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1.
This paper attempts to determine the ethnic profile (sometimes called “cultural diversity”) of the museum sector workforce. It sets the museum sector workforce in the context of the population as a whole and makes some comparisons to the diversity of the wider cultural sector workforce. It looks also at positive action training schemes, targeted at under-represented minority groups, in particular the Museums Association's Diversify scheme, looking at their cost and effectiveness in securing employment. It also describes other positive action schemes such as Arts Council England's Inspire programme and Diversify management-level traineeships and traineeships for deaf and disabled people. It tentatively considers the impact and value for money of positive-action training. It also sets out the legal and policy context for workforce diversification, in particular the implications for data collection of section 37 of the Race Relations Act 1976.

The headline finding is that the proportion of people from minority-ethnic backgrounds in the UK museum sector increased from 2.5% in 1993 to about 7% in 2006–2008. This varies between 1.3% and 10.4% depending on the type of museum and the type of job and compares to an overall minority-ethnic working age population of 12.6% in England in 2008.

There is a significant under-representation of most (but probably not all) minority-ethnic groups in most areas of museum work. The paper concludes by making brief suggestions about how policy makers and researchers might respond.  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.
In the past few years, UK public bodies have increased their calls for cultural leaders to diversify even further their funding sources and exploit the dynamics of the mixed-economy. So far only major cultural organisations in London have been able to successfully diversify their funding portfolio. A drop in public funding is likely to make it even more challenging for a large proportion of cultural organisations to close their income gap. To ensure the successful development of policies of funding decentralisation and inform organisational strategies, more theory-based empirical research on trends, drivers and motivations, and models of funding sustainability is needed. One of the many factors preventing the development of this line of research is a wide gap between research conducted for advocacy purposes and academia in the UK. This paper illustrates the extent and implications of this gap by providing a brief summary of the academic literature in the field and reviewing methods and results of existing data collection efforts by advocacy organisations, in particular the Private Investment in Culture survey by Arts & Business UK (A&B). The scope of this paper has been limited to business funding in the form of cash and in-kind sponsorship, donations and membership, since there is relatively more cross-sectional time series data and academic and advocacy studies of this form of funding than of individual giving and trust and foundation support. The paper proposes recommendations on ways of closing this gap, in particular by improving existing sampling methodology for this type of data collection and expanding and strengthening the existing academic research on motivations, market dynamics and concentration of business funding.  相似文献   

4.
“Arts entrepreneurship” is beginning to emerge from its infancy as a field of study in US higher education institutions. “Cultural Entrepreneurship”, especially as conceived of in European contexts, developed earlier and on a somewhat different but parallel track. As Kuhlke, Schramme, and Kooyman [(2015). Introduction. Creating cultural capital: Cultural entrepreneurship in theory, pedagogy and practice. Delft: Eburon] note, “In Europe, courses began to emerge in the late 1980s and early 1990s?…?primarily providing an established business school education with an industry-specific focus on the new and emerging creative economy.” Conversely, the development of “arts entrepreneurship” courses and programmes in the US have been driven as much or more from interest within arts disciplines or even from within the career services units of arts conservatories as a means toward supporting artist self-sufficiency and career self-management. This paper looks at the conceptual development of “arts entrepreneurship” in the US as differentiated from “cultural entrepreneurship” in Europe and elsewhere. Its intention is to uncover where the two strands of education (and research) are the same, and where they are different. In addition to a review of existing literature on European cultural entrepreneurship, US data is drawn from a new survey and inventory of US arts entrepreneurship programmes developed for the Alliance for the Arts in Research Universities (a2ru).  相似文献   

5.
This case study research investigated preservice and in-service teachers’ (N = 23) experiences and understandings as they participated in a multicultural children and young adults’ literature course that incorporates visits to a Holocaust museum. A graduate level course was redesigned within a framework of social justice pedagogy by focusing on critical analysis of multicultural literature, teacher inquiry, as well as a civic engagement project. Findings from this study illuminated how this course design encouraged teachers to move beyond a focus on tolerance and acceptance, and toward a social justice orientation through critical exploration of issues such as racism, oppression, and the ways bias and privilege operate within their own lives, schools, and society.  相似文献   

