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Comment by 文創 庫 on February 1, 2023 at 9:21am


節慶旅遊吸引物的符號化生產


摘要:
旅遊吸引物兼具客觀和符號的雙重屬性。節慶既是一種文化活動,又是重要的旅遊吸引物。本文從符號學視角出發, 采用紮根理論的質性研究方法,以廣州廣府廟會為研究對象, 探討組織者視角下的節慶旅遊吸引物的符號化生產機制。研究發現,節慶吸引力、節慶的組織管理、節慶的策劃理念和節慶場景構成節慶旅遊吸引物符號化生產的基礎、路徑、思路和內容。具體而言, 節慶組織者基於對節慶吸引力的理解, 通過調動多部門的工作積極性,建立清晰的組織結構,組織和管理符號生產所需的各種資源,秉承弘揚傳統文化、注重文化創新、緊跟國家戰略、順應時代潮流等多思路的策劃理念, 塑造了包含安全保障、節目表演、創意互動、美食小吃、商貿展銷、人員服務、輔助設施和節慶氛圍所構成的節慶場景, 該場景濃縮了節慶文化內涵,其靈活多樣、可塑性強,組織者可不斷調整以形成節慶文化的獨特性, 從而增強遊客的體驗感。(李靜, 戴光全〈組織者視角下節慶旅遊吸引物的符號化生產——以廣府廟會為例〉中國生態旅遊,2021, Vol. 11 Issue (2): 190-202;關鍵詞: 節慶旅遊吸引物, 符號化, 節慶場景, 組織者, 紮根理論)

Comment by 文創 庫 on January 29, 2023 at 9:31pm


What does climate action look like for the Culture and Creative Sector Industries?

The Culture and Creative Sector Industries (CCSI) can play a significant role in helping us envision a beautiful climate-resilient future and in galvanising people towards shared goals of planetary balance. Artists and designers are ‘agents of change’, they are active in every industry sector worldwide, and they influence the environmental impact of the products we consume and the thinking and social norms globally.

At COP27 in Egypt, EIT Climate-KIC brought together actors from the fashion, gaming, design, architecture and web industries, and asked them how they could contribute to reaching the climate goals. The three panels were hosted at the UNFCCC Global Innovation Hub led by Massamba Thioye, whom we interviewed ahead of COP27.

The fashion industry accounts for up to 10 per cent of global greenhouse gas emissions and its main challenge is to reduce its environmental impact within its long and complex value chain. One solution is to implement a digital traceability system across the value and supply chains, accessible to the end consumers and adaptable for international production partners. While this strategy is supported and highlighted in programmes like the EU Textile Industry, the fashion sector is still slow in implementing changes.

The New European Bauhaus (NEB) project is a creative and interdisciplinary initiative that connects the European Green Deal to our living spaces and experiences. It calls on all of us to imagine and build together a sustainable and inclusive future that is beautiful for our eyes, minds, and souls. For Jefferson Gomes, from SENAI in Brazil, “creativity comes from diversity”. Unfortunately, regions and cities across the world are often disconnected and not inclusive to their communities.

Digital arts and the web can also play an enormous part in creating new narratives for a sustainable future and galvanising climate action. But these sectors are also highly contributing to the climate challenges. From websites to cryptocurrencies and the rise of digital art, the internet consumes large amounts of electricity in data centres, telecoms networks, and end-user devices. An energy that is mostly coming from fossil fuels. If the internet was a country, it would in fact be the 7th largest polluter in the world. So how can the digital world contribute to building a more sustainable future? (More in https://iconada.tv)

Comment by 文創 庫 on January 27, 2023 at 4:12pm


與藝遊誌共在(Being with A/r/tography,2017)

