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1.
The Non-Aligned Movement was a transnational political project, a coalition of small and middle-sized states, mostly former colonies and developing countries, from the global south or the Third World. It was formed in 1961 in Yugoslavia at the Belgrade summit. The NAM represented the first major disruption in the Cold World map, a quest for alternative political alliances, for “alternative mundialization.” Culture was accorded particular importance in the NAM, despite the fact that it never took center-stage at summits and conferences. However, NAM’s cultural politics strongly condemned cultural imperialism and epistemic colonialism. Western (European) cultural heritage was to be understood in terms of “juxtaposition”; this heritage would be interwoven with and into the living culture of the colonized, and would not simply be repeated under new (political) circumstances. Consequently art and culture in the NAM were largely about politics and history, or to put it differently, they were a way of staking a claim to history. It seems the movement was somehow aware of the fact that this was the only way it could enter the world’s (cultural) space on an equal footing. There existed a heterogeneous artistic production, a variety of cultural politics and extensive cultural networks which enriched the cultural landscape of the NAM and enabled discussions about the meaning of art outside the Western canon.  相似文献   

2.
ABSTRACT

Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public – and therefore achieve more equitable – funding. Rationales for such intervention generally reflect the policy and political regime operating in different eras, but widening participation, increasing access and making the subsidised arts more inclusive have been perennial concerns. On the other hand, culture has also been the subject of a supply-led approach to facility provision, whether local amenity-based (“Every Town Should Have One” – Lane, 1979. Arts centres – every town should have one. London: Paul Elek), civic centre or flagship, and this has also mirrored periodic growth in investment through various capital for the arts, municipal expansion, urban regeneration, European regional development and lottery programmes. Research into participation has consequently taken a macro, sociological, “class distinction” approach, including longitudinal national surveys such as Taking Part, Target Group Index, Active People and Time Use Surveys, whilst actual provision is dealt with at the micro, amenity level in terms of its impact and catchment. This article therefore considers how this situation has evolved and the implications for cultural policy, planning and research by critiquing successive surveys of arts attendance and participation and associated arts policy initiatives, including the importance of local facilities such as arts centres, cinemas and libraries. A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision.  相似文献   

3.
This study set out to investigate the effects of positive affectivity (PA) on expatriate creativity and perceived performance in the host country workplace. Most importantly, the study examined the moderating role of perceived cultural novelty in the relationship between PA and creativity and its consequences for the indirect association between PA and perceived performance as mediated via creativity. Data from 297 expatriates in Denmark were collected and hypotheses were tested using regression-based analyses. Consistent with predictions, findings showed a positive relationship between PA and creativity. In addition, PA was positively associated with perceived performance. Results of mediation analysis indicated that creativity mediated the effects of PA on perceived performance. While a moderating effect of perceived cultural novelty in the relation between PA and creativity was found, this moderation was in the opposite direction of the postulated hypothesis, i.e. the positive association between PA and creativity was strongly attenuated at high levels of perceived cultural novelty. Subsequent moderated mediation analysis showed that the identified mediation ceased to exist at high levels of perceived cultural novelty.  相似文献   

4.
We studied the interplay of intercultural competence, intercultural experiences, and creativity among Russian students from Moscow (N = 272). We expected the students from culturally diverse groups, attending the courses on cultural issues, to be more creative. We based our expectation on the idea that cultural diversity and cultural learning are associated with a higher level of intercultural competence that might contribute to students’ creativity. We measured the intercultural experiences by cultural diversity of study groups (a number of foreign students in the groups and the intensity of friendly contacts with them) and by cultural learning (a number of culture-related courses that students attended). We measured creativity by the “Many Instances Game” from the Runco Creativity Assessment Battery (rCAB). We measured intercultural competence by the adapted scale of Fantini and Tirmizi. We discovered positive associations of intercultural experiences in the university with students’ creativity. Such components of intercultural competence as attitudes and skills (the adaptability of behavior), played an important role in the students’ creativity. The attitudes were positive and the skills were negative, related to the creativity. We also revealed that these two components of intercultural competence mediated the relationship between the intercultural experiences and creativity of students. Based on the results, we discussed the factors of the educational environment which may enhance or prohibit creativity.  相似文献   