6.
Sara Selwood 《Cultural Trends》2019,28(2-3):177-197
ABSTRACT

In March 2019, Arts Council England (ACE), an official statistics producer, started collecting a new set of data from its National Portfolio Organisations intended to reveal whether those organizations’ intentions correlate with the perceptions of their peers and audiences. In a world dominated by quantitative data, the Impact and Insight Toolkit addresses a perceived lacuna and marks a substantial investment in qualitative metrics. ACE also expects it to address a number of other concerns – help organizations self-evaluate, measure their short-term outcomes and advocate more effectively. Indeed, it envisages that an aggregation of the data collected will support the case for sustained public support of the sector. The Toolkit’s launch comes at a time when changes to the UK’s official statistics are encouraged, and policymakers are looking elsewhere to inform their thinking. The campaigning aspect of ACE’s aspirations suggests a model of data collection and analysis distinct from that of official statistics production, valued for its impartiality. This article considers what might happen if the Toolkit, which relates to ACE’s role as a development agency, encourages data to be collected and analysed in order to deliver specific outcomes. It reflects on three visions of cultural sector data from the past 50 years: Toffler’s The Art of Measuring the Arts, DCMS’s Taking Part and ACE’s Impact and Insight Toolkit. These suggest a trajectory of cultural sector data determined by increasing importance being attached to institutional interests, and implies that the future of cultural sector data in England may be determined by how ACE addresses its potentially conflicting interests as an official data provider and development agency. Greater investment in the former would more accurately reveal the arts’ contribution to economic and social development; greater investment in the latter would encourage the teleological development of cultural sector data designed for sectorial advocacy.  相似文献   

7.
Cath Neal 《Cultural Trends》2015,24(2):133-142
This paper emphasises the restorative power of engagement with natural/cultural environments by exploring a body of work that identifies the positive impact of the historic environment on the health and well-being of community archaeology participants. Increasing importance has been ascribed to the role of landscape in public health research and to the environmental factors, which contribute to enhanced quality of life. In reviewing the ways that community archaeology projects are evaluated, and in summarising current practice, we observe that the evidence produced is often anecdotal. However, it is possible to increase robust therapeutic evaluation in ways that might be expected from other disciplinary perspectives and to draw on recent work in the role of the arts in health. This paper highlights that many of those currently engaged in community archaeology are self-selecting, and represent only a small subset of society. The narrow scope of engagement is borne out by Heritage Lottery Fund-commissioned research which found that, whilst volunteering has a significant positive impact on participants, they tend to be white, well-educated and live in the most affluent areas. If historic environment practitioners are to claim therapeutic benefits from their work, then the issue of inequity of access to health benefits is a significant concern for the profession. It is not just a matter of social justice but a concern for the arts and humanities sector, which is currently required to justify its public value [Bate, J. (2011). Public value of the humanities. London: Bloomsbury Academic].  相似文献   

8.
ABSTRACT

In 2015–2016 the first comprehensive survey of museums in Ireland in a decade – the Irish Museums Survey 2016 – was undertaken as a collaborative project between the School of Art History and Cultural Policy, University College Dublin, and the Irish Museums Association. Since the Republic’s economic collapse in 2008 and the recession, museums have weathered significant shifts in governance and board structures, and drastic cutbacks that have affected programmes, staffing, and provision across the island. Yet, until recently we have not had an accurate picture of the “state of play” for Irish museums, hampering efforts to prioritise actions for museum support organisations, and preventing individual institutions to develop their own plans of advancement benchmarked against national data. Consequently, there has been a significant knowledge gap concerning the current state of Irish museums, stretching beyond the anecdotal, and bridging the border between the Republic of Ireland and Northern Ireland. This essay addresses the major findings of the Irish Museums Survey 2016, contextualised within the landscape of recent research on museums in the Republic and the North, and existing research infrastructures. In reviewing forms of museum provision and policy in both jurisdictions, it argues that the haphazard nature of data collection and the worrying findings of some aspects of the 2016 Survey require the enhancement of an all-island research culture, audit of national collections and institutions, and development of improved strategic planning for museums.  相似文献   

