About the Journal
Culture Crossroads is an international peer-reviewed journal published by the Institute of Arts and Cultural Studies of the Latvian Academy of Culture. The goal of Culture Crossroads is to develop and expand theoretical and methodological approaches to the research of art and creativity with emphasis on the potential of a variety of disciplines and interdisciplinarity. The main focus of the publication is on the interaction of cultural, artistic and creative processes as well as the synergy between them and other domains of national economy, politics and social life. It is targeted on the most topical issues and discussion points in culture studies and arts. The publication is open to research in the fields of ethnology, theory of culture, semiotics, cultural anthropology, museology, cultural heritage, management of culture, sociology of culture and art, cultural economics (including creative industries), cultural politics, audio-visual art, performing arts, dance, theory of literature, musicology, law, linguistics, or other domains of culture studies and arts.
Culture Crossroads is indexed in: SCOPUS; EBSCO (Humanities Source Ultimate); ERIH PLUS; ULRICH'S; Central and Eastern European Online Library (CEEOL).
According to the latest data from Scimago, Culture Crossroads was in the second quartile in the thematic area “Arts and Humanities (miscellaneous)” in 2023.
Current Issue
The special issue of Culture Crossroads dedicated to the performing arts brings together a collection of research articles inspired by the conference “Acting. Reacting. Enacting. Theory and Practice in Performing Arts” held in Riga in 2023 during the Baltic Drama Forum. These selected contributions critically examine evolving paradigms in theatre practice, theory, and infrastructure across multiple cultural contexts. They span a wide thematic scope – from artistic research to postdramatic performance, from historical legacies of political theatre to institutional and research challenges in post-Soviet and contemporary settings, mainly focusing on Baltic theatre space. The structure of this issue follows the conceptual framework outlined in the conference call—acting, reacting, enacting—progressing from theoretical reconsiderations of acting to the socio-political dimensions of performance, and finally to institutional and historiographic perspectives, hereby reflecting the broad spectrum of inquiry envisioned by the gathering.
