Storm over the state cultural institutions: new cultural policy direction in Turkey

2014 ◽  
Vol 21 (2) ◽  
pp. 183-199 ◽  
Author(s):  
Asu Aksoy ◽  
Burcu Yasemin Şeyben
2021 ◽  
Vol 2 (1) ◽  
pp. 110-115
Author(s):  
Oleksandr Nosyriev ◽  
Tetiana Bukina

The article considers the issues of changing accents and cultural transformation in Ukraine, Great Britain and other European countries. In recent years, Ukraine has seen an active revival in the cultural sphere. From publishing to music, from film production to theater, from fashion to curatorial exhibitions – the Ukrainian cultural environment has become bold, diverse and large-scale. Euromaidan has given impetus to a powerful wave of cultural activism: from discussion platforms to spontaneous exhibitions, from urban regeneration projects to volunteer groups seeking to protect dilapidated national heritage sites. The impetus for it was the dynamism of the Ukrainian creative community. And further development became possible thanks to the support of new state cultural institutions. These institutes emerged after Euromaidan, such as the Ukrainian Cultural Foundation, the Ukrainian Book Institute, and the Ukrainian Institute. Institutions with a long history, such as the State Agency of Ukraine for Cinema, have strengthened their positions. The creation of these new institutions marked the departure from the post-Soviet system of cultural management. And the transition to a consistent and comprehensive cultural policy. The main thing is that the creation of a new system of culture in Ukraine has helped to bridge the gap between the state and cultural activists and the creative sector. One of the most important problems of the cultural sector in Ukraine for the last 25 years is funding. This problem is also relevant for the United Kingdom. But when it comes to finding resources for artists and cultural institutions, British policy has a respectable tradition and a number of successful answers. Support for the arts by both the state and business seems to be a matter of course for the British. At the same time, the idea of the self-worth of art is also supported by the idea of its social significance, as well as the perception of art as a primary source of creativity, innovative development, creative industry. The relationship between the European Union and the society of Ukraine is already yielding some results in the context of ensuring the democratic and European development of the state. For the successful implementation of European integration in Ukraine, it is necessary to apply such mechanisms that will ensure coordinated management of social processes of the state in the direction of European integration. The main mechanism is cultural policy, which should be aimed at regulating the regulatory framework. And the application of regulations in practice. This will allow culture to take a leading position on the path to national modernization. Legislation should be a mechanism for achieving goals, and the main thing should remain that the person should be at the center of cultural policy of the state. Given the experience of the United Kingdom, the formation of Ukraine's cultural policy should be based on the idea of the all-encompassing impact of culture on modern society. Accordingly, such a policy, being aimed at the cultural sector, effectively affects all spheres of public life. Consistent support for culture at the financial and fiscal, legislative and executive, national and local levels should, above all, be based on an awareness of the value of culture. Culture enriches people's lives, changes their worldview and inspires creativity. In the social dimension, its impact has the most significant impact on education, health and cohesion.


Author(s):  
Olga Glushakova

The article describes the content and features of the state cultural policy during the Great Patriotic War. In the pre-war period and in the first years of the war, the state budget cut on cultural expenditures, and all Soviet cultural institutions aimed their activities at achieving the main strategic goal, i.e. victory. The research was based on an institutional approach, as well as methods of analysis, synthesis, and comparison. The author studied various regulatory documents and defined the main features of cultural activities in wartime conditions. Advantages of the socio-political system made it possible to mobilize all types of resources in the shortest time possible. Institutions of culture were responsible for propaganda and recruiting campaign, thus performing the function of ideological and political inspirer of Soviet citizens.


e-Finanse ◽  
2019 ◽  
Vol 15 (3) ◽  
pp. 67-75
Author(s):  
Adam Mateusz Suchecki

AbstractFollowing the completion of the process of decentralisation of public administration in Poland in 2003, a number of tasks implemented previously by the state authorities were transferred to the local level. One of the most significant changes to the financing and management methods of the local authorities was the transfer of tasks related to culture and national heritage to the set of tasks implemented by local governments. As a result of the decentralisation process, the local government units in Poland were given significant autonomy in determining the purposes of their budgetary expenditures on culture. At the same time, they were obliged to cover these expenses from their own revenues.This paper focuses on the analysis of expenditures on culture covered by the voivodship budgets, taking into consideration the structure of cultural institutions by their types, between 2003-2015. The location quotient (LQ) was applied to two selected years (2006 and 2015) to illustrate the diversity of expenditures on culture in individual voivodships.


Author(s):  
Gennady L. Ruksha

The article analyses the contradictions of the current functioning of socio-cultural institutions in the field of education, considers the place and the role of libraries in this process, describes the experience of the State Universal Scientific Library of Krasnoyarsk Region in organizing book-illustrative exhibitions, people's university, academic meetings.