9.
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   

10.
“Culture” has tended to play a central role in the nomenclature and operationalization of popular frameworks for attending to matters of diversity in education. These frameworks include multicultural education, culturally responsive pedagogy, culturally relevant teaching, cultural proficiency, and cultural competence. In this article, I argue that too tight a focus on “culture,” the meaning of which remains intensely contested, stunts the possibility of real progress toward educational justice. As I will show, although some culture-centric frameworks are grounded in commitments to educational equity, they often are implemented in ways that essentialize marginalized students and mask the forms of structural injustice that feed educational outcome disparities. I argue for a new commitment to centering equity rather than culture in conversations and practices related to educational justice—recommending the equity literacy framework as one way to enact that commitment.  相似文献   

11.
Since 2005 there has been a surge of cultural planning initiatives in Canada, especially in the Province of Ontario. However, very little research has been conducted in the more established cultural planning contexts of Australia, Great Britain and the United States let alone in Canada to support the assertions that underlie much of the movement's continued success. In particular, there has been an absence of research on the actual outcomes of the cultural planning strategy. This article examines whether the wide range of strategic goals presented in most cultural plans are being met. The method for assessing the effectiveness of cultural plans involved analyzing which strategic objectives were implemented as recorded in progress reports and as reported on by cultural planners. The research findings show that cultural plans are being effectively implemented and the majority of strategic goals contained within most cultural plans are being achieved. In addition, it is observed that the strategic objectives being implemented are not limited to traditional arts sector concerns.  相似文献   

12.
The publication in 2010 of Vital signs: Cultural indicators for Australia was the culmination of a complex national policy development process, which exemplifies some of the challenges of making cultural policy in a federal system of government. This paper examines the policy imperatives which gave rise to the original proposal to develop a set of national indicators, the context which led to support for the proposal, the process of policy development which ensued, and some of the key issues which emerged, and which are relevant for future work. The paper was written from the perspective of a bureaucrat closely involved in the project: the author was, between 2006 and 2011, head of the Queensland state government arts agency, and chair of the Statistics Working Group, the multi-agency body which managed the cultural indicators project on behalf of the participating governments.  相似文献   

13.
In contemporary accounts of cultural value, young people's perspectives are often restricted to analyses of their encounters with formal cultural institutions or schools or to debates surrounding the cultural implications of new digital spaces and technologies. Other studies have been dominated by instrumental accounts exploring the potential economic benefit and skills development facilitated by young people's cultural encounters and experiences. In this paper we examine the findings of a nine month project, which set out to explore what cultural value means to young people in Bristol. Between October 2013 and March 2014, the Arts and Humanities Research Council “Teenage Kicks” project organised 14 workshops at 7 different locations across the city, with young people aged 11–20. Working in collaboration with a network of cultural and arts organisations, the study gathered a range of empirical data investigating the complex ecologies of young people's everyday/“lived” cultures and values. Young people's own accounts of their cultural practices challenge normative definitions of culture and cultural value but also demonstrate how these definitions act to reproduce social inequalities in relation to cultural participation and social and cultural capital. The paper concludes that cultural policy-makers should listen and take young people's voices seriously in re-imaging the city's cultural offer for all young people.  相似文献   

14.
ABSTRACT

This paper focuses on music practice of the New Workers Art Troupe (NWAT, xingongrenyishutuan) that is based in Pi Village (picun), Beijing. During last 3–4 years, the troupe has gradually attracted the attention of young scholars and college students due to their public advocacy for the rights and benefits of migrant workers in Mainland China. Given structural marginalization of workers and peasants that ironically contradicts with the officially claimed principles of socialism, the NWAT should not be ignored as far as cultural activism in nowadays Mainland China is concerned. Many researchers have investigated NWAT’s practices according to approaches of various discipline, however, the cultural meanings and social-historical condition of its core art form, music, have been largely neglected. Whereas this neglect acts both as cause and consequence, discourses about the NWAT have gradually been overwhelmed by moral commitment or sympathy to “disadvantaged groups,” which eventually proves nothing more than the coming-being of a moral order dominated by the new-born Chinese middle-class. In order to comprehend the affects the NWAT’s music articulated, what need to be illuminated are not only what they are singing, but also where and how they sing, as well as the cultural mechanism behind their practice.  相似文献   

