2024/04/24 by Lauren Istvandity, Sarah Baker, Paul Long
Social Sciences · Arts and Humanities · #Cultural Industries and Urban Development #Artistic and Creative Research #Museums and Cultural Heritage
paper · pdf · doi:10.1080/09647775.2024.2331444
This article seeks to develop a non-prescriptive typology of creative practice and its role in GLAM (Galleries, Libraries, Archives and Museums) institutions through an examination of published research. Highlighting key issues and perspectives on integration and intent in each approach it examines practice through five categories: (1) demonstration; (2) programmed performance; (3) historically informed creativity and performance; (4) institutional preservation of creativity; and, (5) creative heritage. The first four categories subsume creativity as reproduction, in the pursuit of claims to originality or use GLAM spaces as a simple stage or backdrop. Creative heritage, on the other hand, is characterised by the use of creativity as an integrated practice that intentionally produces integrated and authentic outcomes allied to the repertoire and work of GLAM institutions. We conclude with suggestions about how creative innovation offers opportunities for institutions to meet and enhance strategic priorities and overcome challenges to sustainability relative to a wider cultural economy.