Ina Ross

Universität des Saarlandes | UKS · Historisch orientierte Kulturwissenschaften

(3., vollständig überarbeitete und erweiterte Auflage) Wie können Künstler*innen ihre Kreativität einsetzen, um für sich selbst zu werben? In aktualisierter und stark erweiterter Neuausgabe bietet Ina Roß konkrete Hilfe bei den vielgestaltigen Herausforderungen von Marketing, Finanzierung und Selbstorganisation: mit Guerilla-Marketing statt Hochgla...

The following article presents a pioneering institution in the Indian public museum landscape. Established in 2013, the Madhya Pradesh (MP) Tribal Museum Bhopal is a success story situated in the centre of the country, far away from metropolitan cities like New Delhi, Mumbai and Kolkata, and from tourist destinations like Rajasthan or Agra with the...

Storytelling in times of crisis The Corona virus crisis has not only jeopadized the livelihood of many artists and creative professionals, it has also given rise to a debate about the value of culture and cultural work for society as a whole. How important are the stories told by artists for the public and its „health“ in a broader sense? Are arti...

The following article presents the Madhya Pradesh Tribal Museum Bhopal, India, (Tribal Museum) as an especially popular setting and backdrop for selfies and photographic self-portraits by Indian visitors. In general, museums are not considered ‘cool’ among young people in India. The article discusses why the Tribal Museum is so attractive as a self...

The following article discusses the Madhya Pradesh Tribal Museum (Tribal Museum) in Bhopal as a place where visitors call up their personal memories and reflect on social losses while critiquing contemporary culture. In this context the representation of the village and rural life in the museum functions as a catalyst for their personal and collect...

Using the example of the Madhya Pradesh tribal Museum in Bhopal, India, the following article deals with a romantic user interest in museums: as a meeting place for unmarried (mixed-sex) couples; in short, as a venue for dates. The article contextualizes this phenomenon by taking into account the relationship of the museum as an institution with it...

Visitor books for the general public are rather uncommon in India. As far as research is concerned, they are still mostly uncharted territory. The few existing visitor books, however, acquire a special significance: as pioneers in a nascent dialogue between visitors and institutions. This article explores their potential for providing information a...

In cinema-crazy India there are few spaces dedicated exclusively to live theatre. Theatre in the Western sense, with a permanent stage and regular performances based on literary texts, is seen as a leftover from the colonial period, an imported institution, whereas the original Indian performing arts tradition is closely linked to folk and religiou...

Taking mobile theatre in Assam as an example, Ina Ross questions in this article how professional, contemporary theatre can be successful in India, where it is considered to be a niche culture and economically precarious. She examines what would be needed for contemporary theatre in India to appeal to all segments of the population and asks how the...

In my course on cultural management at the National School of Drama (NSD) in New Delhi, I cover the topic of crowdfunding. A prime example for how it is for a Western lecturer to teach in India: On the one hand, one cannot presume many of the things that Western students would naturally know about. On the other hand, there is a wide range of cultur...

In meinem Kulturmanagement-Kurs an der National School of Drama (NSD) in Neu- Delhi behandle ich das Thema Crowd- funding. Das ist eine Finanzierungsform, bei der kleine oder größere Beträge über das Internet von möglichst vielen Spendern ein- gesammelt werden und einem Kulturprojekt zugutekommen.

Viele Kulturinstitutionen wurden in den 1950er Jahren, der enthusiastischen Aufbruchszeit nach der Befreiung von der britischen Kolonialherrschaft, geschaffen – oft wiederum nach V orbild des W estens. Sie haben ihre politische wie künstlerische Grün- dungs-Mission inzwischen verloren

Der konservative Soziologe Arnold Gehlen hat 1960 den Begriff von der „Kommentarbedürftigkeit der modernen Kunst“ geprägt. Sie bringe eine Fülle von „Kunstliteraten“ hervor, die zwischen dem Künstler, seinem Werk und der Öffentlichkeit stehen – interpretierend, vermittelnd oder anpreisend. Heute, zu Beginn des 21. Jahrhunderts, hat die Zahl der Erk...

Dieses Buch will spielen. Denn nur so lässt sich heute Kunst vermarkten: unkonventionell, authentisch und mit Spaß. Ina Roß zeigt Künstlerinnen und Künstlern, wie sie ihre eigene Kreativität einsetzen können, um für sich zu werben. Mit Guerilla-Marketing statt Hochglanzkampagnen, mit Crowdfunding statt Großsponsoren. Das klassische Handwerkszeug de...