The business etiquette training is one of the vocational training which spreads widely in Japanese business society. This training program is supplied especially for the newly hired employees who are fresh from the school education. Therefore, it is also called "the social training" and considered as a gateway for the students to become a member in the companies. This is regarded as the one of today's Japanese rites of passage. In these days, this training is also applied for the job hunters and in the career education for the university students.

The business etiquette training is conducted strictly and hard by the specialized instructors. They instruct, for example, how to behave and talk with the honorific expression in business, the proper way of wearing the business suits, how to exchange the business cards, etc. Why Japanese companies consider such performances are so important? How does the skill become a driving force on business? I would like to introduce the case study through the participation observation as an instructor in the training course.

Art calendar is a calendar with art decoration such as picture, photo, illustration and design. In Edo Era there was a genre called egoyomi (picture calendar, or daishoureki) which informed 'big month' (30 days) and 'small month' (29 days) of lunisolar calendar, represented in Chinese characters, but also designed in pictures. Egoyomi became very popular in 1765 and paved a way to nishikie (multi-coloured ukiyoe printing) of Suzuki Harunobu, which is not well known among non-specialists. In early Meiji Era lunisolar calendar was abolished and replaced by solar calendar and egoyomi disappeared accordingly. Instead, hikihuda goyomi (commercial calendar) and ryakureki (simple calendar) became popular, but they have been paid little attention as art. These calendars, however, were produced abundantly by shops and companies for publicity and distributed to customers in the end of the year.

Calendars made and distributed by companies flourished during the so-called period of rapid economic growth. It is said that Shiseido produced 2.5 million wall hanging calendars and 6 million table calendars at its peak. There are many companies which use paintings of famous painters for their calendars. And these calendars are hung on the walls as interior decoration. Nowadays, there is a distinctive shift from 'calendars given' to 'calendars purchased'. In the latter case, personal taste towards natural landscapes and pets as well as art and designs can be seen in the store. On the other hand, for art museums, its own art calendar opens a new business chance for visitors.

Tourism has partly transformed the orientation of Balinese culture from religion to economics. This is particularly so in Balinese arts as the most prominent forms of Balinese cultural products. While in the days before the coming of tourism to the island, art tended to change within the context of religion, contemporary change occurs in the garb of tourism and develops in a more dynamic and secular environment. This paper is going to look at the process of change and innovation in the Balinese arts in the context of cultural tourism.

As tourists have become wealthier and travel costs have been reduced, tourists have become more interested in remote societies and places to visit, increasing the demand for cultural tourism. It is important to recognize that continuous development of arts is necessary for the Bali tourism sector in order to cope with the growth of the contemporary tourism market, and promoting a more sustainable tourism in the region. Accordingly, this has stimulated the Balinese artisans to adjust their natural creativity to the market to provide the tourists with tourism goods they need for souvenirs. Particularly in Ubud, known as the heart of Balinese culture, this type of continuous development is expected to strengthen the place's position as an art center and a showcase for Balinese culture. However, crucial questions addressing their authenticity emerge. Although it is acknowledged that culture is dynamic and therefore no pristine culture exists, these questions are important in maintaining a balance in Balinese tourism and cultural developments.

This paper focuses on several aspects of relations between fine arts and human nexus through an anthropological approach of business.

　　1) Institutionalisation process of fine arts as "State's Treasures":

Which groups had searched and picked up pieces of fine arts like pictures, statues? And by which path did these works of art become cultural assets or national treasures? What sort of institutionalisation process existed? What kind of estimation standards functioned on the institutionalisation?

These questions, especially in the cases of Fine Art collections of Modern French museums and Art Galleries, are bringing light to the historical points of view on business anthropology of arts.

　　2) Promotion process of Oriental "exotic cultures" into the world of fine arts in modern Paris:　　In the cases of introducing master pieces of "Ukiyoe" from Japan to France in the 19th century, there were many kinds of "mediators" and "promoters" around"Ukiyoe " at every stage of circulation.