15.
ABSTRACT

This article critically examines how segmentation is used to identify, understand and engage arts audiences. Policy reports and academic publications are reviewed to establish the priorities of arts policymakers and practitioners for understanding arts audiences and their continued focus on audience data and segmentation. This article then makes two contributions. Firstly, critical perspectives on the use of data for audience profiling are applied to arts audience segmentation. Secondly, research using biographical methods is introduced as a new approach for critically evaluating arts audience segmentation. This research, employing biographical methods, shows the exploration and negotiation of audience identity positions. This article takes these insights to critically examine the implications of how profiles and segments are used to define and understand audiences for the arts. The conclusion addresses the implications of segmentation in terms of the design and communication of cultural experiences, the complexities of aligning audiences’ identities with segments, and the seemingly inevitability of exclusion. This article will be of relevance in the scholarly study of arts audiences and for arts and cultural organisations and policymakers in reflecting on the implications of quantitative and qualitative approaches in designing and undertaking audience research.  相似文献   

16.
This paper examines new cultural and political movements that have developed outside of traditional leftist politics since the early 1990s in Japan. The new movements, including Dame‐ren, the Cardboard House Art movements in Shinjuku and recent anti‐war protests on the Iraqi war, were mainly led by young people, in particular, the freeter generation, who did not experience the leftist politics of the 1960s. These movements are different from traditional Marxist political ones and even from the new social movements in the 1960s and 1970s in the sense that they incorporate more cultural practices such as art, music, dance and performance into their political activities. The paper also explores the historical background against which the new movements were born and have developed since the end of the Bubble economy. It sees freeters, young part‐time workers, as emerging, new political actors that have appeared through the transition of a mode of production from Fordism to post‐Fordism. The transformation of society, economy and politics, known as ‘post‐modernization’ or recently as ‘globalization’, has asked us to re‐consider and re‐define the basic concepts such as class, proletariat, power, labour and work which we once shared. The paper tries to locate, through a critical examination, the new movements within a broader context of anti‐neo‐liberalism and anti‐globalization and find political potentiality within it.  相似文献   

17.
In Canada, government initiatives for the measurement of cultural value can be traced to the 1949 Royal Commission on National Development in Arts, Letters and Sciences, and later evolved to include more empirical measurement with the Culture Statistics Program (1972) as well as research into the social dimensions of cultural investment. In 2009, Statistics Canada launched a four-year Feasibility Study to culminate in the creation of a Canadian Culture Satellite Account (CSA), an accounting framework to measure the impact of culture, the arts, heritage and sport on the Canadian economy. Taking account of both the recent and broader historical context out of which the CSA emerged, this paper examines its intended use and future plans. The CSA is a useful tool to the Government of Canada in supporting its activities related to the funding of culture, but this paper takes the position that it is not in and of itself a sufficient means for measuring the value of culture in Canada, and so it is best understood as part of a constellation of tools with differing but complementary approaches.  相似文献   

18.
This paper examines the impact of place on museum participation in England. For the first time in the cultural field, we use a multilevel logistic model to examine whether place matters after accounting for individual characteristics and area level compositional factors. Our findings show that the traditional social order remains intact, although other social cleavages have become important, and that significant variation exists in museum participation simultaneously at both the neighbourhood and local authority district spatial scales. We conclude by arguing that future research into cultural consumption patterns must take account of the fact that individuals reside in different places. That individuals cluster in space, interact in these places and spaces, and that environmental forces impact on museum participation. Put simply, both theoretically and empirically, studies of cultural behaviour should take account of place, because place matters.  相似文献   

19.
Taking an international view of cultural indicators, this paper is an account of the state of play of indicator development. It reviews the literature on cultural indicators, raising analytical and global coordination issues, and adapts ‘good practice’ ideas from the literature. It is argued that improving cultural indicators is not simply about improving statistical methods: it is also about understanding better the nature of arts activities, improving the articulation of arts policies and considering the complex interrelationships between statistics and policy and the impacts that measurement can have on ‘stakeholders’ in the arts and cultural sectors.  相似文献   

20.
ABSTRACT

Despite, 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   

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