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1.
The gathering of ‘evidence’ about the impact of the sector has assumed centre stage in the management of the subsidised cultural sector in England. It is closely associated with an extension of government control over the sector, and the tendency to value culture for its ‘impact’ rather than its intrinsic value. This chapter of Cultural Trends considers what has been driving data collection, and how valuable its pursuit has actually been. While not disputing the importance of accountability within the public sector, the chapter observes that much of the data produced about the workings of thecultural sector have been criticised as methodologically flawed and that these say more about policy intentions than about actual impact. Until the collection and analysis of data is carried out more accurately and objectively, and until the evidence gathered is used more constructively, it could beargued that much data gathering in the cultural sector has been a spurious exercise. 相似文献
2.
ABSTRACTThe refugee, in India's Partition history, appears as an enigmatic construct – part pitiful, part heroic, though mostly shorn of agency – representing the surface of the human tragedy of Partition. Yet this archetype masks the undercurrent of social distinctions that produced hierarchies of post-colonial citizenship within the mass of refugees. The core principle of the official resettlement policy was self-rehabilitation, that is, the ability to become a productive citizen of the new nation state without state intervention. Thus, the onus of performing a successful transition – from refugee to citizen – lay on the resourcefulness of the refugees rather than the state. This article traces the differing historical trajectories followed by ‘state-dependent’ and ‘self-reliant’ refugees in the making of modern citizenry in post-colonial India. 相似文献
3.
Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates. An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses. These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary. Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’? In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors. 相似文献
4.
By calculating an additively decomposable inequality measure following the lines of Shorrocks (1980; see Econometrica, 48(3)) we are able to evaluate regional disparities in private funding of cultural enterprises in the UK in a novel way. The country-wide index of inequality separates funding differences across regions from disparities within regions. Using data on private investment in UK cultural organisations, we consider three datasets: the first includes 139 organisations between 1993 and 2005; the second includes 573 organisations between 2002 and 2005; the third includes 898 organisations between 2005 and 2006. Differences among the 12 UK regions account for between a quarter and a third of overall funding inequalities. The largest contributor to funding inequality of cultural institutions in the UK is the degree of heterogeneity among cultural organisations within each region. We find that successful private fundraising is not significantly associated with the region where the organisation operates or with the particular cultural expression object of its activity. These are significant findings for cultural policymakers working on addressing issues of regional concentration of culture and diversifying sources of funding for the sector. 相似文献
5.
ABSTRACTIn May of 2017, a space called Soeng Joeng Toi was established, gathering a variety of people to share and co-organise a space together. While it may be considered a relative newcomer, Soeng Joeng Toi’s appearance can be seen as an inevitable breakaway from the mainstream political, economic and cultural climate of a city like Guangzhou. From its initial planning stages to its official operation, much of Soeng Joeng Toi’s inspiration and methods have come from extensive exchange with independent spaces both in China and abroad, where mutual recognition of similar conditions and thinking of the commons have led these different spaces to continue developing in a sustained dialogue. This text, written from the perspective of two of Soeng Joeng Toi’s “co-proprietors,” introduces the beginnings of Soeng Joeng Toi, its current operations and experiences of connecting with others as well as explores the possibilities of a shared activism involving people from different fields and geographic regions. 相似文献
6.
ABSTRACTThis article critically engages with a contemporary play, Aur Kitne Tukde, staged in the Hindi language in various cities and towns in India and Pakistan, about gendered violence during Partition. It unsettles the master narrative of ‘honour’, ‘martyrdom’, ‘choice’ and women's ‘agency’ on Partition. The article also highlights the significance of the play in breaking the silences around Partition in the theatre, which, as compared with other cultural and literary mediums, reaches out to a larger section of people in unique ways. It underlines how the whole production of the play was a process of traversing and sharing the journey and trauma of Partition not only for the actors but also for the audiences. The article also tries to problematize the whole question of violence and its representation. 相似文献
7.
ABSTRACTThis article examines microhistories and the histories of the everyday both in the context of developments in social and cultural history since the 1960s, and in the light of political and social change in post-war European society. Moving beyond debates about historical narrative, it emphasizes issues of perspective, space, size and historical distance in shaping historical interpretation. This historiographical trend, it argues, emanates from two major debates within the social sciences and politics. One concerns the nature of everyday life under modern capitalism and ‘consumer society’, the other the vexed issue of human agency. Focusing particularly on Italian microstoria, it argues that such writing is best understood as the commitment to a humanist agenda which places agency and historical meaning in the realm of day-to-day transactions, and which sees their recuperation as the proper task of the historian. 相似文献
8.
