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This paper is a study of the figure of 'ambition' in Scottish cultural policy since about 2010. The argument of the paper is established through the development of the concept of 'temporal sovereignty'. Through 'ambition' cultural policy attempts to subject culture and cultural agents to the formation of the Scottish government's temporal regime, and in particular the relation between creative industries and the effects of economic temporality. The study examines the temporal properties of 'partnerships' as a key strategic mechanism in that project. The focus of the study is an analysis of authoritative Scottish cultural policy texts which show that the subject of culture becomes the organisation of temporal sovereignty. The paper explains the conditions for the emergence of the problem of 'temporal sovereignty' and discusses its consequences for structures of rule and logics of cultural policy formation. It concludes by indicating the location of culture in a politics of temporalities. [ABSTRACT FROM AUTHOR]

This paper probes the underlying motives behind the adoption of the 'creative city' policies in Shanghai, Hong Kong and Taipei. It argues that while the global appeal of the creative city is commonly attributed to urban entrepreneurialism, this reason alone is insufficient in explaining the so-called 'cultural turn' in these three cities, because none of them ascribe to the conventional format of the post-industrial 'entrepreneurial' city. In order to identify other major forces driving the adoption of creative city initiatives in Shanghai, Hong Kong and Taipei, this work delves into the ways in which the idea of the creative city is reworked within the context of global city making. The study found that in addition to urban entrepreneurialism, the inherited cultural policy agenda, which largely stems from national interests, also plays a significant role in directing (and changing) the 'global cultural city' making process. By looking into different roles attached to the 'imported' policy discourse of the creative city in Shanghai, Hong Kong and Taipei, this study not only contributes to the understanding of urban cultural policies within the Chinese-speaking world and East Asia more generally, but also lends some insights to the developing field of cultural policy mobility. [ABSTRACT FROM AUTHOR]

Urban cultural policy is increasingly focused on economic development and city reimaging rather than the priorities and experiences of local artists and cultural workers, while those approaches embedded in creative industries/creative cities frameworks, implicitly imagine creative workers to be young, 'hip', male, urban, and geographically mobile. Drawing on the findings of a major study of creative practice in Australia's most culturally and demographically diverse urban area, Greater Western Sydney, this paper considers the creative, biographical and social profile of local cultural workers. Respondents were older, predominantly female, highly educated, and not particularly mobile. And although actively involved with local creative communities and networks, they do not fit established community arts and cultural development paradigms any more than those of the creative industries. These findings suggest that the typical cultural worker may not be the imagined artist of creative industries-informed cultural planning, nor those generally considered in accounts of creative work. The paper argues that in order to support the work of a diversity of local artists and cultural workers, including those who may be 'unfashionable', what is required are inclusive explanatory frameworks of cultural labour, and cultural planning and urban cultural policy approaches informed by community consultation and engagement. [ABSTRACT FROM AUTHOR]

Like other disciplines within the humanities and social sciences, cultural policy studies has had to respond to the influence of computing technologies. Researchers have explored the changes wrought to the management of cultural organisations, to the models of the creative industries and to new forms of access to culture and the arts. This paper suggests that these emphases might miss how computing technologies are re-shaping the project of cultural policy in a more fundamental direction. The paper draws on the work concerned with the cultural values of computing technologies and their influence on contemporary modes of government. These values, of instrumental reason, categorisation and calculation underpin a range of technologies, which are increasingly present in and important to the management of everyday life. Reflecting on how cultural taste and participation are being re-shaped by computing technologies, the paper argues these infrastructures are informed by specific visions of the kinds of people who live with and through them and how such people can be governed. The long-standing focus of cultural policy studies – about how states are concerned with the cultural formation of their citizens – are keenly present in the strategic ambitions and imperatives associated with computation. [ABSTRACT FROM AUTHOR]

In the British Isles, national policies for the arts are primarily viewed as the responsibility of arts councils with statutory duties to distribute state funding that meet the requirements of both "arms-length" principles and national strategic frameworks. This paper explores the tensions between policy making for the nation-state and for "the local" through comparative research on the arts councils (and equivalent bodies) in Scotland, England and Northern Ireland. Drawing on in-depth qualitative interviews with senior representatives from these organisations, it explores their notions of, responsibilities to and affiliations with "the local". Findings suggest that despite their different models and relationships to the nation-state, and the disparities in the scale of investment, these national policy bodies commonly rely on networked governance to facilitate their relationship to "the local" which risks reproducing national interests, limiting the localised agency of place-based approaches and contributing to a culture of competition within cultural policy. [ABSTRACT FROM AUTHOR]

