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This article examines innovation in times of festival crises from a governance perspective using legitimacy theory. We conduct a case study of Adelaide Festival around three crises based on data drawn from annual reports, festival programs, and media articles from 1960 to 2021. Each crisis raises questions about the need to innovate, whether due to economic concerns or for new approaches to artistic programming, in order to safeguard legitimacy. However, the type of innovation varies based on internal and external environmental factors. Findings reveal tensions ranging from internal board and external stakeholder use of governance mechanisms, depending on the crisis and perceptions around art forms (e. g., elitism and Aboriginality). The findings provide insights on how appropriate use of governance mechanisms can help to balance tensions between maintaining legitimacy and promoting innovation. Innovation, nonetheless, did not reposition the festival in the long run: it remains elitist, compromising artistic vision. [ABSTRACT FROM AUTHOR]

In this paper, we investigate how digital inclusion of disabled people can be promoted in order to facilitate their online arts consumption during COVID-19 when the digital transformation of arts consumption was inevitable. While barriers towards disabled people for arts consumption have been studied widely, their digital inclusion has been overlooked. We explore drivers and prerequisites towards digital inclusion of disabled people based on a case study of an international online theatre-making collaboration involving 17 disabled artists, carers, and staff between two disability arts organizations in Australia and Singapore. Our digital inclusion framework includes three key drivers, i.e., enabling digital access, creating a safe online space, and building digital literacy and highlights the importance of preconditions providing for people of all abilities, technical and communication support. We suggest five digital inclusion strategies for disability arts organizations to align their inclusive practices to enable and sustain online arts consumption of disabled people. [ABSTRACT FROM AUTHOR]

Purpose: The study's aim was to compare the use of proton pump inhibitors (PPIs), histamine 2-receptor antagonists (H2RAs) and mucoprotective medicines (MPs) used for gastric acid-related disorders (GARD) in Australia and South Korea (Korea) from 2004 to 2017. Methods: Prescription data for PPIs, H2RAs and MPs for Australian outpatients were extracted from the Australian Statistics on Medicines annual reports, with dose-specific and expenditure data obtained from Medicare. Similar data were obtained from Korean National Health Insurance Service claims data. We analysed the volume and expenditure of medicines use annually using the defined daily dose per 1,000 population per day. We calculated which medicines accounted for 90% of use and estimated the proportions of use for low- and high-dose PPIs. Results: While total utilisation for GARD medicines increased over time in both countries, patterns of use differed. Overall, use was somewhat higher in Australia but increased more rapidly in Korea. PPIs were used more extensively in Australia, while more MPs and H2RAs were used in Korea. Expenditure and use of low-dose PPIs is escalating in Korea. Conclusion: There were substantial differences in the use of GARD medicines in Australia and Korea over 14 years. Both countries face similar challenges to promote rational medicines use and contain medical care costs. The discrepant prescribing patterns can be attributed to differences in healthcare systems, pharmaceutical policies and demographics. This study provides a baseline to influence more rational use of these medicines. It provides insight into medicines policies for other countries that face similar challenges. [ABSTRACT FROM AUTHOR]

Learning from the past is used to assist agencies to move towards a desired future in order to build better practices. We assess 48 years of annual reports of the Australia Council for the Arts, the government's arts funding and advisory agency, in order to understand how Australian national identity has been crafted through branding the arts, identifying opportunities for improved future branding. We find that the agency's branding reflects cultural, consumer and corporate perspectives with their endeavour to develop a 'market' for the arts. Although the agency succeeded in creating internationally recognised arts as a brand they failed to develop nuanced understanding of the brand reflecting community values, norms and cultural practices. Branding could be a mediator across the cultural divide bridging polarisations in society resulting from a colonial past, thus influencing future branding practices. Future approaches need to take account of broader social, cultural, and theoretical concerns of branding the arts in postcolonial Australia. The study makes recommendations for the agency to move away from the brand-consumer dyad to brand understanding which reflects critical perspectives. It recommends a balanced centricity perspective for future branding of the arts, taking account of complex framing of national identity in Australia. • This article examines national identity and the brand of an arts council's relationship with its artistic constituents. • The paper improves policy and planning for future branding in the arts, relevant to other industries. • 48 years of analysis indicate that branding reflects cultural , corporate and consumer perspectives, on national identity. • This article warns of the dangers of corporatising the brand that alienates the artistic community. • Branding practice in the sector needs to acknowledge constituent interests in deriving an acceptable interpretation of brand for the future. • Recommendations are to move away from the brand-consumer dyad to critical perspectives. [ABSTRACT FROM AUTHOR]