作者:斯特凡妮·斯普林蓋伊 麗塔·L.歐文 卡爾·勒戈 彼得·戈左阿西斯

《與藝遊誌共在》是一部藝遊誌研究論文集,書中每一位作者對藝遊誌的研究都是以各種不同、分散的方式根植於對藝術或透過藝術的生活實踐之中,旨在對藝遊誌作為一種藝術為本的研究方法論做出解釋和說明,為從事藝術為本的教育研究實踐者提供方法論上的指導。本書主要由圍繞三個主題部分的內容框架構成:1)自我研究與自傳,2)藝遊誌實踐社群,5)倫理與行動主義。另外,結尾部分是一個討論章節,闡述了評估、效度和解釋等內容,旨在繼續提出有關從事藝遊誌研究的過程和挑戰等方面的問題。論文集的四位編者都是藝術家、研究者和教師(藝遊誌者),他們分別根據四個部分的主題撰寫了開篇之作,為藝遊誌的方法論框架提供了語境化和理論化的鋪墊和支持。

Comment by 文創 庫 on January 12, 2023 at 10:06pm


「一帶一路」知識產權

中新社北京2018年8月28日電 (記者孫自法)由中國國家知識產權局、國家版權局、商務部、北京市人民政府和世界知識產權組織共同主辦的2018年「一帶一路」知識產權高級別會議,28日在北京開幕。

中國國家主席習近平向會議致賀信,中國國務院總理李克強會見了出席會議的嘉賓代表,中國國務委員王勇、世界知識產權組織總幹事弗朗西斯·高銳出席開幕式並致辭。來自「一帶一路」沿線近60個國家的知識產權機構、國際及區域組織以及駐華使館代表,同東道主知識產權領域政產學研各界代表共聚一堂,圍繞「包容、發展、合作、共贏」的會議主題,共商知識產權合作大計,共謀「一帶一路」知識產權事業發展大局。

弗朗西斯·高銳表示,感謝中國政府對推動「一帶一路」沿線國家知識產權合作所作出的努力和對世界知識產權組織工作的支持。此次「一帶一路」知識產權高級別會議的召開,充分體現了中國政府高度重視知識產權和知識產權國際合作。

他說,當前,全球面臨著數字化帶來的多重挑戰,尤其是大數據、人工智能等新技術對知識產權保護提出了新的要求,世界知識產權組織願與各國一道,加強溝通,增進合作,共同促進全球知識產權體系建設,促進「一帶一路」沿線國家知識產權事業發展和經濟繁榮。

中國國家知識產權局局長申長雨主持開幕式並做會議首場主旨報告。他指出,推進「一帶一路」知識產權合作,促進經濟發展,實現共同繁榮,「始終是我們的合作宗旨和共同目標」。要發揮好知識產權在促進產業升級和經濟發展中的重要作用,關鍵是要凸顯知識產權的市場和經濟屬性,加強與產業發展的緊密結合,大力推動專利、商標、版權、地理標誌等工作,支撐創新型經濟、品牌經濟、文化產業和特色經濟發展,提高經濟發展水平。

申長雨還對進一步深化「一帶一路」沿線國家知識產權合作提出三點建議:一是共同推進更深層次的知識產權合作;二是共同推進更加完善的知識產權基礎保障;三是共同推進更加嚴格的知識產權保護。

2018年「一帶一路」知識產權高級別會議為期兩天,與會代表還將圍繞「知識產權在促進『一帶一路』沿線國家產業升級和經濟發展方面的重要作用」「發展全球知識產權體系及共同策略,應對數字時代全球知識產權體系面臨的新挑戰——法律、最佳實踐及合作」等議題展開深入交流討論。(完 / 2018年08月28日 來源:中國新聞網)

Comment by 文創 庫 on November 30, 2022 at 9:21pm

各行各業的祖師爺

行業祖師崇拜是中國民間文化的一個分支,過去各行業都很重視,視其為本行業的保護神。民間有「三百六十行,無祖不立」的說法。祖師爺們都是些很有名望的人,直接或間接地開創、扶持過本行業。有些人成為祖師爺純屬偶然,有的是後人強行安上去的,有的幾個行業共用一個祖師爺,像典當業、算命業、香燭業、蠶業、絲織業、糕點業都是拿關羽作為祖師爺。有的則是一個行業有好幾個祖師爺,像鹽業就有管仲、蚩尤、張飛、炎帝、魯班等。中國各地各行業千古流傳,均有供奉「祖師爺」的習俗,較常見有:

農業:奉祀土神和谷神。周代的始祖名棄,又名后稷,在堯、舜時期被封做農官,教民耕種稷麥,故後世農業尊其為祖師,並與社神合一,稱為土地神。村野之間,每隔三五里的田頭路邊就建有一座小矮屋——土地廟,皖西南一帶稱之為「社祀廟」,各有土地公婆的神像供奉。至20世紀60年代中期後,各土地廟均被拆除;90年代又有所恢復。

黃帝

裁縫業:尊奉軒轅氏(黃帝)。《史記》稱黃帝:「姬姓,號軒轅氏、有熊氏」。後世尊其為中華文明的「人文初祖」。因傳言黃帝曾教民眾用骨針穿麻線縫樹葉和獸皮做衣,故被縫紉業尊為祖師。

蠶絲業:尊奉嫘祖(又作累祖)。傳說她是黃帝的妻子,曾教民養蠶治絲,北周以後被視為蠶神。

織布業:尊黃道婆為祖師。黃道婆為松江烏泥涇(今屬上海市)人,少年時流落至崖州(今海南崖縣),從黎族人學習了紡織技術。後回鄉改革、推廣軋花、紡車和織機技術,影響深遠。

杜康

堪輿五術業:鬼谷子。鬼谷子姓王名詡(亦有稱禪),春秋時代河南琪縣人,居雲夢山,精通堪輿數術命相、醫術、授徒孫臏,得道後受後人尊崇為祖師。

印刷業:倉頡。倉頡,陜西省渭南市白水縣人。《說文解字》記載:倉頡是黃帝時期造字的史官,被尊為「造字聖人。」他造字以供後人沿擊記錄及溝通。「昔者倉頡作書而天雨粟,夜鬼哭」!文字一出,人類從此由蠻荒歲月轉向文明生活。

木匠:魯班。魯班:姬姓,公輸氏,名般。魯國公族之後。又稱公輸子、公輸盤、班輸、魯般。因是魯國(都城為今山東曲阜)人(一說曲阜人,另說滕州人),「般」和「班」同音,古時通用,故人們常稱他為魯班。魯班的發明創造很多。不少古籍記載,木工使用很多的木工器械都是他發明的。像木工使用的曲尺,叫魯班尺。又如墨斗、傘、鋸子、刨子、鑽子等,傳說均是魯班發明的。

魯班

竹木泥瓦匠:同尊魯班為祖師。歷史上確有其人,氏公輸,名般(取同音字為「班」),春秋時魯國人,故稱魯班,生平創造過雲梯、石磨、木作工具及木製飛烏等,為當時傑出的發明家。

Comment by 文創 庫 on November 30, 2022 at 9:21pm

鐵匠、銅匠、銀匠與冶鑄業均尊太上老君為祖師。《老子內傳》稱:「太上老君,姓李名耳,字伯陽,一名重耳;生而白首,故號老子;耳有三漏,又號老聃。」傳說老子曾鑄造八卦爐(後人稱為「老君爐」)煉製丹藥以求長生。

孔子

教育:尊孔子為至聖先師、萬世師表。舊時書生、學子、學童在家中正堂,私塾、縣學、府學、大學均在正廳供奉孔子牌位。孔子名丘,字仲尼,春秋時魯國陬邑(今山東省曲阜市)人,晚年致力於教育並著述立說,史稱他曾授教「弟子三幹,賢人七十」。

商業:供奉財神牌位。道教奉「趙公元帥」為財神,其像黑面濃鬚,騎坐黑虎;相傳其人姓趙,號公明,秦時得道於終南山,封號為「正一玄壇元帥」。商界又尊范蠡為祖師。范蠡,字少伯,楚國宛人(今河南南陽),曾協助越王勾踐滅吳,功成後棄宮經商,遊齊國稱鴟夷子皮,在陶(今山東定陶)稱陶朱公,經商曾「三致千金」均散濟貧民,其商德極受後人崇敬。