ABSTRACTThis article tracks the development of French social history from its Labroussian origins through to the uncertainties that beset the subject in the 1970s and 1980s, and the call for a tournant critique (‘critical turning point’) in response to the conceptual challenges to its traditional methodological approaches. It then describes the responses that emerged in the wake of the tournant critique, as social historians attempted to renew their field. Instead of pursuing the debate about whether ‘class' or ‘order’ was a more useful category of analysis for early modern historians, French social historians have attempted, like their colleagues in the social sciences, to make the individual rather than collectivities the central focus of their research. The article outlines three approaches which try to capture the agency of individuals: prosopography, micro-history, and network analysis. Finally, the article makes the case that longitudinal studies can provide a means through which social history's traditional concerns with explaining the ‘social’ can be met whilst not losing sight of the exciting questions posed by cultural history in the last two decades. 相似文献
9.
This chapter of Cultural Trends examines the increasing use of statistical data to support evidence‐based management in the archival domain. After explaining how archives are managed and used, it reviews the available sources of data and evidence about the work of the domain and its contribution to the cultural agenda. Because there are no official requirements for data collection, much of the work on archival statistics has been voluntary, informal and, until now, uncoordinated. As a result, there are no comprehensive sources of data and no common statistics spanning the whole range of archives services. In their absence, this chapter explores the make‐up of the archival network and uses the available statistical data on core service elements as the basis for postulating averages for use as models for an attempted overview of the domain. While the limitations of this approach necessarily warrant caution over the results ‐ which are described as tentative ‐ it is proposed that with further refinement such a model could form the basis for future headline statistics of key archival inputs and outputs. The remainder of the chapter looks in detail at evidence and trends in archives, with a particular focus on usage (user profiles, motivation for using archives and patterns of use etc); collections management and stewardship (archive holdings and preservation activities); and impact. The section on impact takes an overview of the archival contribution to the public policy agenda with regard to social, economic and learning issues. In conclusion, the chapter reflects that too much of the previous effort has gone into measuring the resource base. It is argued that the future emphasis should be on using the available data to provide evidence of impact ‐ showing how archives can and do ‘make a difference’ in the broader cultural agenda. A final table illustrates the views of users on what archives contribute to society, highlighting the potential for creative partnerships between archives and other cultural service providers. 相似文献
10.
ABSTRACTThis paper provides a formative evaluation of The Art Institute of Chicago’s initial efforts to diversify the museum field through the Diversifying Art Museum Leadership Initiative (DAMLI) programme. DAMLI is supported by the Walton Family Foundation and Ford Foundation as part of a movement to diversify the arts & cultural workforce in the United States. In Spring, 2018 the author was contracted to evaluate the museum-wide initiative to systematize and improve the experiences of high school, college, and graduate interns from demographic groups currently underrepresented in museum leadership fields. Through the use of [Fraser, N. (1995). Reframing justice in a globalizing world. New Left Review, 36, 1–19.] social justice framework, this paper will focus on the recruitment, selection, and management of internship experiences of the first four cohorts of undergraduate and graduate-level interns within the programme. The paper begins with an overview of recent diversity, equity, and inclusion initiatives in the arts & cultural sector – highlighting the systemic issues leading to the need for such initiatives and presenting a typology for organisational responses to the issue. This paper then categorise the type of organisational change sought by The Art Institute of Chicago based on Fraser’s two-dimensional social justice conditions and remedies framework in order to assess whether or not the Art Institute is achieving its goal of attracting, retaining, and empowering a diverse set of students and influencing their decision to pursue a career in the museum field by providing an equitable and inclusive environment during the internship. Finally, the paper concludes with a discussion of the broader implications of this work for arts and cultural organisations interested in diversifying the cultural workforce. 相似文献
11.
