Effective cultural policy in the 21st century: challenges and strategies from Australian television

Author(s):  
Amanda D. Lotz ◽  
Anna Potter
2016 ◽  
Vol 158 (1) ◽  
pp. 80-89 ◽  
Author(s):  
Terence Lee

The city-state of Singapore commemorated its 50th year of independence in 2015. In that 50-year period, Singapore defied the odds by forging itself into an important media and communication hub, one that services the Asian region by linking it to other global media centres. This article examines Singapore’s efforts to develop its media sector over the years from a historical (and) policy perspective. The article begins by explaining how early policy discourses were bifurcated along internal versus external lines, where the development of a national media system to mould a fledgling society was the internal mission, while externally, the vision was to promote Singapore to the rest of the world as a reliable port (where media and cultural goods can be safely and reliable transported to/through) and teleport (where messages and satellite signals can be exchanged via reliable telecommunications infrastructure and uplink–downlink facilities). It was not until the early 2000s, with the launch of Media 21 and the Creative Industries Development Strategy (both in 2002), that the external mission began to dominate. In 2009, the Singapore Media Fusion Plan (SMFP) declared that Singapore would become a ‘Trusted Global Capital for New Asia Media’. While articulating that a strong media sector engenders a better understanding of Singapore culture, the latest policy does little to promote local culture. Instead, the cultural footprint of Singapore has expanded to include not just Asia, but ‘new Asia’, defined very problematically in the report as ‘newly confident Asian countries’ (p. 26). This article unpacks the ‘Asian media fusion’ discourse and contends that the positioning of Singapore as a 21st century media hub is arguably the most overtly economic media and cultural policy that Singapore has yet produced. It is clear that the media sector is a little more than a cluster of economic activity, where the goal of the government and the agencies involved is to boost Singapore’s status as the best business city. The media hub policy rationales have thus been, for better or worse, coherent with the Singapore government’s broader economic ideologies over the past 50 years and look set to continue into the foreseeable future.


2021 ◽  
pp. 6
Author(s):  
Natalia Bogoliubova

The modern cultural dialogue between Russia and Brazil is being developed quite successfully and actively. One of the original areas of cooperation is the ties in the field of ballet art. In this study, based on the rich and varied material of sources and the latest publications on this topic, the authors attempted to show the role of choreographic ties in cultural cooperation between Russia and Brazil, to consider ballet as an instrument of “soft power” and an effective image-forming tool. The article shows the bilateral nature of the dialogue between Russia and Brazil at the beginning of the 21st century, identifies those important forms of professional cooperation in the field of ballet art that determine the modern nature of the possibility of a dialogue. Independent attention in this study is paid to the unique educational form of modern ties – Bolshoi Theatre ballet school in Joinville, which has already trained talented artists, the winners of international competitions and the laureates of prestigious choreographic awards. The article presents a qualitative analysis of the forms of choreographic cooperation and shows their role in the dialogue between the two countries. The methodological approaches were formulated by the authors based on the set goal, taking into account the interdisciplinary nature of the stated topic – to consider the ties between Russia and Brazil in the field of choreographic art, as an important area of bilateral contacts, foreign cultural policy of the two countries and an instrument of “soft power”. The research methodology includes a comparative method, which made it possible to identify the general and the specific in the choreographic ties between Russia and Brazil at the present stage of cooperation, to note the dynamics of these ties. The descriptive approach provided an opportunity to consider and to describe the events (competitions, tours, joint projects) that united Russia and Brazil in the field of choreographic art at the beginning of the 21st century, and which are an original form of choreographic collaboration. The biographical approach allowed recreating the biographies of ballet dancers – participants in the dialogue. We applied such general scientific methods as analysis and synthesis in our work.


2021 ◽  
Vol 2 (9) ◽  
pp. 6-22
Author(s):  
Pierre-William Fregonese ◽  
Kazunari Sakai

France used to have one of the most powerful cultural diplomacy: it needs nowadays to modernize its strategy to hold on to its international position. France has a long history of foreign cultural policy and is one of the few countries that have placed great emphasis on fostering its culture abroad. However, the French position is currently being challenged by emerging international rivalries. Establishing a cultural strategy in the 21st century requires not only a consistent approach between the projection of an elite culture and of a pop culture, but also a joint action between public and private players. Japan could be a model, even a paradigm for France and its cultural action abroad, as well as an ally through a cultural alliance.


2015 ◽  
Vol 23 (2) ◽  
pp. 297-308 ◽  
Author(s):  
Cheng Aimin

In the past 30 years, teaching Chinese as a foreign/second language (TCSL/TCFL) has made great achievements in Mainland China. However, TCSL/TCFL is at a crucial point at present, and its global development in the 21st century presents us with new questions and challenges. There are many issues involved as TCSL/TCFL adapts to this rapid change from a largely domestic context to a global one. This article attempts to address such issues as the significance, challenges and strategies of TCSL/TCFL in mainland China by outlining its brief history and development since the 1950s, and calls for the establishment of an international ‘framework of reference’ for Chinese language teaching.


Author(s):  
Nnanyelugo Emelda Chinasa ◽  
◽  
Onyeke Blessing Uzoamaka ◽  
Izuchukwu John Ewulu ◽  
◽  
...  

The background and exposure of music artistes contribute a lot in shaping the quality of songs they compose and produce. Since the 21st century, there has been a great departure in what used to be the ideal choice of words for musical composition and productions in Nigeria, especially in the popular music spheres. Hitherto, musicians of all genres were careful in their choice of words; but regrettably, the decent use of language is fast disappearing especially in dance hall and emotional songs. This stems from the cultural shack on the part of the artistes especially in the influence of the environment. It is this inherent lacuna that this paper seeks to address but most importantly the paper recommends a cultural policy for the government and as well as the need to checkmate and regulate the brands of music by periodically engaging DJs, radio presenters and other principal stakeholders in the entertainment industries.


2014 ◽  
Vol 35 (2) ◽  
pp. 65-76 ◽  
Author(s):  
Håkon Larsen

Abstract The present paper examines the debate on the future of public service broadcasting (PSB) in Norway and Sweden in the 2000s. I have analysed the discourses on PSB that dominate the public debate in the two countries, the cultural policy related to PSB, as well as the legitimizing rhetoric of the Norwegian public service broadcaster Norsk rikskringkasting (NRK) and that of the Swedish public service broadcaster Sveriges Television (SVT). Theoretically, the analysis draws on normative theories on the role of PSB in promoting democracy, culture and a well-functioning public sphere, as well as theories on democracy and the public sphere per se.


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