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This chapter refers to basic qualities of art learning in relation to citizenship education. It aims to explore pedagogical principles and methods/strategies through examples of artistic practices in different settings and instances, emphasizing cultural and democratic dialogue.

Artistic practices in education are explored through documentation and visual data and reveal different ways of learning and thinking that incorporate inclusive and critical approaches to art education. Documentation encompasses (1) examples of artistic initiatives in Europe including Cyprus and (2) the researcher's initiatives reported through visual notes in informal and formal types of educational settings. Documentation exposes creative processes and strategies significant for learning in, about and through art and introduces visual research methods as a meaningful and democratic way of teaching and learning the visual arts. Findings reveal features of art learning emphasizing cultural dialogue, pluralism and creative processes based on active and participatory art education approaches.

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

This chapter focuses on the educational potential of the arts for at-risk students in educational contexts. The aim is to understand how arts are experienced by students who are struggling for various reasons, and to highlight the arts' role in education. The idea is based on international studies from the last decades, where arts are promoted as sources to strengthen motivation, academic achievement and engagement among students who are at risk for school failure. Here, three boys who have struggled throughout their educational journey are examined due to their general interest in different art forms such as music and art (paintings, drawings, crafts, etc.). Through a qualitative, indirect interview technique, the boys have been approached with the aim of gathering life stories and understanding the contexts that surround them. The boys' stories convey that learning through music and art differs from other experiences at school and promotes positive emotions. Furthermore, the discussion focuses on the emotional and perceptual aspects of learning through arts, and suggests that curriculums emphasizing arts might strengthen at-risk students' chances for educational completion.

Recently there has been a surge in interest about the use of artificial intelligence in organisations with art galleries introducing new technological innovations that coincide with the digitalisation revolution. Virtual and immersive environments that are supported by social media and digital platforms are significantly changing customer experiences at art galleries. This is internationalising and making art gallery experiences more accessible thereby fostering the competitive advantage of art galleries.

Art gallery customers, stakeholders and managers are appreciating the use of artificial intelligence with resulting higher satisfaction rates. Building on competency and transformational entrepreneurship theory international art gallery managers were interviewed to understand the role of artificial intelligence in their organisations and the impact of internationalisation.

The data analysis revealed that the internationalisation of art galleries enabled artificial intelligence to transform in person and online visitor experience, work and marketing, and future art gallery development ideas. Results show that artificial intelligence is opening up new transformations derived from entrepreneurial behaviours.

Key managerial implications are that art gallery managers need to utilise their international networks in order to learn about artificial intelligence and other new technological innovation. Theoretical implications are that existing theory can be adapted to an art gallery and artificial intelligence context. Limitations and future research suggestions focus on the need to focus more on art galleries as cultural entities that are more likely to utilise new technology innovation such as artificial intelligence.

This paper aims to demonstrate to lawmakers that the addition of art dealers to the designated non-financial businesses and professions (DNFBPs) definition would provide Australia with more comprehensive protection against money laundering within the art market.

The paper opted for an exploratory study using doctrinal and jurisdictional comparative analysis that focused on arguments for and against the inclusion of art dealers in respective DNFBPs definitions. Evaluation of these arguments concludes that art dealers should be included in Australia’s DNFBPs definition and subject to anti-money laundering (AML) regulation.

The current omission of art dealers from Australia’s DNFBPs definition perpetuates AML vulnerabilities within the Australian art market.

This paper fulfils an identified need to study high-value dealers not included in Australia’s DNFBPs definition and provide arguments for and against the inclusion of Australian art dealers in the listed DNFBP.

Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better understand what can encourage reservations in proenvironmental hotels, this study aims to investigate the connection between the performing arts watching experience and the preference for such a hotel.

Five scenario-based experiments were conducted. A total of 1,024 participants for the five studies were recruited with the help of Credamo, a commonly used Chinese data collection platform.

The results indicated that viewing performing arts could increase tourists’ preferences for proenvironmental hotels. This phenomenon occurred due to the fact that performing arts watching experience can induce a psychological state of self-transcendence in individuals, which, in turn, can raise their levels of altruism, and ultimately lead to proenvironmental hotel choices. This effect will not occur, however, when people watch performing arts with either an extrinsic motivation or in an analytical state.

The findings of this study provide hotel managers with a novel approach to market the proenvironmental attributes of their hotels and to promote tourists’ proenvironmental behaviors.

This study proposes performing arts viewing experiences as a novel way to encourage proenvironmental hotel choice. To the best of the authors’ knowledge, this is the first study to explore the impact of the performing arts watching experience on tourist behavior.

The purpose of this study is to investigate the value of Ghanaian weaving art tradition to humanity from socio-cultural and economic points of view. This study sought to answer questions such as “What is the interest of researchers regarding Ghanaian textile weaving art tradition?”, “To what extent has weaving art tradition projected the Ghanaian culture?” and “What is the socio-economic value of Ghanaian weaving art tradition?”

The systematic literature review approach was used to analyse data obtained from the Scopus online database. The PRISMA framework was adopted to select 22 relevant studies for analysis and conclusions. Also, the VOSviewer software was used to analyse and understand the co-occurrence of keywords.

It was revealed that Ghanaian weaving art tradition stands as a major craft that projects Ghana globally. Researchers around the world keep adding knowledge on Ghanaian traditional weaving and its value to humanity, resulting in a significant rise recently in the publication trend. Also, the rich cloth from the art is celebrated annually to invite people around the globe to learn the Ghanaian culture for social development. This study again found that traditional weaving serves as a major source of income for weavers and marketers of indigenous Ghanaian woven fabrics.

The findings of this study serve as a wake-up call to the Government of Ghana, institutional actors and national leaders to practically engage in the projection of the local art by playing individual roles such as financially supporting the craftsmen, initiating and implementing appropriate policies and displaying the local cloth on international occasions. This will make the local art more attractive for effective marketing and cultural preservation.

With reliable information extracted from the Scopus online database, this study presents original results and makes appropriate suggestions worth adopting for the improvement of the Ghanaian weaving art tradition.

This paper aims to explore the opinions of business owners in an industrial area of Abu Dhabi that could be potentially turned into an art tourism destination.

By mobilizing the concept of “gentrification aesthetics,” the authors use a recall technique to explore support toward art from business owners, regression analyses to understand how the type and content of art predicts gentrification support and chi-square to research the differences between respondents who support the area to become a creative place and those who do not.

A model that explains the connection between gentrification aesthetics and art tourism is presented.

The authors’ proposed model results from testing the possibilities for expanding art tourism specifically and may not apply to other types of tourism. Future research is needed to understand whether and how the model can be applied to other forms of tourist consumption.

The current research presents a case study on how tourism can be strategically expanded into more rural places in a city.

The authors found significant differences between respondents who would like to see Mussafah becoming a creative place in five years and those who believe Mussafah needs to be(come) something else.

While work on tourism gentrification has been conducted, the nexus between gentrification aesthetics and art tourism cannot be found. Their relation can help to expend (art) tourism from busy cultural attractions to industrial areas. The present research fills this gap.

There is a long association between the arts and mental well‐being, but this can also be an area of contest and debate. In this commentary on the issues raised by the papers in this special arts and mental well‐being issue of the journal, James Oliver and Paul Murray question the attempt to impose scientific measures of outcome on arts participation, and ask if we should not, instead, regard access to opportunities for creative expression as a legal right and moral duty owing to those whom we, as a society, have excluded from the mainstream through incarceration or labelling.