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1.
ABSTRACT

The formulation of cultural policies in the Anglophone Caribbean constantly straddles the demands of global, regional and national imperatives as a function of its position as a region of post-colonial, small-island states. This paper will argue that the role these factors play in the art of policy making problematises conventions in the current global/local (glocal) debate circulating in the arena of Cultural Policy Studies. The paper shows that cultural policy making in the Caribbean constitutes a mélange of approaches that are in a constant state of contestation during the policy-making process. It employs content analysis of cultural policy texts from selected Caribbean states, as well as an analysis of stakeholder views from the national cultural policy consultations in Trinidad and Tobago to derive its findings. A Five Factor framework was developed to illustrate the range of responses that guide and shape local actors and activities in the national cultural policy domain. The research concludes that the relationship between the national and local (nocal) actors has to be re-imagined if cultural policy is to deliver on its promise of social transformation in the Caribbean.  相似文献   

2.
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   

3.
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   

4.
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   

5.
In the hard sciences research programmes are designed to generate evidence consistent or inconsistent with particular hypotheses. Hypotheses unsupported by evidence are modified or abandoned. The framers and testers of scientific hypotheses are members of the same profession, similarly trained and likely to interpret evidence in similar ways. They have professionally generalized responsibility for the quality and integrity of each other's work. Peer review systems are in place to monitor performance and expose chicanery. This is not the case in the cultural policy research arena. Here, policymakers, arts advocates and academic policy analysts are breeds apart. Their professional affiliations and lines of accountability are radically unlike. We have highly selective “advocacy” evidence on the one hand; highly developed but untestable academic theory on the other, suggesting the hypothetical existence of evidence for which academics are not allowed to look. Policymakers avoid “what if?” questions because they are paid to maintain positions of certainty. Academics ask, but lack the data to answer. Neither approach is satisfactory for shaping the future. This paper explains how the two opposing research traditions came into being and points to some of the problems which poor communication between theoreticians and practitioners can create.  相似文献   

6.
The development of Local Cultural Strategies was recommended to all local authorities in England through the publication of a guidance document, Creating Opportunities, by the Department of Culture Media and Sport (DCMS, 2000). Although not a statutory duty, by the end of 2002 Local Cultural Strategy development was strongly encouraged by the government, and the adoption of a strategy became part of performance review for local authorities under Best Value Performance Indicator BVPI 114. This recommendation encouraged local authorities to formalize and publish plans for the strategic development of their cultural and culture-related services. These used a broad definition of culture and recognized of the value of partnership working within localities, regions and sub-regions in which local authorities were taking the ‘lead’. It also reflected the advocacy of a cultural planning approach by central government for local government.

Cultural planning encourages a culturally sensitive approach to local cultural development, focusing on a diverse range of ‘cultural resources’, including leisure and sports facilities, qualities of natural and built environment, youth and ethnic communities and communities of interest, as well as the need for different local authority service departments and private, voluntary and other public sector partners to be involved early on in strategic development. According to this approach, culture is broadly defined as a ‘way of life’, and DCMS's guidance states that Local Cultural Strategies should promote cultural well-being and the quality of life in their designated areas.

As a result, Local Cultural Strategies have been developed at all tiers of English local authorities, including district and borough, metropolitan and unitary authority, county and regional levels. This article discusses the development of Local Cultural Strategies in England and reviews information on those strategies that have been developed. It examines the different approaches local authorities have taken towards this task, the methodologies for consultation employed, the frameworks for monitoring and the evaluation of cultural provision they offer. It considers the benefits and problems associated with the production of Local Cultural Strategies as strategic development frameworks for local culture, and questions the future of this process following their ‘subsumption’ into Community Strategies as part of a broader package of reforms for local government. In doing so, it examines how these documents offer an opportunity to examine local approaches to cultural planning.  相似文献   


7.
This paper investigates the implications for cultural policy of the logic of the instrumental view of culture taken to its conclusion. Policy developments that establish sets of justifications and rationales that have nothing to do with the cultural content of the policy concerned, but which arise from a deliberate realignment of policy frameworks, establish a form of hyperinstrumentalism. With hyperinstrumentalism the focus on outcomes and the ends of policy means that cultural policy is only as important as the ends to which it is directed. As such, hyperinstrumentalisation demonstrates the consequences for the sector of conditions where claims about the value of culture are irrelevant to political actors. The paper questions whether sense can be made of this shift as a coherent and strategic political choice, rather than as a simple assault on culture. The case of Northern Ireland’s Department of Culture, Arts and Leisure is used to illustrate this. The authors question whether hyperinstrumentalism undermines the justification for an autonomous domain of cultural policy.  相似文献   

