scholarly journals Definitions Matter: Dynamic Policy Framing of the Arts in Boston’s Sustainable Cultural Development

2021 ◽  
Vol 13 (24) ◽  
pp. 13661
Author(s):  
Xuefei Li ◽  
Margaret Wyszomirski ◽  
Biyun Zhu
Keyword(s):  
Industrial Structure ◽  
Dynamic Change ◽  
Cultural Development ◽  
Research Approach ◽  
Policy Framing ◽  
Working Definition ◽  
The Arts ◽  
Arts Advocacy ◽  
Dynamic Policy ◽  
Cultural Sector

Cultural sustainability has become a fourth pillar in sustainable development studies. Different from the research approach to embedding culture into conventional sustainable discourse, this article argues that the sustainability and resilience issues within the arts and cultural sector should be paid more attention to. Putting the arts and cultural sector in urban settings, sustainable cultural development entails dynamic policy framing and changing policy justifications in response to an evolving socioeconomic and political environment. Taking the policy framing of the arts as an analytical lens, this paper aims to investigate this dynamic change and key driving factors through an in-depth case study of Boston’s urban cultural development. This article finds that different definitions of the arts are associated with different arts-based urban development strategies across four stages of cultural development in Boston spanning a period of over 75 years. The working definition moved from art to the arts, then to the creative arts industry, and eventually to cultural assets and creative capital. The policy framing of the arts keeps evolving and layering in pursuit of more legitimacy and resources regarding groups of stakeholders, field industry components, types of industrial structure, and multiple policy goals. This dynamic policy framing has been driven by arts advocacy groups, policy learning process, urban leadership change, and cultural institutional change, allowing Boston to draw on a growing and diversifying set of cultural resources in pursuit of sustainable cultural development.

Impact of the 2020 crises on the arts and culture in the United States: The effect of COVID-19 and the Black Lives Matter movement in historical context

2020 ◽  
Vol 27 (4) ◽  
pp. 449-465
Author(s):  
Stanley N. Katz ◽  
Leah Reisman
Keyword(s):  
United States ◽  
Historical Context ◽  
The United States ◽  
Cultural Organizations ◽  
Black Lives Matter ◽  
The Arts ◽  
Arts And Culture ◽  
History Of ◽  
Cultural Sector ◽  
The Impact

AbstractThis article discusses the impact of the COVID-19 pandemic and the Black Lives Matter movement on the arts and cultural sector in the United States, placing the 2020 crises in the context of the United States’s historically decentralized approach to supporting the arts and culture. After providing an overview of the United States’s private, locally focused history of arts funding, we use this historical lens to analyze the combined effects of the pandemic and Black Lives Matter movement on a single metropolitan area – Philadelphia, Pennsylvania. We trace a timeline of key events in the national and local pandemic response and the reaction of the arts community to the Black Lives Matter movement, arguing that the nature of these intersecting responses, and their fallout for the arts and cultural sector, stem directly from weaknesses in the United States’s historical approach to administering the arts. We suggest that, in the context of widespread organizational vulnerability caused by the pandemic, the United States’s decentralized approach to funding culture also undermines cultural organizations’ abilities to respond to issues of public relevance and demonstrate their civic value, threatening these organizations’ legitimacy.

scholarly journals FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE

2021 ◽  
Vol 4 (164) ◽  
pp. 58-64
Author(s):  
Wu Changzhi
Keyword(s):  
Chinese Culture ◽  
Role Model ◽  
Cultural Development ◽  
Chinese Art ◽  
Exterior Space ◽  
Chinese Architecture ◽  
The Arts ◽  
Art Form ◽  
Full Analysis ◽  
The Impact

The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.

