scholarly journals The local cultural sector : Reinvigorating its public functions and foundations

2016 ◽  
Vol 5 (2) ◽  
pp. 31-37
Author(s):  
Anita Kangas
Keyword(s):  
Local Government ◽  
Cultural Policy ◽  
Cultural Policies ◽  
Policy Sector ◽  
The Arts ◽  
Provision Of Services ◽  
Political Objective ◽  
The Individual ◽  
Cultural Sector

In the Nordic tradition, public cultural policy has been endowed with an enlightening and welfarepolitical aim. Nordic cultural policies are based on an overall socio-political objective of furthering the empowerment of the individual, universal enlightenment ("Bildung") and the continued democratisation of society (Nielsen 2003). Locally, an important actor is a municipal cultural sector that is one specialized sector in a municipality's administration. Cultural and art institutions (such as libraries, museums, theatres) are working under the cultural sector administration, although they might sometimes have their own separate administration. According to Gray (2002, pp. 82-83) the arts as a coherent policy sector within local government is weak because of low political salience and a fragmented field of activity, with many actors having a role to play in the provision of services and development of arts policies.

Government Funding of Culture: What Price the Arts?

1984 ◽  
Vol 471 (1) ◽  
pp. 27-33 ◽  
Author(s):  
MICHAEL S. JOYCE
Keyword(s):  
Cultural Policy ◽  
Political Process ◽  
Careful Consideration ◽  
Government Responsibility ◽  
Unique Role ◽  
The Arts ◽  
Explicit Statement ◽  
Open Debate ◽  
Essential Questions ◽  
The Individual

The immediate challenge to the National Endowments for the Arts and the Humanities is not financial but philosophical. Government responsibility for culture must include an explicit statement of policy based upon a careful consideration of essential questions concerning the nature of and relationship between the state and culture. In the past the Endowments have been reluctant to enunciate a cultural policy lest it be objected that talk of a cultural policy sounds like a call for an autocratic ministry of culture. But grants cannot be made in a vacuum, and some cultural policy, however incoherent, inevitably informs decisions about grants. The issue is whether such a policy is to be made explicit, so that it may be studied and criticized, or whether such a policy is tacit, in which case it is likely to be enforced with little public scrutiny or evaluation. The federal government—responsible to both the individual and the nation, to the present and the future—has a unique role to play in American culture. What the role is can be defined only through the political process, in open debate.

scholarly journals How can cultural policy strengthen the arts and cultural sector?

2021 ◽  
Author(s):  
◽  
Susan Richer
Keyword(s):  
New Zealand ◽  
Policy Development ◽  
Cultural Policy ◽  
Large Scale ◽  
Short Term ◽  
Cultural Changes ◽  
Term Survival ◽  
Multiple Systems ◽  
The Arts ◽  
Cultural Sector

<p><b>During the COVID-19 worldwide health pandemic, with gigs cancelled, seasons postponed, travel ceased and unemployment increasing, calls for new approaches to cultural policy have emerged despite there being no shared understanding of what cultural policy is, does and could be. Governments in Australia and New Zealand have responded to the sector’s increased precarity with large-scale rescue funding packages, which are focussed on immediate relief and short-term survival. Even pre-COVID, it seems there was little interest in longer term cultural policy thinking.</b></p> <p>This research explores the legitimacy of cultural policy as source of sector sustainability through a review of contemporary cultural policy literature and insights from key players in the cultural policy space - arts and cultural bureaucrats, whose perspectives are usually muted. Norwegian sociologist Per Mangset (2020) suggests that western democracies may actually be facing the end of cultural policy, which has not adapted or responded significantly to major societal, economic and cultural changes of the last 50 years. While not conceding that cultural policy is a redundant practice, this research responds to Mangset’s provocation by identifying three key policy approaches through a survey of contemporary policy literature. The three approaches; policy as action, policy as sustainability and policy as democracy intersect to create a grey area in which new democratic approaches to policy development might be further explored.</p> <p>This contribution to the contemporary cultural policy heritage narrative of the trans-Tasman region clarifies definitions and approaches utilised by policy makers in Australian and New Zealand government settings. It finds that cultural policy has been looping in a neo-liberal, post-democratic pattern of short-term cycles resulting in a cultural policy stasis and elitist decision making, which largely excludes the public. Recommendations for further research include exploration of new democratic approaches to cultural policy that could transform policy making to encompass multiple systems and perspectives that can strengthen the arts and cultural sector.</p>

scholarly journals Toward Cultural Policy Studies on Mobility: Reflections on a Study of the Hong Kong Working Holiday Scheme