豆腐業:江淮大地奉淮南王劉安為祖師。其人為劉幫之孫,襲封淮南王,治壽春(今壽縣),因「招致賓客方術之士數千人」,集編成《淮南子》一書,並在熬製丹藥時,無意間用黃豆、鹽鹵做成了豆腐腦(即水豆腐),

扁鵲

中醫業:戰國時醫學家扁鵲創立望、聞、問、切「四診」醫術,後世即尊奉他為中醫的祖師。扁鵲姓秦,名越人,河北任丘人。漢代醫學家張仲景著《傷寒雜病論》,倡導辨證論治原則,被後世尊為「醫聖」。民間醫業尊華佗為祖師,華佗名甫,字天化,沛國譙(今毫州市)人,曾創製麻沸散(麻醉藥)用於外科手術,故被尊稱為「外科鼻祖」。唐代醫學家孫思邈著《千金方》,被後世譽為「藥王」。中草藥製作及民間藥鋪藥店則尊奉明代醫藥學家李時珍為祖師。李時珍字東璧,號瀕湖,蘄州人(今湖北薪春人),著《本草綱目》傳世。

製筆與造紙業:傳說秦朝名家蒙恬曾改良過毛筆,故被尊奉為製筆業的祖師。蒙恬是秦朝時代大將,他以枯木為管,鹿毛為柱,羊毛為被,製成蒼毫名秦筆,而被尊奉為製筆始祖。世傳東漢蔡倫為造紙術的發明人,故民間紙槽作坊、紙業店鋪均供奉「龍亭侯」樸像脾位,尊為祖師。

印染業:染坊店奉東晉葛洪為祖師。葛洪字雅川,自號抱樸子,丹陽句容(今屬江蘇)人,著《抱樸子》一書,曾在煉丹中提煉出各色染料,被後世應用來印染布帛、紙張。

戲曲業:尊唐玄宗李隆基為祖師。因唐玄宗曾召集歌舞藝人與宮女在梨園學藝,並時常親自執槌擊鼓演奏配樂。因而,後世均稱戲曲藝人為「梨園兄弟」。

火腿業:尊宋朝宗澤為祖師。宗澤字汝霖,婺州義烏(今屬浙江)人,為宋朝名將。相傳他發明了火腿的製作方法,流傳甚廣。

評書業:尊明末傑出的說書藝人柳敬亭為祖師。評書古稱評話,又稱鼓書、板話。柳敬亭,本姓曹,通州(今江蘇南通)人,被後人譽稱為「柳評書」。

其它行業的祖師爺如下:

人相業:風後氏。遠古黃帝宰相,精通相術,首創風鑒之學

命相業:麻衣仙。精通民間相人術,著有麻衣相法流傳於世。

畫畫業:王維、無道子

燒窯業:女媧娘娘。神話記載女媧煉石而補天,是窯業之始祖發明人。

餐飲業:易牙。春秋朝代人氏,善於調味,見賞於齊桓公而聞名。

漁業:姜太公。名尚,在渭水隱居釣魚,遇文王而奉為國師。

飯館茶樓業:竈君

叫化業:韓熙載

歌藝業:老郎神。相傳唐代有灰狼變成紅衣童子指導皇室梨園子弟練唱成果非凡,以娛唐明皇聲色冶遊。

銀樓業:歐岐佛

銅鐵業:氈探老祖

銀行業:趙玄壇

洗衣業:梅葛仙

理髮業:呂洞賓或羅公。相傳呂洞賓座下之柳木,曾以隨剃即長術戲耍剃頭師傳,經呂洞賓以飛刀變剃刀製伏,故後世理髮業供其為祖師。

皮鞋業:孫臏

美容業:李漁。清代戲曲家,人稱李十郎,精於譜曲,指導藝人姿態表演及化妝。

Comment by 文創 庫 on November 30, 2022 at 9:20pm

茶業:陸羽。唐代人,著作有茶經之品茗書籍,後經傳頌後,喝茶風氣隨之盛行。

針業:劉海

檳榔業:韓愈。唐宋八大家之一,韓愈因批評時政,遭貶官潮州,因水土不服身患濕寒之症,因吃檳榔而病愈。

刻字業:王維

旅館業:關羽。關羽為人正直,做事言而有信,故為後世人當官及做生意人皆尊為祖師。

屠宰業:真武大帝。年輕時以殺豬為業,但心地善良,後為觀世音菩薩渡化,放下屠刀,立地成佛而得道。

硯墨業:子路。子路為孔子學生,以硯墨而傳之。

糕餅業:諸葛亮。三國時諸葛亮率軍征蠻凱旋而回時,途經瀘水,猖神阻道有待人頭祭祀,諸葛亮改用牛馬肉做餡,外包面粉作成饅頭來替代祭祀而受尊崇。

磨刀匠:馬上皇帝

紮柳匠:范丹

竹匠:泰山、張班

紮彩匠:致公禪師

修腳匠:陳七子

製陶業:寧封子

燒窯業(窯匠):童賓

雕漆業:俞伯牙

杠房業:窮神

煤窯業:窯神

裘皮行、熟皮作坊業:比干

糖坊:鄒和尚

豆腐坊:劉安、樂毅

牲口牙行:馬神

花行、花農:花王神

孵化業:張五、陸相公

澡堂業: 智公禪師

酸梅湯業祖師爺——朱元璋

上任理由:發明者

在老北京,販賣酸梅湯的都供奉朱元璋為祖師爺,其理由就是:酸梅湯是朱元璋發明的。

元末,湖北荊襄一帶鬧瘟疫。當時朱元璋以賣烏梅為生,當他賣到襄陽時,正趕上瘟疫流行,朱元璋自己也被傳染,病倒在了旅店裏。朱元璋去旅店庫房取烏梅,聞到了烏梅的酸氣,馬上就精神了起來。然後朱元璋又煮了些烏梅汁來喝,病竟然好了。朱元璋知道烏梅汁可以治病後便廣為銷售,迅速富裕起來,為日後起兵反元奠定了基礎。

在民國時期,在很多專門賣酸梅湯的小店裏還能看到朱元璋的畫像,定期都要上供祭拜。 


絳帶業祖師爺——哪咤

上任理由:抽過龍筋

絳帶業的製品主要是服裝和器具上使用的絲編的帶子或繩子,是當時京師官宦士紳或商賈的必需品,所以此行業一直興旺發達,各種大小店號在京城到處都是。此行業的祖師爺就是著名的神話人物———哪咤。因為《封神榜》講,龍王三太子前來捉拿哪咤,後被哪咤擒住,將其筋抽去,做了一條龍筋絳給自己的父親束甲。絳帶業的人就把龍筋絳附會為絳帶,於是便把哪咤作為本行業祖師爺。

哪咤鬧海

在老北京以前還有一座哪咤廟,位於南城的黑龍潭(今陶然亭公園)一帶。廟不大,廟內供奉有哪咤像一尊,持槍端坐,旁邊有兩個侍童。每年陰曆三月十五,絳帶業的商人都要到哪咤廟祭祀哪咤。


理髮業祖師爺——羅公

上任理由:拯救行業危機

理髮業以前稱剃頭業、整容業。在清朝以前漢人是不剃頭的,一直到了清朝入關逼漢人剃頭才出現了剃頭業。民國以後剪去頭髮才通稱理髮,但仍然有人叫剃頭。

理髮業祖師爺姓羅,江西人(也有人說是湖南人)。名字已經不可考,是一個窮道士。據說當年雍正皇帝患頭瘡很嚴重,太監每次為雍正請髮(剃頭)及打辮子(梳髮辮)總是感到棘手,常常挨揍,甚至還要殺頭。後來雍正又從民間找了很多梳頭匠進宮伺候,但也都一樣被處死或發配。京城很多剃頭業、整容業的人都很害怕,有的出逃,有的甚至改行了。

這件事情被羅公知道了,就主動報名進宮給雍正皇帝梳頭。羅公梳頭,雍正感覺不疼不癢很舒服,頭瘡逐漸痊愈,這樣羅公就救了京城的剃頭業。後來羅公羽化在白雲觀,被敕封為「恰淡守真人」,就葬於白雲觀。剃頭業便把羅公供奉為祖師爺,定期要到白雲觀祭拜羅公。