The Germs of a Genre: The Germ and the Oxford and Cambridge Magazine

2018 ◽  
pp. 16-35
Author(s):  
Koenraad Claes
Keyword(s):  
Christina Rossetti ◽  
William Morris ◽  
Conceptual Integration ◽  
Dante Gabriel Rossetti ◽  
Working Definition ◽  
The Arts ◽  
Starting Point ◽  
Printed Text ◽  
Fine Printing

This chapter offers a working definition for the little magazine genre, explained as dependent on the peculiar position these publications occupied in the wider periodical marketplace. It then looks at two titles that have been suggested as the starting point for this genre: the Pre-Raphaelite Brotherhood’s journal The Germ (1850—e.g. Dante Gabriel Rossetti, Christina Rossetti, William Holman Hunt), and the closely linked Oxford and Cambridge Magazine (1856—e.g. William Morris and Edward Burne-Jones) that anticipates the message of the Arts & Crafts Movement, in which several contributors would be involved. Finally, the early tendencies in these journals towards a conceptual integration of their contents and the formal / material aspects of the printed text is related to the mid- to late-Victorian ‘Revival of Fine Printing’, which is argued to develop alongside the little magazine genre.

NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH

2018 ◽  
Vol 17 (1) ◽  
pp. 121-144
Author(s):  
Meghan Freeman
Keyword(s):  
New South ◽  
Cultural Development ◽  
Arts And Crafts ◽  
Deep South ◽  
Arts And Crafts Movement ◽  
Old South ◽  
Women's College ◽  
Educational Experiment ◽  
The Arts ◽  
History Of

In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.

The culture of consumption

Scene ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 75-86
Author(s):  
Christine White
Keyword(s):  
United Kingdom ◽  
Culture Media ◽  
Labour Force ◽  
Creative Industries ◽  
Digital Culture ◽  
Positive Contribution ◽  
Stem Learning ◽  
The United Kingdom ◽  
The Arts ◽  
Cultural Sector

Abstract The creative and cultural arts sector in the United Kingdom, most often termed the 'arts and cultural industries' in 2011 had a turnover of £12.4 billion published in Create Arts Council England. The Centre for Economic and Business Research (CEBR) stated that the arts and cultural industry in 2016 was responsible for £21.2 billion direct turnover, which involved 137,250 jobs. This sector pays 5% more than the UK median salary and so makes a positive contribution to an average household. This industry also plays an important role in supporting wider commercial activity. This includes tourism spend estimated as £856 million and this includes film production advertising, design and crafts all of which is also showcased overseas. In addition, this sector's work is seen to have a wider benefit for health and wellbeing. For example, those who attended a cultural place or event in the preceding twelve months were 60% more likely to report good health and in terms of spend, people valued being in an audience for the arts as they spent £2000 a year on events, which is more than for sport, as cited in the Arts Council England report of 2014. The continued need for reports and advocacy for the value of the arts and how that value should be ascribed is frustrating as there is a continued and pervasive sense that these areas are still of less value when compared with STEM learning and industrial activity, yet there are an estimated 89,000 jobs in museums, galleries and libraries and 296,000 jobs in music, performing and visual arts. In 2018, the number of jobs in the creative industries sector stood at just over two million, an increase of 1.6% from 2017. The sector accounted for 6.2% of UK jobs in 2018. The number of jobs in the creative industries has increased by 30.6% from 2011: three times the growth rate of employment in the United Kingdom overall (10.1%) (Department for Digital, Culture, Media and Sport [DCMS] 2018). The cultural sector had a workforce of 659,000, a fall of 2.1% from 674,000 in 2017 (a record number). The sector accounted for 2.0% of all UK jobs in 2018. Since 2011, the cultural sector workforce has grown by 21.0%.All of these sectors do not include tourism; however, we know that when people are tourists, they are doing and seeing stuff which is most often in the realm of cultural and creative sector developed activity. Across Europe and by their different methodologies of definition of the cultural sector, defined anyone employed in an economic sector defined as 'cultural', irrespective of whether they are employed in a cultural occupation and all persons with occupations relating to culture are included, even if the people concerned are employed in non-cultural sectors ‐ the number is 8.7 million people (European Union Labour Force Survey: EU-LFS).