The requirement to evaluate policies and measure performance in the publicly funded cultural sector in the UK has become increasingly pressing since the early 1980s. This chapter reviews the various attempts to do that. It demonstrates how economic and other quantifiable measures have tended to be emphasised whereas the qualitative aspects of cultural provision, which are more difficult to measure, have tended to be neglected. The chapter presents the first overview of the subject. It covers developments within what is referred to as the ‘cultural framework’ ‐ the infrastructure associated with the Department for Culture, Media and Sport, which includes the ‘arts funding framework’. It also looks at developments affecting local authorities’ provision of cultural services. The chapter draws on various published and unpublished policy documents, and accounts, as well as interviews with individuals involved in the development of performance management in the cultural sector. Their views are presented throughout the chapter to illustrate the points raised. The chapter opens by examining the history of performance indicators in the sector, and maps the current requirements to measure performance. The second section considers the resistance to measuring the performance of arts organisations and museums. In doing so, it examines critical inheritance of former attempts to measure performance, and the issues raised in relation to current aspirations to do so. The third section presents attitudes to future developments, and is based on speculations by those currently involved in museums, galleries, the arts funding system and the introduction of Best Value as to the kinds of impact that the introduction of performance measurements might have. The fourth and final section draws together a series of observations about the introduction of non‐economic performance in the English subsidised cultural sector. 相似文献
12.
ABSTRACTDespite, or perhaps because of, being only 45 miles apart and of a similar size, Glasgow and Edinburgh are famous for their historical and cultural differences and notorious for their rivalry. This article will explore the history of museum visiting by comparing the current visitor demographics of Glasgow Museums, with those of the National Galleries and the National Museums in Edinburgh, and exploring the extent to which these differences can be traced back to the founding cultures of these institutions. Drawing on historical visitor data and discourse analysis of official museum commentary on visitor behaviour, this article will assess Davies, Paton and Sullivan’s museum version of the Competing Values Framework and Wouter’s theory of informalisation as approaches to interpret how institutional traditions have interacted with wider social developments. It will conclude with reflections on the implications for museum history, and for current policy and practice. 相似文献
13.
Americans for the Arts published Arts & Economic Prosperity III: The Economic Impact of Nonprofit Arts and Culture Organizations and Their Audiences in May 2007. Americans for the Arts is a non-profit organization in the USA that aims to advance the arts by creating opportunities for all Americans to participate in and appreciate the arts. This is the third economic impact study of the sector undertaken by Americans for the Arts, the first two studied activity in 1992 and 2000 respectively. This review examines the wealth of data made available and the claims made for the economic impact of the non-profit arts and culture sector in the USA. The Arts & Economic Prosperity study concluded that the non-profit arts and culture industry generated $166.2 billion of economic activity and supported 5.7 million full-time equivalent jobs in the USA. The review raises concerns about the methodologies employed to both capture and interpret the data, in particular the reliance on gross figures rather than net flows and the lack of consideration of opportunity cost. In conclusion, it questions the degree of utility of the study given its heavy promotion as a tool for advocacy by Americans for the Arts. 相似文献
14.
ABSTRACTWhat happens when we try to understand art as a commons? Elinor Ostrom [(1990/2012). Governing the commons. Cambridge University Press] challenged Hardin’s “The tragedy of the commons” [(1968). Science, 162(3859), 1243–1248] demonstrating that the governance of common pool resources is not always destined to failure. Ostrom’s analysis was initially applied to the management of shared natural resources; however, over time the term “commons” has also been used to describe non-tangible resources, specifically knowledge. Can Ostrom’s theory of the commons inform artistic practice? This article investigates some challenges presented by these research questions and their implications for cultural policy. In order to provide an empirical ground for the discussion of this topic, this paper will analyse the case studies of two cultural spaces in Italy, Teatro Valle (Rome) and Asilo Filangieri (Naples), which were occupied by groups of cultural professionals and managed as commons between 2011 and 2016; the outcomes of these occupations indicate possible ways to develop a commons-oriented approach to culture. 相似文献
15.