　　　This paper examines organizing process of modern art galleries and art merchants groups, and that of their human nexus functions and commercialization of art pieces through case studies of the 19th-20th century French fine arts world.

This paper analyzes credit card advertisements in contemporary Korea which reflect as well as shape the new consumption patterns of Koreans. Recently, large credit card companies began to make big TV advertisements regarding new lifestyles of their customers. Particularly geared towards the images of "cultural life(文化生活)", one major credit card company promotes all forms of artistic consumption, especially the artistic performance, or things related to "culture." Although there exists some difference in the strategies of different credit companies, their promotion of new lifestyles reflect and drive desires of many urban dwellers in Korea as they emphasize new lifestyles that come with the uses of their credit cards. This paper will analyze not only the processes of defining "artistic consumption" but also the actual consumption practices of various forms of "arts" in contemporary Korea.

The purpose of this paper is to examine the hidden mechanism of "passing on from generation to generation" at the long-survived successful small manufacturing companies in Japan during 1930-1990s in special reference to "Business Creed" of them from business anthropology perspective.

• In general,"Business Creed or ideology" for sustainable development of companies is regarded as a matter of large corporations. So, such small manufacturing companies are regarded that they have no explicit "business creed or ideology" as inheritance to survive. As a result, their "Business Creed or ideology" were rarely discussed. However, through my research using the method of "life history approach [narrative approach]" to managers, "story telling" of the companies by managers make a context and it becomes functional as a business strategy for them, passed on by word of mouth.

• From the business anthropological point of view, another perspective might be to say that "Business Creed" at small manufactures is one in which these managers' discourse on history of their manufacturing technology functioned as a missionary system of succession if enabled sustainable development.

Industrial clusters are different in nature from groups and networks. The individual agents making up clusters interact loosely and have a high degree of autonomy, yet clusters have coherence as a whole. Industrial clusters are commonly observed in the traditional craft sector thought to be in decline and overshadowed by big industry, but precisely the same structure is evident in cutting-edge industries such as Silicon Valley. Within clusters there is a division of labor, and thus an appropriate division of roles. This is not based simply on a division of work processes, but rather involves a fundamental bifurcation between producers who coordinate the manufacturing process as whole, and actual creators who make the products. Producers are not only responsible for product planning but also assume much of the risk. Product planning requires extensive knowledge of customer needs, and typically the producer takes charge of sales as well.

Craftspeople in traditional industries generally do not assume the risk of their piece production. The producers take on high risk for which they receive a high return, while the creators shoulder relatively little risk for which they receive a low return.

Behavior of agents making up clusters is guided not so much by profit maximization, but rather by the reputation and esteem with which members are held within the cluster community. In this paper, we will assess and compare these attributes for a number of different industrial clusters including Jingdezhen, Arita, Nishijin, and Cremona.

Contemporary Chilean film industry, like other peripheral cinemas, depends

to a certain extent on its circulation through the international film

festival circuit, which is an active system that incorporates the

relationships between peoples and films, and peoples through films. By

travelling within the circuit, peripheral films accumulate symbolic

and economic value. At the same time, film professionals gain increasing

prestige through the fluid process of film circulation.

This paper is based on a multi-sited ethnographic fieldwork within the

Chilean cinematographic network, a group of film industry professionals

who exchange and promote Chilean cinema in the markets and screenings held

by film festivals. Following the journeys of Chilean filmmakers, producers

and sales agents through the circuit, the research addresses how these

professionals negotiate their creative practices in those

contexts; and how they deal with the conflictive double status of business

and art of peripheral cinemas.

Films circulation also contributes to reconfigure the image of a national

cinematographic industry. Transnational trajectories of film professionals

are entwined with an overlapping set of cultural meanings. Films do not

only express artistic value but also carry out ideas of a certain Chilean

aesthetic that are drawn on by film agents at the festivals,situating this

peripheral film industry in the world system.-

The paper upholds that the development of Chilean film industry is

fundamentally related to all the global interactions in which the film

professionals are involved. The meaning of national films is therefore

enacted through transnational practices of reception and exchange,

articulating glocal trends.