民國時期,張勛復辟,京城一度假髮盛行。因為假髮業跟理發業很相似,所以假髮業也把羅公供奉為祖師爺。現在白雲觀東院內有一座石塔,就是羅公的墳冢,當年定期祭拜羅公也在這裏。

Comment by 文創 庫 on November 18, 2022 at 10:47pm


民俗文創:14 行業祖師爺


原題:求財運要拜對神!14 行業對應祖師爺看這裡


求財運要找對神!一般來說,財神就行業區別有文武之分,從事發明設計類、出版創作類等,要拜文財神,像是比干、范蠡、石崇;而業務人員、房屋仲介等需要業績的行業,則應該拜武財神趙公明;從事交通運輸業、自營商等,要拜關聖帝君。

不過如果不清楚自己工作屬性的,一般都拜五路武財神,當然全部都拜也沒關係,有拜有保庇!


一般祭拜財神的好日子,最重要的當然是農曆的正月初五,這天要迎財神;上元天官聖誕的上元節,也就是元宵節,農曆的正月十五,要祈求天官賜福賜財;農曆三月十五,武財神趙公明聖誕,這更是求財的大日子;另外是下元水官聖誕,農曆的十月十五,祈求水官解厄補運。


除了祈求財神賜與好財運,講究些的信眾也會祭拜自己行業的祖師爺,以求精益求精,本業興隆。傳說中各個行業的祖師爺很多,說法也有不同,這裡針對較為眾人所知、與生活相關的各行祖師做介紹。


紡織製衣業:黃帝軒轅。
因為軒轅氏教化人民縫獸皮樹葉為衣,所以被認為祖師;也有一說,黃帝的妻子嫘祖養蠶取絲,所以嫘祖也是祖師爺。

廚師業:易牙
因為太會料理,得到齊桓公寵信,導致齊國內亂。

檳榔業:韓愈
他被貶官到潮州時吃檳榔,是歷史上最有名的檳榔客。

釀酒業:一說是夏禹時期儀狄造酒,所以儀狄成為釀酒業的祖師;也有一說是杜康。


房仲業:以前是沒有房仲業的,但近年來有人開始稱孟母為祖師,因為孟母三遷,一直搬家,房仲才有錢賺。


漁業釣具業:姜太公.
因為姜太公在渭水旁釣魚,才釣到周文王這條大魚,成就了自己的功業。

製茶業:陸羽
他寫了茶經,也真正讓喝茶變成一門藝術。

農業及種植業:神農大帝
神農氏製作農具,教民耕種。

冶煉鑄造業:一說是太上老君,因為傳說太上老君鑄造了八卦爐煉丹;另一個說法是爐公仙師,因為女媧補天時,令爐公仙師研究冶煉之法。


裝潢建築業:魯班祖師與他的徒弟荷葉仙師。


影視娛樂業:田都元帥。
南北管祖師、宋江陣的守護神,台灣也有些地方劇團,是奉西秦王爺為祖師。

交通運輸業:關公及三太子哪吒。


理髮業:呂洞賓
因為呂洞賓用飛刀變剃刀的法術,剃光了他座下戲弄剃頭師傅的柳仙,所以被理髮業尊為祖師業。

美容業:清代戲曲家李漁,又稱李十郎。
善於指導戲子表演以及化妝打扮,所以被後來的美容美姿業尊為祖師。
(2019/01/21 TVBS)

Comment by 文創 庫 on October 25, 2022 at 10:41pm

Introducing Americans for the Arts’ Inclusive Creative Economy Plan by Jessica Stern

