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This article explores the intertwinement of politics, international affairs and culture during the Cold War through a case study of Polish-Dutch cultural relations and the heterogeneous factors that shaped them. The study centres around the turbulent events of 1968 in Poland, and their impact on the international cultural policies of the Polish People's Republic and the Kingdom of the Netherlands. It demonstrates that the cultural field suffered the most immediate consequences of the political decisions taken by both parties – consequences which lasted for a considerable time – thus making it a metaphorical litmus test for the Cold War international relationships. This article reconstructs and analyses Polish and Dutch reactions to the 1968 events and their use of culture for the sake of their own policies – both as a form of protest and as an anti-crisis tool meant to influence the authorities and citizens of the target country. [ABSTRACT FROM AUTHOR]

In democratic societies, the political process ultimately is about making value judgements. Comparative cultural policy research indicates different value orientations may be behind cultural policies of different nations. It has also indicated developments that are common, such as democratisation of culture, neoliberalisation of politics and globalisation. As of yet, such value changes have not been studied at the level of cultural policy documents analysed as text. This article proposes a methodology to study value changes behind cultural policies over time and across nations. Based in the "pragmatic sociology" of Boltanski, Thévenot, and Chiapello, the article presents a big data methodology to uncover value changes of policy documents over time, between different policy agents, and across nations using material from the UK and the Netherlands. The paper explains the methodology, discusses the implications of the preliminary outcomes and provides suggestions for further comparative policy analyses. [ABSTRACT FROM AUTHOR]

In an attempt to foster its citizens' identification with Europe, the European Union has made a great effort to identify what can be called 'common European heritage'. Many heritage initiatives, centred around the idea that heritage should be designated as European by the member states' heritage sectors, have proven counterproductive – instead of reaching their goal to construct a more stable European identity, they served as repositories of national pride and tools in the negotiation of nationalist claims of the member states. Through the empirical case of the EU's own Maastricht Treaty and the peculiar ways it became 'common European heritage' within the Dutch state heritage sector, in this paper we analyze the discursive tactics of national policy makers and the power dynamics between national and EU heritage regimes in the process of designating heritage as European. We demonstrate that even EU states with more constitutional traditions like the Netherlands maintain a powerful role in the construction of heritage as an unchangeable set of traditions and values strictly defined within the national boundaries, lacking the mechanisms to change their state-sanctioned and firmly established ways of defining heritage as 'national' and to legitimatize EU heritage narratives. [ABSTRACT FROM AUTHOR]

This article reflects on possible effects on income and earning capacity of creative workers of three measures that were recently introduced or that are being discussed to combat the vulnerability of non-standard working conditions in the cultural and creative sector in the Netherlands: the Balanced Labor Market Act, the Fair Practice Code for Culture, and a call for certain unified agreements, for instance in the form of minimum tariffs for self-employed workers. Each of these measures separately has its merits and the intention to improve working conditions. Therefore, the power lies in their joint introduction, which combines general legislation with a moral benchmark and subsector-specific solutions. However, in this combination several unintended consequences loom, such as the possible separation between professional and amateur creative workers, a higher threshold for talent to enter the sector, threats to artistic and aesthetic innovation, and the prioritization of fairness over equality. [ABSTRACT FROM AUTHOR]