A round-up of gems from other arts publications
A new report about the provision of music in Special Education has raised concerns about the quality of music education in England for the most severely learning disabled pupils. Anita Holford reviews the evidence and finds that the role of community musicians isn?t widely understood. Sounding Board, Summer 2001, p17, t: 01449 673990
Chris Hammond argues that too much work in disability arts provides one-off projects for disabled people to explore their own identity and culture, without having a proper impact on the arts structure which largely excludes them. He sees a conflict between short-term targets and the need for continuity, and argues for better progression routes for new generations of disabled artists. Mailout, p14, October/November 2001, w:http:// www.e-mailout.org
Fred Manson, Director of Regeneration and the Environment at the London Borough of Southwark, was responsible for luring Tate Modern to London?s South Bank, and helped start the process of turning around an area comprising some of London?s most deprived neighbourhoods. He discusses his strategy for regeneration, central to which has been the promotion of the arts as a vehicle for social and physical change. Museums Journal, p20, October 2001, e: journal@museumsassociation.org
The UK has recently seen a significant increase in professional development schemes for artists, encompassing training, mentoring, networking and information services. Such schemes contribute to peer support systems and help to address the potential isolation of artists. Three individuals involved in the professional development of artists describe the resources now available, and discuss how artists are making the most of them. a-n magazine, p21, October 2001, w:http://www.anweb.co.uk
The St. Louis Regional Commerce and Growth Association was charged with the task of creating 100,000 new jobs in the area by 2000. Stephen Duncan explains how the Saint Louis Symphony Orchestra has made a valuable contribution to these economic development efforts, which focused on persuading business head offices to relocate to the area, encouraging existing businesses to expand their operations, and helping new businesses to set up in the region. ArtsReach, p10, vol IX issue 10, w: http://www.artsreach.com
Cultural organisations are usually working towards a series of social objectives, as well as artistic and commercial ones. Ian Gilhespy evaluates some of the different methods by which social objectives can be measured, including the use of performance indicators. International Journal of Arts Management, p48, vol 4 No.1, Fall 2001, w: http://www.hec.ca/ijam
Laura Kumin reports on ?the salas alternatives?, small independent theatres in converted garages, warehouses and factories, where some of the most exciting theatre and dance work in Spain is taking place. Their promotion of new work in Spanish contemporary theatre is, she says, in marked contrast to the productions seen in official venues. International Arts Manager, p34, September 2001, e:subs@api.co.uk