5.
ABSTRACT

This paper examines the Guyanese Mass Games, multi-media spectacles of visual and performing arts initiated by the leader of the Co-Operative Republic of Guyana and performed by Guyanese artists and youth aided by North Korean artists. North Korea and Guyana staged the games as the postcolonial and anti-imperialist expression of a newly established socialist regime in the global South in the context of the Cold War. Staged annually from 1980 to 1992 as part of the national day celebrations, they sparked debate, antagonism, and ethnic and political conflict in Guyana. The encounter of North Korean artists and Guyanese artists resulted in the new cultural tradition of the Guyanese Mass Games, which incorporated elements of Guyana's local culture into the form of the North Korean Mass Games. The paper expands the method of “inter-referencing” to incorporate a cross-continental dimension to analyze the cultural event of the Mass Games in North Korea and Guyana. The analysis in this paper is grounded in archival materials relating to the Guyanese Mass Games, such as sketch paintings, choreography books, photos, and newspaper articles, and examines how the representation of the people and land in the Mass Games captures the ambivalent character of decolonization and modernization projects in the socialist regime of Guyana.  相似文献   

6.
Social science studies of cultural activity commonly focus on class, gender and ethnicity and often treat age as an unimportant background variable. This article demonstrates the central importance of age as a factor affecting cultural consumption, using data from the “Taking Part” Survey of England. As well as seeking to describe the main aspects of age differentiation, the article unpacks what is often called, in a simplified way, “age effects”. The socio-historical dynamics leading to the existence of age effects are examined, first theoretically, and second, through some empirical examples (doing sport, playing a musical instrument/singing, cinema, visiting exhibitions or collections of art/photography/sculpture, doing textile crafts). A number of influences are shown to account for the importance of age: health, the individual life course, the different socio-economic background of cohorts and other, more complex cohort effects. Possible interpretations of these cohort effects on cultural practices are discussed at the end of the article.  相似文献   

7.
This paper deals with the influence of queer and visual culture in South Korea by concentrating on the example of Project L, the first exhibition organized by self-proclaimed lesbian artists and curators in South Korea in 2005, followed by the group's second exhibition, Gender Spectrum, in 2008. Conflicts between the dominant curatorial approach toward feminist arts and the identity politics of the Project L team are investigated in order to illustrate major theoretical predicaments in which lesbian activists and artists find themselves in feminist organizations and art exhibitions in Korea. As the title “Globalizing Korean Queer” suggests, this paper also examines contradictory circumstances related to the influence of queer theory in non-western countries. A close analysis of Gender Spectrum sheds light upon how a non-western lesbian group utilizes queer theory to understand the distinctive cultural conditions underlying homophobia, beyond merely importing “advanced” theories from the west.  相似文献   

8.
Lisa Marx 《Cultural Trends》2019,28(4):294-304
ABSTRACT

This article takes on participation not as taking part in cultural activities per se but in cultural policy-making, by studying the transformation and institutionalisation of participatory processes. Focusing on Switzerland, a federalist country where local and private actors play key roles in cultural policy, several processes by which different actors participate in local cultural policy-making are explored. Top-down procedures, such as formalised mandatory consultation procedures or the inclusion of cultural actors in administrative expert committees, coexist with bottom-up grassroots initiatives that can complement or even supplant traditional participatory processes. Furthermore, certain alternative modes and concepts of participation, such as the “cultural council”, circulate between different cases, across levels of state and in time. Participatory processes in cultural policy-making need to be seen as public policies in their own right, which can aim to depoliticise policies and procedures. Furthermore, actors need certain resources in order to participate, and venues aimed at opening participation do so in a restrained framework, focusing mostly on artistic and cultural elites rather than encourage larger citizen participation.  相似文献   