2017 ◽  
Vol 23 (1) ◽  
Author(s):  
Louis Ho
Keyword(s):  
Economic Policy ◽  
International Trade ◽  
Cultural Policy ◽  
Policy Studies ◽  
Arts Policy ◽  
Cultural Policies ◽  
The Arts ◽  
Labour Policy ◽  
Cultural Experiences

Cultural policy is predominantly, and practically, considered the sum of a government’s activities with respect to the arts, humanities and heritage. Thus, cultural policy encompasses a much broader range of activities than was traditionally associated with an arts policy. Critical cultural policy studies, then, sees a distinction between ‘explicit’ cultural policies that are manifestly labelled as ‘cultural’, and ‘implicit’ cultural policies that are not labelled as such, but that work to shape cultural experiences. This article considers this explicit/implicit cultural policy distinction through John Urry’s idea of ‘social as mobility’, suggesting that some public policies regarding mobility (such as immigration, international trade and labour policy) have led to specific cultural consequences and therefore qualify as implicit cultural policy. Using Hong Kong’s working holiday scheme as a case study, this article explores how an economic policy on temporary immigrant labour involves a deliberate cultural agenda as well as ‘unintentional’ cultural consequences and problematises the fact that cultural policy studies are largely framed by the idea of ‘social as society’.

scholarly journals Revisiting the Cultural Policy Moment: Queensland Cultural Policy from Goss to Bligh

2011 ◽  
Vol 18 (2) ◽  
pp. 190-206
Author(s):  
Stuart Glover
Keyword(s):  
Cultural Studies ◽  
Cultural Policy ◽  
Policy Making ◽  
Policy Studies ◽  
The Arts ◽  
Cultural Sector

An account of cultural policy-making in Queensland since the election of the Goss Labor government in 1989 requires revisiting the rise and fall of what Stevenson (2000) has called the ‘cultural policy moment’ in Australia.This period, from the early 1990s to the early 2000s, was characterised by political and scholarly interest in the civic and symbolic utility of culture, and in the outcomes achieved through its management. The cultural policy moment was produced simultaneously within government, the cultural sector and the academy. Within government, it was characterised by a new and highly visible interest in managing culture and (through it) the citizenry (O'Regan 2002). Within the academy, the cultural policy project was raised by Tim Rowse in Arguing the Arts (1985) and developed by the Institute for Cultural Policy Studies at Griffith University through the work of Ian Hunter, Tony Bennett, Toby Miller, Colin Mercer, Jenny Craik, Tom O'Regan and Gay Hawkins in the late 1980s and early 1990s. Stuart Cunningham's Framing Culture (1992) focused existing debate within Australian cultural studies over the place of policy-based approaches within the discipline.

scholarly journals Cultura digitalizada, buscando estrategias durante la emergencia sanitaria por COVID-19

UVserva ◽  
2021 ◽  
pp. 17-24
Author(s):  
María De Lourdes Becerra Zavala ◽  
Julia Josefa Méndez Delgado ◽  
Néstor Igor Hernández Rivera ◽  
Perla Génesis Andrade Sosa ◽  
Zazil Elideth Lozada Andrade
Keyword(s):  
Social Isolation ◽  
Local Level ◽  
Know How ◽  
Cultural Policies ◽  
Design And Implementation ◽  
Intangible Heritage ◽  
Cultural Life ◽  
The Arts ◽  
Recorded Data ◽  
Cultural Sector

En México ha pasado un año en aislamiento social en casa debido a la pandemia por COVID-19. Surgieron encuestas y análisis académicos que se suman a las bases de datos oficiales respecto al sector cultural durante la pandemia. En este marco, el Observatorio de Políticas Culturales de la Universidad Veracruzana, registró datos de julio a diciembre de 2020 a nivel local y los comparó con actividades convocadas por agentes gubernamentales y académicos. Las artes fueron las de mayor actividad, en contraste con el patrimonio tangible e intangible. Esto puede deberse a que ha sido la tendencia de los gestores monitoreados en años anteriores, pero también a que los agentes gubernamentales lanzaron muchas convocatorias enfocadas a esta temática. Es necesario generar información constante que permita saber cómo y por qué regresar a una vida cultural activa, para el diseño e implementación de políticas culturales. Mexico has spent a year in social isolation at home due to the COVID-19 pandemic. Surveys and academic analyses emerged that add to the official databases regarding the cultural sector during the pandemic. Within this framework, the Observatory of Cultural Policies of the Universidad Veracruzana recorded data from July to December 2020 at the local level and compared them with activities organized by governmental and academic agents. The arts were the most active, in contrast to tangible and intangible heritage. This may be due to the fact that this has been the trend of the managers monitored in previous years, but also to the fact that government agents have launched many calls for proposals focused on this topic. It is necessary to generate constant information that allows us to know how and why to return to an active cultural life, for the design and implementation of cultural policies.Keywords: Cultural Managment; COVID-19; Cultural Policies; Arts; Heritage