8.
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   

9.
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   

10.
The study reports on the implementation of a brief intercultural training intervention as part of a university course. The intervention consisted of a series of six lectures, one simulation game and one behaviour modification session, administered over a period of four weeks. Measures of cultural essentialism and cultural intelligence (CQ) were obtained prior to the first lecture and one week after the completion of the last training session. A total of 107 students participated and pre-post test scores were matched for 49 participants. The findings show that cultural essentialism increased, but cognitive and meta-cognitive scores decreased following the intervention. Personality moderated the trainings’ effectiveness: more open-minded students at Time 1 were more likely to report increases in motivational CQ at Time 2. Challenging claims about negative effects of psychological essentialism, cultural essentialism beliefs were positively related to both open-mindedness and cognitive CQ over Time. Implications for brief intercultural training interventions are discussed.  相似文献   

11.
From the bidding stage onwards, the London 2012 Olympics has been framed by an explicitly instrumental agenda, with objectives including increasing participation in sport in the UK and economic and physical regeneration in host sites, through investment in the Olympic Park and its surrounding infrastructure. The bid also signalled the ambition that London 2012 should be the first Olympics to deliver legacy through a nation-wide cultural programme in the build up to and alongside the Games [Kennell, J. & MacLeod, N. (2008, November 6–8). A memetic framework for the conceptualisation and evaluation of the Cultural Olympiad of the 2012 Olympic and Paralympic Games. Paper presented at the 2nd Bi-annual International Tourism Studies Association conference in Shanghai, China. Retrieved from http://gala.gre.ac.uk/3951/], deliberately putting in place infrastructure for each English region and nation, shortly after the bid's success was announced. The ensuing national Cultural Olympiad, part funded by Legacy Trust UK, was evaluated through a series of research exercises which aimed to document the legacy and impact of the cultural programme. Through the case study of a regional programme in the North West of England, “We Play”, this article considers how evaluation research has been used locally to develop policy stories and legacy narratives which interpret and interact with the changing landscape of arts funding and cultural policy in the UK.  相似文献   

12.
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   

13.
This paper examines early aspects of intercultural learning among pre-service teachers from Japan and the United States during a short-term international exchange program. Using insights from Taylor's (1994) theory of intercultural development, the research uses qualitative methodology to describe experiences of cultural disequilibrium and various responses to disequilibrium by participants in the exchange. Findings suggest a range of related sources of cultural disequilibrium across culture groups. Eight strategic responses to disequilibrium are identified, and implications for early engagements with cultural difference for beginning teachers are discussed. The research seeks to clarify the role that short term immersion experiences can play in the understanding and development of early intercultural competence and to identify connections between such experiences and teacher education.  相似文献   

14.
“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   

15.
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   

16.
Two studies were conducted to examine the role of culture in mindreading (i.e., the ability to read the mental states of others). We focused on features of the target (cultural ingroup or outgroup), as well as features of the perceiver (cultural competencies, Mono-Cultural or Cross-Cultural) that might affect mindreading accuracy. Study 1 found no difference in the mindreading accuracy of Caucasian Australians (N = 166) when presented with Caucasian Australian ingroup or Korean outgroup targets. However, exploratory moderation analyses showed participants’ mindreading of outgroup targets was more accurate the more open to experiences they were. Mindreading of outgroup targets was also better, the higher participants’ motivational cultural intelligence. Study 2 examined mindreading among Mono-Culturals and Cross-Culturals (N = 223). We found that Mono-Culturals were less accurate when mindreading outgroup than ingroup targets, but this effect was not observed for Cross-Culturals. Furthermore, cultural grounding was positively associated with mindreading accuracy of in/outgroup targets. The studies provide evidence that openness to other cultures and cross-cultural experiences respectively facilitates mindreading accuracy.  相似文献   

17.
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   

18.
This article analyses creative industries policy in the English regions under New Labour (1997–2010). It examines the ideas behind regional creative industries policies (RCIPs) and their implementation. Focusing on the activities of the English regional development agencies, the primary bodies responsible for the implementation of creative industries policy in the British regions, the article places regional cultural policy during the New Labour period within its broader political, social and economic contexts. It explains and evaluates New Labour's RCIPs, arguing that creative industries policy at the regional level changed over the course of New Labour's three terms of office, becoming increasingly economistic at the expense of a more social democratic vision of regional equality and democracy. We identify three issues that were problematic for New Labour's RCIP: a reliance on the idea of “clusters”, commercialisation and shifting regional governance.  相似文献   

19.
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   

20.
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   

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