The formulation of cultural policies in the Anglophone Caribbean constantly straddles the demands of global, regional and national imperatives as a function of its position as a region of post-colonial, small-island states. This paper will argue that the role these factors play in the art of policy making problematises conventions in the current global/local (glocal) debate circulating in the arena of Cultural Policy Studies. The paper shows that cultural policy making in the Caribbean constitutes a mélange of approaches that are in a constant state of contestation during the policy-making process. It employs content analysis of cultural policy texts from selected Caribbean states, as well as an analysis of stakeholder views from the national cultural policy consultations in Trinidad and Tobago to derive its findings. A Five Factor framework was developed to illustrate the range of responses that guide and shape local actors and activities in the national cultural policy domain. The research concludes that the relationship between the national and local (nocal) actors has to be re-imagined if cultural policy is to deliver on its promise of social transformation in the Caribbean. [ABSTRACT FROM AUTHOR]

This paper reflects on how cultural policies in South Korea, Japan and China respond to the Covid-19 crisis. It conceptualises the current period as a historically significant moment by exploring the notion of 'critical juncture'. Then, it presents an empirical analysis of what has actually happened in cultural policies in the three countries by investigating key events, debates, actors and decisions made in 2020. In Korea, the pandemic functions as a force of 'policy acceleration' by legitimising and furthering the existing development in cultural policy. In Japan, it triggered 'policy movement', where artists emerged as institutional entrepreneurs who fundamentally contest Japan's non-interventionist cultural policy and ask for policy reform. In China, cultural policy is 'locked-in' as the party-state appropriated the crisis in its ideological terms. Despite the lack of visible transformative changes (yet), the consequences of the pandemic are critical enough to determine the future direction of cultural policy. [ABSTRACT FROM AUTHOR]

Cultural policies that promote film production and exchange in small island states face numerous challenges (including training, funding, and infrastructure). Yet, in the Pacific, Indigenous film-making is a key strategy for redressing reductive framing of the region during the colonial period (which continues today), and the last 20 years has seen a growing movement towards greater Pacific Island film production. In addition, the creative industries (including film) are currently being explored as an alternative development pathway although this has met with mixed response from governments in the region. In this changing context, and recognising the political importance of Indigenous film production, this paper analyses the strategies of film-makers and other non-state actors in developing a regional film sector across Oceania – strategies of connection that potentially bring filmmakers and audiences together across the great ocean. [ABSTRACT FROM AUTHOR]

Before the COVID-19 pandemic in early 2020, mass tourism was the main driver for the unusual growth of tourist accommodations in World Heritage Cities (WHC). This paper investigates how the mass tourism pause due to the pandemic can be considered an opportunity for resetting cultural heritage policy and management practice in WHC. Selecting the Historic Centers of Siena and Florence as the case studies, we explain how the two cities experienced an unusual increase in tourist accommodation before the pandemic. By reviewing scenarios for the COVID-19 virus outbreak in Italy, we argue insights for a new cultural heritage policy and management framework that can effectively moderate mass tourism in WHC. Our findings suggest the new policies should be initiated based on a multi-sectoral and multi-level approaches in planning practice. By creating a dynamic tourism map on the macro level, international cultural heritage and tourism organisations may agree on policies that mitigate tourist flows in vulnerable WHC. On the micro-level, there is a demand for regional directives that monitor the growth of tourist accommodations in WHC. Furthermore, local communities' engagement in decision-making may open new opportunities to work more collaboratively on the social or environmental challenges that exist in WHC. [ABSTRACT FROM AUTHOR]

Europe has a ‘problem’; it is becoming a ‘less cultural continent’ as fewer Europeans are ‘engaging in cultural activities’. This conclusion has been reached due to the findings of the latest cross national cultural participation survey. This paper questions the existence of this ‘problem’ and instead suggests that there is a shared problematisation across Europe sustained by common discursive archaeology that employs various discursive strands in relation to a dominant institutional discourse. The argument is that the ‘problem’ of ‘non-participation’ legitimates a ‘solution’ that predates its emergence: the state subsidy of arts organisations. The paper recaps the comparable problematisations that the researchers have previously identified in the policy texts of their respective countries. It progresses to consider three distinct but interwoven discursive strands upon which the problem representation in both countries, and potentially across Europe, appears to rely. [ABSTRACT FROM AUTHOR]

