The paper gives an overview of the Dutch tax incentives for the arts and discusses the drawbacks of tax incentives. The paper also examines how tax incentives can be designed to increase the involvement of the public with the arts, while minimising the drawbacks of using tax law for funding the arts.

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The contemporary cultural policy of the United States is known to be originated by the New Deal art programs in 1930s. The New Deal art programs consisted of two different characteristics; one was a relief program for unemployed artists through out the country under the Great Depression, providing the citizens opportunities for involving in art. The other was to enhance the quality level of American art for establishing national identity. The characteristic of the latter was borne by the so called “Section” under the Treasury Department of the federal Government. The New Deal art programs were ceased during the World War II, but the philosophy and policy of the “Section” were inherited by the public art program of the GSA (General Service Administration) founded in 1962. This paper firstly discusses the public art policies of the New Deal and the characteristics of its art programs. Then, it examines more in detail, purposes of the program and its selection and evaluation procedure of artworks which proves the influence of the “Section” on the public art policies of the US government after the World War II.

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This paper examines the recent transition of Japanese content (information content) policy and the policy itself. The related ministries and government offices are manifold because content has several aspects that are culture, infrastructure for living, and industry. Since 2000, Japanese content policy has been gradually practiced as the encouragement of intellectual property and the policy has been vastly enforced as a main industry. The movement was caused by industrial structural change and advances in digital techniques. Furthermore, worldwide popularity of Japanese popular culture and the big industrial scale and ripple effects vigorously pushed forward the movement.

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The purpose of this study is to grasp the demand structure for arts and culture related activities in terms of household spending. By using microdata from the national survey of family income and expenditure conducted by the Statistics Bureau, Ministry of Internal Affairs and Communications in 1999, we estimated the relationships between spending structures and factors affecting them such as annual income, savings, life-stage, household types and region and city ranks where they live.

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Cooperation between professional orchestras and public concert halls is vital for resolution of both organization's operational problems. This paper shows its current situation based on the several case studies and examines the ripple effects and present issues of those cooperation/franchise activities. Understanding the effectuality and the essence of the cooperation is crucial to its operational success, keeping cultural policies in mind. After exploring several case studies of existing problems, this paper will suggest ideal operation models for both organizations.

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This essay makes reference to Ikegami, Goto, Nakagawa, Throsby, and others in discussing culture and creativity, and also discusses the relationship between succession and alienation in artistic expression with reference to Ueki's concept of cultural circulation. The current trend towards an evaluation of disabled persons and art that overemphasizes artistic expression as a form of alienation is criticized. In order to aim at multiple possibilities in artistic expression, succession should be positioned correctly within cultural activities and cultural circulation.

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Recently, objectives of holding music festivals as well as their forms and projects tend to be diversified, as citizen participation is expanded at every management stage. Management required under the cooperation between the public and private sectors is to include a system to develop citizen participation at a humanware level, and obtain resource to coordinate the whole process emphasizing discussion among local citizens and artists, with all information disclosed to them.

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In Denmark, public support for the creation of its national literature dates back to the eighteenth century. And in 1996, against the background of the crisis of publishing and the growing awareness of the lack of a comprehensive policy for literature promotion, the first Danish Literature Act was enacted to promote Danish literature at home and abroad. In this paper, the current public support system for literature will be explored.

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The purpose of this study is to consider that the regional economic effects of the arrangement of art cultural capital and the subjects on regional economic policy through the case of “Arte Piazza Bibai” as the public policy of art culture. As the results, we found that to strengthen the driving force of “Arte Piazza Bibai”, to reconstruct of city, to collaborate and create among any kind of capitals including newly capital, and to collaborate and strengthen between citizen and organizations as the political subjects.

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The survey clearly shows that Mécénat activities conducted by enterprises in Fukuoka are rather conservative, and mid to small sized companies have clear policies and offer non-financial support such as providing facilities. Supporting the arts has a low priority among enterprises in Fukuoka, and the enterprises do not recognize the need to build partnerships with Non-Profit Organizations (NPOs) for the arts. In order to change this situation, a concrete appeal for the social meaning of the arts and NPOs for the arts is necessary.

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When starting up a new business in the provinces, the business resource was assumed to be a dialect that was one of the cultural resources. A playing card was made by regional dialect as a new creative product and sold on the Internet. Throughout Internet sales operation of this product it is concluded that consumers are looking for some information from another source in order to justify the credibility of the given target information. The public support will be indispensable for an entrepreneur to make a business by local culture as business resources to activate the regional economy.

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