9.
ABSTRACT

Fantastic Man (2014) and Searching for Sugar Man (2012) mobilize tropes of discovery occurring in the filmed process of collecting and curating the work and identities of two reluctant, elusive, and resistive figures. These documentaries are part of a discourse of collectability marked by the urge to discover and narrate a “quest” that has its precedents in record collecting as obsessive cultural practice and in the fetishizing of obscurity. Furthermore, they can be seen as “performances” of the artiste and repertoire (A&R) process but for a “post-rock” era in which the customary roles of A&R have largely been eclipsed by social, economic, and technological changes to the music industry: the “(re-)discovery” of Onyeabor and Rodriguez exemplifies an increasingly common fusion of, rather than oscillation between, novelty and nostalgia in the music industry, as “old” artists are “newly” discovered through practices of media archaeology aimed at unearthing artifacts of cultural and economic value from an ever bigger and denser digital archive.  相似文献   

10.
Abstract

The Inter-Asia Cultural Studies Summer School is a Biennial event that invites Masters and PhD students from around Asia to participate in conversations around developing and building an Inter-Asia Cultural Studies thought process. Hosted by the Inter-Asia Cultural Studies Society along with the Consortium of universities and research centres that constitute it, the Summer School is committed to bringing together a wide discourse that spans geography, disciplines, political affiliations and cultural practices for and from researchers who are interested in developing Inter-Asia as a mode of developing local, contextual and relevant knowledge practices. This is the narrative account of the experiments and ideas that shaped the second Summer School, “The Asian Edge” which was hosted in Bangalore, India, in 2012.  相似文献   

11.
In our analysis of the cultural value of the Royal Scottish Academy New Contemporaries Exhibition, we assessed the institution's role in shaping emerging artists’ careers, as well as wider cultural value. Supported by our conceptual framework of value creation, issues assessed included the expected versus experienced value of the exhibition and the individual artworks, price setting, the market mechanism surrounding the exhibition, and its enhancement. The created cultural value is facilitated by high-visibility media exposure and through development of career-enhancing networks. We have generated new insight into cultural value more generally by moving beyond dominant instrumental valuation approaches. We have addressed many of the gaps in understanding the mechanisms behind engagement with contemporary art. We have progressed theory with the assistance of our conceptual framework and supporting qualitative data. Cultural value is expressed in contemporary art through artistic production systems and its cultural messages. Artists’ cultural value is often constructed via the intrinsic worth of their work, rather than from market influences. Cultural value is often personal to the viewer, shared with others and remembered over time. It is also co-created among the other stakeholders involved.  相似文献   

12.
The cultural and creative industries (CCIs) have been hailed as offering great potential to create jobs and to be socially inclusive. Since artistic success is defined by individual talent, or merit, the CCIs should be one sector that is especially open to, and appreciative of, social diversity in terms of race, class, cultural group and gender. However, as expected, recent studies in both the UK and the US have revealed that employment in the CCIs is heavily dominated by the middle classes, and is not as diverse in terms of other characteristics. Since the advent of democracy in South Africa in 1994, transformation of firm ownership, previously dominated by white people, to include more black, coloured and Indian/Asian-origin South Africans, has been an important part of achieving greater economic equality and social cohesion, as well as being more representative of the cultures of the majority of the population. Using data from a survey of 2400 CCIs firms in South Africa, this paper examines the extent to which the CCIs in South Africa have transformed in terms of ownership and employment. Comparisons are also made across the six UNESCO [(2009). Framework for cultural statistics. UNESCO Institute for Statistics. Retrieved from http://www.uis.unesco.org/culture/Pages/framework-cultural-statistics.aspx] “Cultural Domains” in terms of ownership, average monthly turnover and the number of full-time, part-time and contract employees. Results show some diversity in the industry, but significant differences between the Domains. Statistical analysis demonstrates that CCI funding policy in South Africa is sensitive to advancing the transformation agenda in that more transformed firms were shown to be more likely to have received some form of government grant as part of their income.  相似文献   