Author(s):  
Asha Rogers

Debates about the value of the ‘literary’ rarely register the expressive acts of state subsidy, sponsorship, and cultural policy that have shaped post-war Britain. In State Sponsored Literature, Asha Rogers argues that the modern state was a major material condition of literature, even as its efforts were relative, partial, and prone to disruption. Drawing from neglected and occasionally unexpected archives, she shows how the state became an integral and conflicted custodian of literary freedom in the postcolonial world as beliefs about literature’s ‘public’ were radically challenged by the unrivalled migration to Britain at the end of Empire. State Sponsored Literature retells the story of literature’s place in modern Britain through original analysis of the institutional forces behind canon-formation and contestation, from the literature programmes of the British Council and Arts Council to the UK’s fraught relations with UNESCO, from GCSE literature anthologies to the origins of The Satanic Verses in migrant Camden. The state did not shape literary production in a vacuum, Rogers argues, rather its policies, practices, and priorities were inexorably shaped in turn. Demonstrating how archival work can potentially transform our understanding of literature and its reading publics, this book challenges how we think about literature’s value by asking what state involvement has meant for writers, readers, institutions, and the ideal of autonomy itself.


Author(s):  
Maurice Mengel

This chapter looks at cultural policy toward folk music (muzică populară) in socialist Romania (1948–1989), covering three areas: first, the state including its intentions and actions; second, ethnomusicologists as researchers of rural peasant music and employees of the state, and, third, the public as reached by state institutions. The article argues that Soviet-induced socialist cultural policy effectively constituted a repatriation of peasant music that was systematically collected; documented and researched; intentionally transformed into new products, such as folk orchestras, to facilitate the construction of communism; and then distributed in its new form through a network of state institutions like the mass media. Sources indicate that the socialist state was partially successful in convincing its citizens about the authenticity of the new product (that new folklore was real folklore) while the original peasant music was to a large extent inaccessible to nonspecialist audiences.


Author(s):  
Назгуль Нуржановна Кадримбетова ◽  
Айсулу Корабековна Купаева ◽  
Жанар Алтынбековна Жаксылыкова

В статье дается обзорный анализ основ государственной культурной политики в рамках сохранения и использования историко-культурного наследия на базе методики геокультурного брендирования. Казахстанский геокультурный бренд - «Великая степь как этнотерриториальный образ степной цивилизации». The article deals with an overview analysis of the foundations of the state cultural policy in the framework of preserving and using historical and cultural heritage based on the methodology of geo-cultural branding. Kazakhstan's geo-cultural brand is "The Great Steppe as an ethno-territorial image of the steppe civilization".


2016 ◽  
Vol 28 (1) ◽  
pp. 62
Author(s):  
Wildan Sena Utama

This book investigates how culture, particularly national culture, in Indonesia has been shaped by the government policies from the Dutch colonial period in 1900s to the Reformation era in 2000s. It is an attempt to show the relationship between the state and culture around the process of production, circulation, regulation and reception of cultural policy through different regimes. Although this book discusses government policy, the author has realized that the book needs to overcome contradictions and confusions of cultural discourse by incorporating people as explanatory element. Many aspect of culturality may be influenced by the state, but according to Jones, “it is a field that is not stable and easy to shift that facilitates resistance, and is able to turn against the state, market and other institutions” (p. 31). Jones employs two postcolonial cultural policy tools to review the history of cultural policy in Indonesia: authoritarian cultural policy and command culture. The first means that the state has assumption if majority of citizen do not have capability to inspirit a responsible citizenship and need a state’s direction in the choice of their culture. On the contrary, command culture shows that the cultural idea that is planned in fact always been placing the state as center in planning, creating policy and revising cultural practice.


2021 ◽  
pp. 67
Author(s):  
Natalya Rozenberg

The history of art in Argentina in the XX-XXI centuries is studied mainly in three directions: the genre system, the spiritual and content aspect of works and creative biographies of outstanding masters. Special attention is paid to the links between the art of the Old and New World. Nowadays, the issue of connecting the artistic culture of the regions of Argentina — the center of the country, the northeast, and the northwest - is becoming urgent. The provinces not only perceived the trends of the capital's cultural policy, but also built their own cultural institutions that contributed to the creation and translation of the meanings of works about the uniqueness of human and nature connections far from Buenos Aires, and what is especially significant - about the diversity of ethnic types and characters. Such outstanding masters as Lino Enea Spilimbergo, Antonio Berni, Raul Monsegur, Eddie Torre taught in provincial art schools. They moved quite often from city to city, from province to province. We can assume that in the 40-50s of the XX century. in Cordoba, Mendoza, Tucuman and Resistencia, there were already professionals in all kinds of art. Argentine domestic scientists began to study these processes not so long ago. In this article, special attention is paid to the analysis of cultural heritage and the museum collection of the association El Fogón de los Arrieros (EFA, "Hearth of teamsters", hereinafter - Fogón), located in Resistencia, the capital of the province of Chaco, now known in the country as the City of Sculptures. Fogón became famous for its diverse cultural, educational activities, which began in 1943 and continues to this day. In the history of Fogón, a new type of educator has developed in the person of Aldo Boletti, Juan de Dios Mena, Hilda Torres Varela. The study used the historical and typological method and the method of art criticism analysis.


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