For the last two years, we at Americans for the Arts have spent significant time listening, learning, planning, and in consideration to engage in a multi-pronged, multi-year effort to support inclusive creative economies at the local level, encourage stronger unification between the for-profit and nonprofit arts sectors, and pursue federal-level policies that support creative workers. With encouragement from current and former members of the Private Sector Council, a broad cross-section of local, state, regional and national advisors, and through consistent commitment from the Board of Directors, we sought to identify our unique role and where we can effect change alongside the many organizations, coalitions, and individuals doing this work. COVID-19, and its irrefutable disproportionate effect on communities of color, has only increased the urgency of these efforts. We know that we must, with intention and alongside new alliances and relationships, design strategies for the aspiration of an inclusive creative economy—recognizing that our current economy does not equitably support all people to reach their creative and artistic potential. This is an exciting and critically important journey. I’m pleased to share our plan on behalf of my colleagues, and to invite participation and feedback in it.

Historically, we have dedicated services towards advancing and serving the nonprofit arts community, the field of local arts practitioners, and advocates. In recent years, members of Americans for the Arts have asked for broader acknowledgement of the full creative economy, including the incalculable contribution of individual artists and creative workers to our society. While we regularly cite the Bureau of Economic Analysis’ report that America’s arts and cultural sectors generate $877.8 billion[1], our organization has almost entirely focused on the $166.3 billion[2] of nonprofit economic activity. We recognize this gap and seek to help communities further embrace and leverage the full scope of creative, cultural, and artistic-based economic activity as a primary driving force towards impact, empowerment, and economic and social justice across the country.

Our role

We are not the only ones doing this work; nor do we intend to be. We recognize, however, the strength of the local, state, regional, and national network we have served over the last 60 years. In addition to providing specific services to the local arts field of practitioners and advocates, our intention is to align, support, and amplify the many voices, people, and organizations who are already building inclusive creative economies, particularly those working with frontline creative communities.

Our vision for this work

Ultimately, we strive to help communities build awareness of their cultural assets and how to equitably strengthen, value, and utilize them. Our work aims to guide local communities and national entities to establish and strengthen partnerships between the creative industries, nonprofit arts and culture, and government sectors to increase an equitable flow of resources for the creative economy. We will continue to support equitable policies that bolster the economic activity generated by creative goods and services that drive holistic economic returns and prepare individuals, businesses, and governments for a more just future.

Central to this vision are two primary and long-term goals:

In concert with Americans for the Arts’ cultural equity work, resource local leaders with tools, research, and skills, and build awareness to build interconnected community networks of partners, practitioners, advocates, and policymakers that cultivate and strengthen inclusive creative economies across the country

Comment by 文創 庫 on October 25, 2022 at 10:41pm

Work nationally to bridge the for- and nonprofit arts sectors in partnership to imagine, align, and drive equitable policy creation and resource sharing that builds an inclusive creative economy in the United States

Specific strategies

How do these goals translate into action?

Clear and Transparent Language: This spring, we will publish a language bank related to an inclusive creative economy, as well as a web hub on our site aggregating information, research, and training. We recognize the need for clear language and transparent definitions to create consistency in how we talk about inclusive creative economies and related subjects. Continuing to acknowledge that Americans for the Arts is one organization working in this space, we seek to uplift and support the language, concepts, and definitions used by others working with frontline communities to create equitable, restorative, and regenerative creative economies.

Cultural Asset Identification Tool: It is essential for local communities to be able to identify and talk about their unique creative ecosystems to advocate for the equitable allocation of resources. With no one definition of the creative economy, we heard in our listening sessions that coming up with a definition to advocate for resources has been an ongoing challenge. As a result, we are working to create a cultural asset identification tool and a rubric for measuring the health of those assets. It will be one mechanism for local arts leaders to identify their unique cultural and artistic community assets more honestly: to see gaps, build strong and authentic partnerships, focus on frontline communities, and be part of community development towards a just transition for creative workers to have the opportunity for self-determination. Acknowledging that there are existing cultural asset mapping tools, this resource will strive to directly address biases that perpetuate inequitable resource distribution.

Use-Case Data Tools: We recognize the breadth of data and research available, and that often it can be challenging to discern which study to use in different situations when advocating for the arts in a local community. We will continue to work to create use-case tools to help local practitioners understand how or why they should use a particular data set for their community when it comes to talking about the creative economy.

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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