"Benos-Amos opens for the reader richly detailed adn nuanced vistas into the intellectual and cultural history of one of the major kingdoms of precolonial West Africa." — African Studies Review "The wealth of historiographic resources, the command of relevant literature, the ethnographic research and prudent use of oral traditions give this work a high degree of... intellectual excitement.... a landmark in the field." —Warren d'Azevedo Making use of archival and oral resources in this extensively researched book, Paula Girshick Ben-Amos questions to what extent art operates as political strategy. How do objects acquire political meaning? How does the use of art enhance and embody power and authority?

By dwelling on the need for the convergence of business, innovation and the arts, this book highlights the value of lowering the psychological, organizational and institutional barriers that keep them apart. For educators and practitioners, this is an in-depth discussion designed to stimulate awareness of the issues facing business education.

This concise guide aims to increase what we understand by innovation in the arts and identify and support opportunities and strategies for the unique ways in which artists and arts administrators think about, engage in, and pursue successful innovation in their diverse creative practice. Innovations in the Arts are often marginalised from a research perspective, in part because of the lack of a sound and compelling theoretical framework to support and explain process distinctions from business and management innovation. This book identifies three key concepts - art innovation, art movement innovation, and audience experience innovation - supported by formal theory for each concept presented and evidenced through case studies in art history. In this way, the book enables readers to identify, explain, and support their innovation efforts as visual, literary, and performing artists and arts administrators. It also explores strategies for pursuing innovation in practice. Drawing attention to the unique ways in which artists and arts administrators think about and engage in innovation, this readable book will be an essential reading for students in all aspects of the creative and cultural industries and an essential guide to developing and promoting innovation in the arts for practitioners and researchers alike.

Based on the landmark Radio 4 series, this beautifully illustrated modern history of the connections between science and art offers a new perspective on what that relationship has contributed to the world around us. __________ Throughout history, artists and scientists have been driven by curiosity and the desire to experiment. Both have wanted to make sense of the world around them, often to change it, sometimes working closely together, certainly taking inspiration from each other's disciplines. The relationship between the two has traditionally been perceived as one of love and hate, fascination and revulsion, symbiotic but antagonistic. But art is crucial to helping us understand our science legacy and science is well served by applying an artistic lens. How exactly has the ingenuity of science and technology been incorporated into artistic expression? And how has creative practice, in turn, stimulated innovation and technological change? The Art of Innovation is a history of the past 250 years viewed through the disciplines of art and science. Through fascinating stories that explore the sometimes unexpected relationships between famous artworks and significant scientific and technological objects - from Constable's cloudscapes and the chemist who first measured changes in air pressure, to the introduction of photography and the representation of natural history in print - it offers a new way of seeing, studying and interpreting the extraordinary world around us.

A main justification for public funding of the arts is to protect the arts from the marketplace and to encourage experimentation and innovation. But little is known about the actual innovation process. Is funding the only issue? Protecting the arts from the marketplace has up to now been the main item in any discussion of artistic creativity. This publication of Fitzgibbons carefully researched investigation provides a privileged insight which both fills out and refocuses the picture. She examines the operation of three performing arts companies from Ireland, a country whose reputation for creativity bears little relation to its small size and population, and finds that innovation in the arts requires uncommon dedication, persistence and-yes-sacrifice, qualities that have been blurred by the 'mythology' of what makes for artistic innovation. She studies the social and organizational context of most arts work today, with emphasis on the effort that goes into the achievement of innovation, and comes away with a new vocabulary and grammar for managing it. Innovation in the arts is an arduous, stressful process, as it is in all areas of high achievement, but the perception most people have of it is misinformed, says Fitzgibbon. Creativity management is confused with what is commonly known as creative management. She shows it is possible to identify a number of factors that bear heavily on innovation in arts organizations. So far the first study of the management of arts innovation specifically, Fitzgibbon's work offers a privileged and pragmatic insight into the workings of highly innovative arts organizations. The result is a graphic analysis that strips innovation down to its essentials and begins to answer vital questions. This work is essential reading for arts policy makers, managers, administrators and those who would be donors, and for serious students of arts and culture management in the academic community.