Blending: A Response

2006 ◽  
Vol 15 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Margaret H. Freeman
Keyword(s):  
Identity Formation ◽  
Human Mind ◽  
Cultural Development ◽  
Aesthetic Theory ◽  
Narrative Perspective ◽  
Literary Forms ◽  
The Arts ◽  
Prose Narratives ◽  
Reader Reception ◽  
Human Creativity

This response to the five articles in this special issue on blending focuses on how the power of blending as a basic human cognitive ability not surprisingly extends into all aspects of human creativity, illuminating such literary forms as narrative perspective, character and identity formation, and poetic styles, as well as reader reception and response or cultural development and transmission. In their extension of earlier studies of blending in poetry to drama, film, and prose narratives, these five articles reveal the possibilities of a broader scope for blending theory in literature. However, if blending theory is to succeed in modeling the human mind, it must also account for intentionality and feeling. In the second section of this article, therefore, I explore Susanne K. Langer's idea that literature creates the semblance of felt life, an idea that raises the possibility that form-meaning blending includes the iconic notion of form as feeling. Using Per Aage Brandt's cognitive-semiotic elaboration of Fauconnier and Turner's blending model and Masako Hiraga's model for metaphor-icon links in language, I suggest the possibility of constructing an aesthetic theory of literature that would reveal the central and crucial role that literature (and all the arts) play in human consciousness and feeling.

Characteristics of Civically Engaged Nonprofit Arts Organizations

2016 ◽  
Vol 46 (1) ◽  
pp. 175-198 ◽  
Author(s):  
Mirae Kim
Keyword(s):  
Large Scale ◽  
Qualitative Interviews ◽  
National Sample ◽  
Service Organizations ◽  
Arts Organizations ◽  
The Arts ◽  
Tax Returns ◽  
The Common ◽  
Cultural Sector ◽  
Nonprofit Arts

Nonprofits face increasing pressure to compete in the market, while they must maintain their civic commitment. Focusing on the arts and cultural sector, this study conducts the first large-scale, comprehensive empirical measurement of nonprofits’ engagement in various roles. The article uses a previously validated 18-item role index to categorize nonprofits as primarily engaged in either civic or market functions, so that a subsequent regression analysis can identify the common characteristics of civically active nonprofit arts service organizations. The data come from (a) qualitative interviews with leaders of arts nonprofits, (b) a random national sample of more than 900 arts nonprofits, and (c) Internal Revenue Service (IRS) tax returns of the sample nonprofits. The findings suggest that civically active arts nonprofits have diverse networks, recognize civic engagement as the industry norm, and are consciously aware of their nonprofit status. The results suggest how nonprofits can balance their equally important market- and civic-oriented functions.

scholarly journals Opening Spaces of Resistance in the Corporatized Cultural Institution: Liberate Tate and the Art Not Oil Coalition

2017 ◽  
Vol 15 (2) ◽  
pp. 126-141 ◽  
Author(s):  
Emma Mahony
Keyword(s):  
Ethical Issues ◽  
Corporate Sponsorship ◽  
Cultural Institutions ◽  
The Public ◽  
The Arts ◽  
Economic Climate ◽  
Spaces Of Resistance ◽  
State Subsidies ◽  
Cultural Sector ◽  
Opening Up

In the current economic climate where state subsidies for the arts have been steadily eroded, there is a consensus in support of the good of corporate sponsorship for cultural institutions. This article seeks to problematize this consensus by critiquing the strategies that corporations employ in their sponsorship agreements with public cultural institutions and opening up a discussion around the ethical issues this poses for their recipients. It then examines how a coalition of subversive arts collectives, that come together under the banner ‘Art Not Oil’, have begun to successfully shatter this consensus through a sustained campaign of unauthorized live art interventions enacted inside cultural institutions. It argues that the unique strategy of resistance they employ operates at an interstitial distance to the public cultural institutions they target, from where they open up spaces of resistance ultimately capable of rewriting the cultural sectors’ corporatized value system.Key Words: Corporate sponsorship, Public cultural sector, Liberate Tate, Simon Critchley, Interstitial distance

Sign in / Sign up

Export Citation Format

Share Document