ready for active participation in the marketplace, and many economic development agencies lack the business development programs that traditional artists need to help them produce profitably for the market. Our findings suggest that artists and arts organizations should seek out a wide range of possible partners. So long as agencies have the right tools, principally including business development programs, they should be regarded as potential makers or supporters of new market relationships for traditional artists and arts organizations.

Among the most valuable partners in this initiative were an urban development agency, a nonprofit community development corporation, and a rural county development agency, none of which belong to the class of regional development organizations originally targeted for participation. In the future, national initiatives to encourage connections between culture and commerce should take full advantage of the range of private, public, and nonprofit agencies active in economic development. The program was a demonstration project designed to encourage effective approaches to the economic development of cultural assets in rural areas, towns, and small cities throughout the United States.

The initiative funded 16 organizations that were NADO members during the period of support one organization received repeat funding and another received separate grants for two projects. In and again in , the FFC invited NADO members to propose projects that would demonstrate approaches to "the economic development of cultural assets," asking that they "enhance or adapt their financial and technical services for organizations and individuals involved in the practice of cultural traditions.

Our review of projects funded under this initiative pinpointed the difficulty of achieving concrete development results with the rather small amounts of grant support made available and the short time span of project support 12 months. At the same time, the dollar-for-dollar match requirement seemed to deter more widespread application to the program, and actual matches tended to be softer, in-kind matches rather than hard cash.

Several arts organizations or initiatives appeared to fall just short of creating new, sustainable forms of market participation. In early , the FFC contracted with the Urban Institute in Washington DC to research the experience of eight of the initiative's grantees and to develop a monograph that highlights the possibilities and challenges of joint work between economic development agencies and traditional artists and arts organizations. Institute research staff selected the sites in consultation with the FFC program director, giving explicit priority to sites that had completed their project activities, had achieved concrete results, and had appeared to establish good working relationships between development agencies and traditional artists or arts organizations.

Economic Impact of the Arts - City Update

The eight sites visited and the grantee economic development agencies in those places were:. Interviews of participants in the projects carried out by these grantees, as well as observation of continuing project activities and review of local documentary information, are the primary sources of information for this report. We also drew upon notes taken by Mary Virtue, Cornerstone Consultants, at a meeting of economic development agency and traditional arts representatives convened by the FFC in North Carolina, May Urban Institute staff also attended that meeting and supplied written documentation of its proceedings.

Contribution to jobs and growth in South Africa

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