Category: Main

1. Avril Joffe. Cultural Trends 30:1, 28-39. “Covid-19 and the African Cultural Economy: An Opportunity to Reimagine and Reinvigorate?” 2020. This article takes a summary look at Africa as a whole to ask how has the Covid-19 pandemic played out in the context of a continent that, in the last decade, has considered culture as a key aspect of its modernisation and development.

2. Douglas S. Noonan and Paul H. O’Neill. National Assembly of State Arts Agencies (NASAA). “The Arts and Culture Sector’s Contributions to Economic Recovery and Resiliency in the United States.” 2021. This report explores how the arts economy fares through economic downturns and its influence on economic trends. The companion technical report describes the statistical methods used to conduct this analysis and shows the relationships observed.

3. Stefan Hall. World Economic Forum. “COVID-19 Shows It’s Time to Rewrite the Script on Jobs in the Creative Economy.” 2020. In this article, the author argues that more must be done to recognize the importance of the creative economy and to support cultural workers, such as through direct stipends, administrative support, subsidies for real estate and skills transfers.

4. Mark Banks and Justin O’Connor. Tribune. “Culture After Covid.” 2020. Covid-19 has brought about a crisis for arts and culture, with its workers bearing the brunt. To rebuild, cultural pursuits must be decoupled from the consumer economy – and reintegrated into daily life.

5. Louis-Etienne Dubois, David Gauntlett and Ramona Pringle. The Conversation. “How to Help Artists and Cultural Industries Recover from the COVID-19 Disaster.” 2021. The current pandemic has shocked us into an awareness of the threat posed by disasters, particularly given the world’s interdependence and complexity. We need to develop much more sophisticated contingency, rescue and recovery strategies.

1. Steven Hadley. Cultural Trends 30:2, 174-186. “Oliver Mears (Royal Opera House): in conversation.” United Kingdom. 2021. Steven Hadley interviews Oliver Mears on trends and changes in the opera world.

2. Naomi André. University of Illinois Press. “Black Opera: History, Power, Engagement.” United States. 2020. Naomi André draws on the experiences of performers and audiences to explore opera’s resonance with today’s listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths.

3. Antonio C. Cuyler. Taylor & Francis. “Access, Diversity, Equity and Inclusion in Cultural Organizations: Insights from the Careers of Executive Opera Managers of Color in the US.” United States. 2021. Analyzing the lack of diversity among opera executives, this book examines the careers of executive opera managers of color in the U.S.

4. Andrea Shea. WBUR. “A Binge-Worthy, Netflix-Style Opera Series? The Boston Lyric Opera Sure Hopes So.” United States. 2021. Boston Lyric Opera has commissioned a netflix-style series that combines opera, TV, and music video.

5. AJ Willingham. CNN. “Black classical artists are turning the pain of the Tulsa Race Massacre into music.” United States. 2021. Adolphus Hailstork latest work, “Tulsa 1921: Pity These Ashes, Pity This Dust,” is an operatic piece that tells the story of racism, bondage and hatred through the eyes of a young girl.

6. Matthew Peddie. National Public Radio. “‘As One’: Coming Of Age Opera Explores Themes Of Identity And Authenticity.” United States. 2021. In this interview, Opera Orlando director Gabriel Preisser and conductor Alexandra Enyart join Intersection to talk about the opera and transgender identity in the arts.

1. Martijn Mulder & Erik Hitters. “Visiting pop concerts and festivals: measuring the value of an integrated live music motivation scale.” Cultural Trends. 2021.To better understand the growing popularity of live music, this study analyses consumers’ motivations for live music attendance.

2. Joe Kluger. “Digital Strategies-To Stream or Not To Stream.” WolfBrown. 2021. In this blog entry, Kluger argues that a number of nuances in the data support the case for performing arts groups to offer both live and digital performances.

3. Hanna Kahlert. “Live streaming and the role of music artist empowerment in the digital era.” MIDiA Research. 2020. Hanna Kahlert weighs the benefits of live streaming against what is lost without the live element.

4. Erin Sullivan. “Live to your living room: Streamed theatre, audience experience, and the Globe’s A Midsummer Night’s Dream.” Participations: Journal of Audience & Reception Studies. 2020. This article presents the findings of an audience survey conducted after the London Globe’s livestream of A Midsummer Night’s Dream in September 2016, analysing that data alongside other surveys of online and cinema broadcast audiences.

5. AEA Consulting. “From Live to Digital: Understanding the Impact of Digital Developments in Theatre on Audiences, Production and Distribution.” Arts Council England. 2016. Published by Arts Council England in partnership with UK Theatre and the Society of London Theatre, this report is a piece of primary research into the impacts and opportunities of live to digital work on theatre audiences and organisations.

6. Hasan Bakhshi & Andrew Whitby. “Estimating the Impact of Live Simulcast on Theatre Attendance: An Application to London’s National Theatre.” Nesta. 2014. Using data for the UK’s early National Theatre (NT) Live broadcasts, Bakhshi and Throsby conclude that live broadcasts generated greater, not fewer, audiences at the National Theatre.