scholarly journals Productive Nation? Museums, Cultural Policy and Australia’s Productivity Narrative

2017 ◽  
Vol 14 (1) ◽  
pp. 131-145 ◽  
Author(s):  
Ian McShane
Keyword(s):  
Cultural Policy ◽  
Culturally Diverse ◽  
Cultural Pluralism ◽  
Creative Industries ◽  
First Century ◽  
Policy Agenda ◽  
Creative Activity ◽  
Cultural Policies ◽  
Australian Museum ◽  
The Arts

This article traces the emergence of productivity as a central theme in Australia’s national cultural policy, and discusses some implications of this development for the Australian museum sector. The analysis focuses on two texts – Australia’s two national cultural policies, Creative Nation (1994) and Creative Australia (2013) – to highlight changing policy rhetorics through which cultural heritage and cultural pluralism lose traction, and productivity, innovation and creativity find favour. The article argues that the government’s concern to boost sources of economic growth in twenty-first century Australia focus cultural policy on the arts and creative industries, seen as the locus of innovation and the wellspring of creative activity. The article argues against this narrow construction of productivity and its sources, showing why museums are important contributors to a productivity policy agenda in a culturally diverse and globalized society. Key words: cultural policy, Australia, creative industries, productivity, diversity

Cultural Policies of the Chávez Government

2017 ◽  
Author(s):  
Sujatha Fernandes
Keyword(s):  
Cultural Production ◽  
Cultural Policy ◽  
Alternative Conceptions ◽  
Cultural Activity ◽  
Left Wing ◽  
Cultural Policies ◽  
The Arts ◽  
The Everyday ◽  
Cultural Movements ◽  
Hugo Chavez

The cultural policies of the left-wing government of Hugo Chávez in Venezuela in the new millennium saw a shift back to funding and patronage of the arts after years of defunding and commodification of cultural production. However, despite leading to a renaissance of cultural activity, Chavista cultural policy also retained a modernist rationality that treated cultural production as objects to be classified and quantified. Official cultural policy in Venezuela has historically developed alongside popular-cultural formations that draw on alternative conceptions of culture that stem from everyday life. The official and the everyday have developed in tandem and, sometimes, at cross-purposes. Many scholars look to policies and states as the producers of change, but it is at the level of the everyday that we can see the emerging possibilities that define cultural movements in search of social change.

Governing Culture, Producing Modern Citizens

2021 ◽  
pp. 90-119
Author(s):  
Banu Karaca
Keyword(s):  
Cultural Policy ◽  
The State ◽  
Turkish Republic ◽  
Art And Politics ◽  
Cultural Policies ◽  
The Arts ◽  
Greater Good ◽  
Administrative Units ◽  
The Many ◽  
The Relationship

Chapter 3 shows how ideas of art as a greater good have been translated into Turkish and German cultural policies. It begins with a general overview of cultural policy as a domain of statecraft rooted in modernist notions of aesthetic education as essential for modern personhood and then turns to the fundamental contradictions that characterize the interlocution of art and administration. It revisits and retells major debates and turning points in Turkish and German arts policies of the twentieth century by examining forgotten episodes of this history that allow for re-evaluating the present. These include the heated discussions on the relationship between art and politics in the early Turkish republic that resulted in a constant reshuffling of the administrative units in charge of the arts, and the fact that engagements abroad, including arts initiatives in the Ottoman Empire, were formative for Imperial Germany’s domestic cultural policy. Analyzing the tension between art as a supposedly functionless good and the many ways in which the state mobilizes different understandings of art for its own purposes, the chapter shows how the critical potential of art always also presents a risk that the state needs to contend with.

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