Since the late 1970s, European funding of the arts has been a feature of the mixed‐funding regime and support of a range of community arts, training, heritage and regeneration programmes in Member States. In the late 1980s, following widened membership and more direct policy engagement by the European Commission, regional development began to support increasing levels of investment in culture, notably heritage, cultural tourism and city regeneration through arts venues. Meanwhile the Commission's own culture programmes have focused on Cities of Culture, language and heritage projects. However, the funding of culture through the various Structural Funds (although not categorised as such at either European, national and regional levels) has dwarfed that of the Culture Unit. No cultural policy or plan for this significant amount of investment in cultural facilities has been evident, and such programmes have largely bypassed national arts policy, being directed through regional and local authority economic development, tourism and regeneration departments. Promotion of European ‘Common Culture’ was expounded in the Maastricht Treaty and, it is argued, these objectives have driven increased city‐regional autonomy. Notwithstanding difficulties in categorising grant data in cultural terms, this chapter measures the impact and distribution of such regional funding across beneficiary countries and within the eligible regions. A UK survey provides a regional breakdown of projects receiving support in the 1990s and European funding used as part of partnership funding (lottery, regeneration programmes). The chapter concludes that, while the funding of these cultural projects has been under‐estimated and ‘hidden’, its concentration in city arts and heritage venues raises questions for both European and national cultural policy: whether cultural investment has been of the right type, in the right place; or whether European common culture aspirations have ignored local and more culturally diverse opportunities. In short, whether form has followed funding. 相似文献
16.
Cross-country comparisons are popular in cultural policy. This paper looks at how cultural statistics are used in the making of such comparisons. Analysts have identified a general ‘sloppiness’ in current cultural statistics comparisons. Some of the major problems in both data production and data presentation are documented, and a ‘checklist’ of good practice is provided. The paper aims to provide guidance and ideas for anyone making cross-country comparisons of cultural statistics. 相似文献
17.
AbstractContemporary female musicians and vocalists in Iran represent a challenging and inspiring musical trend as a part of a dynamic and reflexive artistic and cultural wave. This trend could be compared to a trend in the first half of the 20th century in Iran, which opened the first chapter in the history of women asserting their presence and their voice as female musicians in public spaces, exemplified in the work of Qamar al-Moluk Vaziri. This article analyzes these two trends in their social and cultural contexts and explores the efforts of postrevolution female vocalists to assert their presence in musical realms. Addressing these issues in the context of political, religious, and cultural constraints, the article examines the agency of female musicians and vocal performers in the long history of women’s struggles for self-expression and voicing their presence in public spaces and on the national stage. 相似文献
18.
This article presents a case study of A Complaint with the Cadi (Algeria), ca. 1896 – a painting by the French Orientalist artist Marie Lucas-Robiquet (1858–1959). Using cultural and social history as prisms, it explores what Lucas-Robiquet’s visual record communicates to the cultural ‘outsider’ about Muslim social life in French colonial Algeria. Attention is given to this artwork because it depicts the Islamic judiciary system as practised in late nineteenth-century Algeria. This article argues that this painting and its subject matter are rare in the Orientalist canon; that the artist was female, is, I posit, crucial to the ways in which this work can be read. Lucas-Robiquet, a decorated Orientalist, used a Naturalist style of painting which was both nuanced and sensitive to Islamic cultural traditions. I contend that A Complaint with the Cadi (or qā?ī meaning judge) is an important work because it represents a locus of historicised forms of Otherness: the French female artist and the Algerian cultural attribute. 相似文献
19.
ABSTRACTThere is currently widespread concern that Britain’s cultural and creative industries (CCIs) are increasingly dominated by the privileged. This stands in stark contrast to dominant policy narratives of the CCIs as meritocratic. Until now this debate has been clouded by a relative paucity of data on class origins. This paper draws on new social origin data from the 2014 Labour Force Survey to provide the first large-scale, representative study of the class composition of Britain’s creative workforce. The analysis demonstrates that CCIs show significant variation in their individual “openness”, although there is a general under-representation of those from working-class origins across the sector. This under-representation is especially pronounced in publishing and music, in contrast to, for example, craft. Moreover, even when those from working-class backgrounds enter certain CCIs, they face a “class origin pay gap” compared to those from privileged backgrounds. The paper discusses how class inequalities, as well as those related to gender and ethnicity, between individual CCIs point to occupational subcultures that resist aggregation into the Department for Culture, Media and Sport’s broader category of CCIs. The paper concludes by suggesting the importance of disaggregating CCIs and rethinking the definition and boundaries of CCIs as a meaningful category. 相似文献
20.
The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury ‘Green Book’ framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to ‘public value’. 相似文献
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