13.
Over the last decade in the UK, there has been a notable shift in the popularity and use of cultural mapping as a methodology for policy making at a regional and local level. This follows increased demand for an informed framework for planning arts and cultural facilities from local and regional government and from within the cultural sector (Evans, 2008: p. 65). The article begins with an exploration of cultural mapping within cultural policy, which explores the context for the growth in this area of activity, and why this kind of activity appeals to policy makers and organisations. It then goes on to examine four cultural mapping exercises which have been undertaken in recent years in the UK. These studies have been chosen because although they all focus the mapping of cultural assets within a specific geographic area, they differ to one degree or another in purpose, context, definition, geographic scale and methodology. They illustrate the narrow range of approaches deployed in the cultural mapping field in the UK, and as such provide a useful means of critically reviewing their limits as well as highlighting the issues and challenges faced by cultural cartography in practice. The article concludes by considering the type of mapping research that is “allowed” within the discursive confines of consultancy based cultural policy research.  相似文献   

14.
Abstract

This essay considers the role that art and history might play together in public history projects. It discusses public history not in terms of ‘learning lessons’, ‘public debate’ and ‘transferable skills’ but instead in terms of creative thinking in the public sphere. The essay draws upon the author’s experiences of working with artists on a series of exhibitions themed around the history of an arts centre’s late Georgian and Victorian buildings and their inhabitants in Sheffield. It explores the synergies between artistic and historical ways of knowing and argues that collaborations with artists provide an opportunity for academic historians to reengage the imaginative aspects of professional academic history. It also explores the value of art’s expressive power and its potential to pose new questions and suggest new answers for both public and historians’ understanding of the past.  相似文献   

15.
Abstract

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking.  相似文献   

16.
ABSTRACT

Chen Yingzhen has been regarded as Taiwan's utmost representative leftist intellectual. This article tries to reconstruct Chen's historical significance in Taiwan's “sixties” in a broader perspective. The 1960s in Taiwan was a peculiar period. While there was a global youth rebellion, Taiwan's postwar baby boom generation, who had just been re-educated as Chinese, were going through a cultural “renaissance”. They started to put into practice what they had learned and to realize their creativities in all aspects—taken as a whole, these efforts could be understood as this generation's attempt to achieve self-realization. Chen Yingzhen and his works served as a significant initiating and guiding force during this time. The fact that there were no dominating ideologies during this period allowed room for this wave of creativity to flourish.  相似文献   

17.
The field of arts and cultural planning and the aspirations of cultural practitioners, arts development officers and town planners has had a long, if frustrated, history in the United Kingdom. The relationship between the land-use development system and arts and cultural policy has lacked specific provision guidance or standards. This is in contrast to other areas of leisure and recreation, such as parks and open spaces, sports facilities and libraries. In large part this is due to the discretionary nature of much arts provision and also the fact that there is no single type of provider. Arts facilities and activity are delivered directly and indirectly by local and county councils, community and independent not-for-profit arts organizations – large and small – and private enterprises in the commercial entertainment and cultural industries. The absence of planning guidance and comparable data to assess the need for, and location of, a range of cultural amenities has also hampered an equitable, distributory planning approach. However, renewed interest in amenity planning and the role of cultural activity and opportunity in “place making” is evident internationally, and in the UK in particular, as new housing growth areas, demographic change and population increases require the planning of social as well as physical infrastructure on a scale not experienced since the last major new town developments. This article reviews the evolution of arts and cultural planning in the UK, including an assessment of recent concepts, guidance and resources in the UK and elsewhere. Cultural mapping and planning approaches are then demonstrated in housing growth areas, followed by a proposed methodology and framework for populating the cultural map. Finally, conclusions are made on the state of data and policy integration in what continues to be a fragmented cultural system.  相似文献   

