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In this article, we argue that neoinstitutional theory can increase our understanding of the different ways nations develop structures for top-level sport. Theorists of the neoinstitutional school concentrate on how and to what degree organizations adapt to both formal and informal expectations in their institutional environment. Elite sports organizations participate in different organizational fields, and that pulls the organization in different directions. The empirical case for our discussion is the organization of elite sport in Norway. We will attempt to place elite sport in Norway in an international context by relating its development, structure, and working procedures to the development of corresponding elite sport systems in other Western countries. In addition to striking similarities among various national models for the organization of top-level sport, there are distinguishing national features that result from different cultural and political traditions.

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Why are there relatively few successful artists from a migrant background in Norway? Based on a study of artists of known migrant backgrounds, we explore this question from the artists' points of view. We analyze both their social and cultural background, and the mechanisms of exclusion and inclusion at work in Norway's art world, and especially the interaction between the two. We have concentrated on the dramatic arts: theater and dance. The article presents a theoretically informed analysis of the qualitative material using the sociology of art on the one hand and the sociology of migration and ethnic relations on the other. Further, the empirical analyses are in constant dialog with other Norwegian studies of the art field and the artists themselves. The article presents original findings on the relationship between barriers in young migrants' backgrounds and impediments to entering and navigating at the field of dramatic arts.