OOIR: Observatory of International Research

Papers

(The TQCC of Cultural Trends is 3. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-10-01 to 2025-10-01.)

Article	Citations
In the labyrinth of culture. Professional development paths for public cultural organizations’ workers	70
Kenneth Kwok (Ministry of National Development, Singapore): in conversation	42
Street art as a paradox: urban regeneration and tourist attraction in Porto	30
Precarious work and creative placemaking: freelance labour in Bristol	30
Artists’ hidden heart on labor income and working hours in South Korea	17
Co-op mode: the emancipatory potential of freelancer co-operatives in the UK videogames industry following the COVID-19 pandemic	13
Model of cultural policy and the governance and management of cultural institutions: comparative analysis of three European opera houses	12
Whose lens? Gender behind the camera in Pacific filmmaking	12
Care in creative work: exploring the ethics and aesthetics of care through arts-based methods	11
Navigating creative partnerships and cross-cultural collaboration: a case study between China and the UK	8
Basic income, post-precarious outcome? How creative workers perceive participating in an experiment with basic income	8
Chasing happiness? The meaning of wellbeing-oriented cultural heritage interventions in museums and cultural heritage institutions	8
Welcome to the inner circle? Earnings and inequality in the creative industries	8
The “music city” paradigm and its policy side: a focus on Brisbane and Melbourne	8
The impact of COVID-19 on the cultural and creative industries: determinants of vulnerability and estimated recovery times	7
Artrepreneurs and the autonomy paradox	7
“Squeezing money out of a rock”: diverse economies of contemporary theatre in Ghana	7
Embracing the messiness: a creative approach to participatory arts evaluation	7
Negotiating hybridity, inequality, and hyper-visibility: museums and galleries’ social media response to the COVID-19 pandemic	7
Museum educators’ views on digital museum education: opportunities and challenges	7
#WeAreViable, aren’t we? Music careers, state support, and the political feasibility of a Basic Income for the Arts	7
Who cares for creative and cultural workers? The role of intermediaries in Europe’s creative economy	6
Performing the self in contemporary rural China: voice from a villager	6
Cultural Management and Policy in Latin America	6
Addressing causality: participatory evaluation on improvisational drama workshops for people with dementia and their carers	5

Developing craft business in Russia: capitals and tactics of young cultural entrepreneurs	5
Towards a paradigm for online heritage: cyber communities and digital educommunication	5
Heritage conservation and the limitation of public-private partnerships	5
Culture is not an industry: reclaiming art and culture for the common good	5
Cultural branding of cities: the role of live music in building a city’s brand	5
Negotiating participation: investigation of an informal art and urban development initiative in Norway	5
The four worlds of creative employees: the role of education level and job-education match	5
Play against the informality? Institutional reliance and strategic adaption in Chinese cultural governance	5
The benefits and attractiveness of local theatres. Comedy or Shakespeare – does it matter?	4
The return of the prodigal B-boy: from marginalised subculture to protected Korean cultural institution	4
People or place? Towards a system of holistic locational values for creative workers	4
Cultivating progressive development in the cultural industries: challenges and support needs identified by the creative workforce in the United Kingdom	4
Private art collectors on motivations to donate, deposit, or lend out artworks in Norway	4
Conceptualizing Malaysian creative hubs: traversing normalcy to pandemicity and beyond	4
Cultural value as meaning-making	4
The symphony orchestra in the time of COVID-19: will American orchestras rise from the ashes?	4
Capturing value: researching funded art for reconciliation	4
Queer workers, diversity data and the UK television industry: Is more data always better?	4
Fashion as Creative Economy	3
Basic Income for the Arts pilot scheme – an Irish case study	3
(De)politicising Argentinian cultural policy? an analysis of Macri’s cultural policy (2015–19)	3
Creating growth: Labour’s plan for the arts, culture and creative industries	3
“Feeling things happen”: Evaluating the Playhouse Theatre and Peace-building Academy (2018–2020)	3
Correction	3
The social organization of arts, a theoretical compendium	3
Legitimating cultural policy after the 2008 crisis: learnings from France, the UK, Spain and Greece	3
“A place for my art”: independent artist-run spaces as incubators of artistic careers in Italy	3
Making genre: the aesthetic affordances of governmental funding and its effects on emerging interdisciplinary artists in the Netherlands	3
Understanding the factors that affected the resilience of performing arts workers during the COVID-19 pandemic	3
Explaining unwelcoming attitudes toward LGBTQI+ festivals in Sibiu and their implications for regional cultural change	3
Promoting culture and creativity in Ghana: bottom-up strategies for creative industries development	3
“It’s been a roller coaster”: insights from performing artists on the COVID-19 pandemic and cultural policy	3
On the role of “tactile value” in cultural consumption: an empirical research in the live music industry	3
The DCMS Committee’s inquiry on the economics of music streaming and its implications for artists	3