18.
This paper provides an introduction to the Mexican-American culture, describing (1) cultural diversity and linguistic policies in the United States; (2) cultural and linguistic studies that have examined the backgrounds of Mexican-American individuals; (3) the characteristics of this population; (4) issues on discrimination and human relations; (5) the socioeconomic factors that Mexican-American individuals encountered due to their lack of education; and (6) the predominance of poorly paid and undereducated unskilled workers. Although many Mexican Americans have moved up the social ladder to the middle class, others have not. However, they have a richness of language and culture to share with the school.  相似文献   

19.
ABSTRACT

This article compares the cultural governance pathways of two UNESCO “Design Cities” – Bandung and Cape Town – methodologically framing them as “repeated instances” [Robinson, J. (2018). Policy mobilities as comparison: Urbanization processes, repeated instances, topologies. Revista de Administração Pública, 52(2), 221–243] of a globalized drive towards more creative cities. While the value of mobilizing culture for local urban change in rapidly growing cities of the global South is increasingly recognized [Mbaye, J., & Dinardi, C. (2018). Ins and outs of the cultural polis: Informality, culture and governance in the global South. Urban Studies, 56(3), 578–593], postcolonial urban scholars have rightly questioned whether internationally popular cultural policy approaches are able to speak to their complex challenges, underpinned by informality and the after-effects of colonialism [Pieterse, E. (2006). Building with ruins and dreams: Some thoughts on realising integrated urban development in South Africa through crisis. Urban Studies, 43(2), 285–304]. As postcolonial states are slowly shifting away from a centralized cultural institution model linked to symbolic nation building projects [Booyens, I. (2012). Creative industries, inequality and social development: developments, impacts and challenges in Cape Town. Urban Forum, 23(1), 43–60], travelling cultural policies brought in by foreign agencies and adapted by local epistemic communities have inspired a range of responses that can be broadly described as cultural policy innovation from below Cohen, D. (2015). Grounding mobile policies: Ad hoc networks and the creative city in Bandung, Indonesia. Singapore Journal of Tropical Geography, 36(2015), 23–37]. In turn, we examine how different cultural policy approaches have been locally mobilized and reworked in Bandung and Cape Town in response to situated realities and in partnerships between cultural, academic, business and local government actors. We argue that comparing the emerging “creative cityness” [Nkula-Wenz, L. (2018a). Worlding Cape Town by design: Encounters with creative cityness. Environment and Planning A: Economy and Space, 1–17] of both cities provides valuable insights into the opportunities and challenges of urban cultural governance in the global South.  相似文献   

20.
Bev Hong 《Cultural Trends》2014,23(2):93-108
New Zealand was one of the first countries in the world to report national cultural indicators – specifically choosing to use a conceptually based framework which was broadly underpinned by theories of culture, industry and political economy. One of the essential elements of this work was the incorporation of a Māori perspective in recognition of the Treaty of Waitangi and the importance of the indigenous Māori culture. Manatū Taonga Ministry for Culture and Heritage has primary central government responsibility for cultural policy and advice and the reporting of national cultural indicators. The term “culture” in this context broadly refers to Māori culture and the cultures of all New Zealanders, and to endeavours relating to arts, heritage, media, and sport and recreation. The Ministry is currently scoping a programme of research that aims to refine the indicators; relate indicators more clearly to the cultural policy role of government (and in turn their related cultural agencies); and more clearly articulate the relationship that cultural sector indicators have with those of other sectors. Cultural sector consultation to identify and clarify perspectives and reconfirm a common terminology (if not understanding) will be an essential and important part of this work. Better contextualising the national indicators will make them more meaningful and useful for reinforcing the importance and value of the cultural sector; monitoring the “health” and performance of the cultural sector over time; providing useful quality information; measuring the effectiveness of policy interventions and connecting across the cultural sector and to other sectors. This paper outlines the New Zealand context and the development and reporting of national indicators; reflects on the usefulness of reporting national indicators to date; and describes and discusses the intended direction of further work.  相似文献   

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