This paper explores the question of the legitimation of cultural policies by examining the case of the Canadian French-speaking province, Québec, where the consensus over the legitimacy and the purpose of a cultural policy was not easily reached. To understand the evolution of the justifications for state intervention in this field, we have analysed three major policy statements issued by the government of Québec as well as the criticisms levelled at the moment of their publication using the analytic framework the Economies of Worth. Developed by French sociologist Luc Boltanski and economist Laurent Thévenot, this framework conceptualises different regimes of justification that can be retraced in cultural policy statements. We explore more particularly the concept of ‘compromise’ which enables us to understand why cultural policies have difficulty achieving consensus. This paper thus aims at assessing the heuristic value of this interpretative device for cultural policy analysis. [ABSTRACT FROM AUTHOR]

Copyright of Asian Studies Review is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the ways in which the digitalization of the music industries has impacted the work of musicians locally, in the semi-peripheral country of Hungary. In particular, it focuses on the ways in which the work of musicians is shaped by gender relations. It aims to critique the democratization discourse of the digitalization of musical production by exploring, first, the local policy and industry context of digitalized musical labor, and, secondly, the role of gender relations within the household in the labor and careers of musicians in Hungary. [ABSTRACT FROM AUTHOR]

The paper provides ethnographic insight into the social construction of migrants by examining the everyday working of the reception system in one of Italy's regions that is most advanced in terms of multicultural policies. Focusing on migrants' encounters with the professionals employed in two social services, the article sheds new light on the multi-layered forms of discrimination that take place in a controversial arena in which institutions and policies operate at different levels. On one hand, I argue that the prevailing essentialized or racialized categorisation of 'foreign users' framed in the ambiguous context of Italian bureaucracy conveys a form of inequality that reflects the broader asymmetries between the state, local institutions and migrant minorities. On other hand, I explore the discretionary power different categories of workers exercise in their treatment of migrants, highlighting the central role local agencies and their staff play in building symbolic boundaries in Italian society. [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]

Streaming services have emerged as increasingly important access points for cultural content, often promising, as Netflix does, 'unlimited entertainment'. However, the actual conditions of availability remain under-examined. While streaming services typically contain a vast selection of objects, they certainly do not hold the total amount of all possible items. Streaming services thus pose new challenges for policymakers who wish to ensure access to, and availability of culture. In this paper, we build on previous research to develop the term 'contingent availability' and discuss how cultural items are made available in streaming contexts. Departing from a pyramid model of availability, we investigate these levels empirically through a case-based approach. Nine Norwegian award-winning or critically acclaimed books, movies and TV series were strategically selected to highlight how availability in streaming services is contingent upon multiple conditions. For each case, we assess the ways in which Norwegian cultural policy influences production, distribution and availability of culture. We discuss how cultural policy measures do secure availability for most of the cases, but is unable to effectively combat fragmentation of availability. [ABSTRACT FROM AUTHOR]

This study reviews the evolution of the cultural and creative industries (CCI) policy in Taiwan. Beginning with the early 1990s, when the ‘culturalization of industries, industrialization of culture’ represented the central theme of Taiwanese ‘cultural policy’, it traces the shift to the present day, in which Taiwan’s ‘CCI policy’ has been driven by the broader economic rationale of pursuing international competitiveness. By examining the recent discourse and development of Taiwan’s CCI policy, the paper reveals that Taiwan’s CCI policy has served to widen, rather than bridge the gaps between ‘localization and globalization’, ‘culture and creativity’, and ‘network system’ of the CCI development and more importantly, has overshadowed cultural issues. Consequently, tensions are emerging which are challenging to future CCI policy development, especially at a time when Taiwan is becoming increasingly incorporated into the fastest growing economy – mainland China, which brings threats and opportunities to the CCI development in Taiwan. [ABSTRACT FROM AUTHOR]

In 2017 Universities Australia (UA), the peak body representing Australian universities released its Indigenous Strategy 2017–2020. The document unites universities together in common goals for Indigenous achievement, filling a notable gap in the Australian higher education landscape. The Strategy outlines a comprehensive plan for enhanced Indigenous outcomes in critical areas of higher education including student access and success, graduate research, and community engagement. This paper focuses on the implementation of Indigenous curriculum for all Australian university graduates which is a key aspect of the Strategy. The changing Indigenous higher education landscape invites the nuanced analysis that critical examination of universities, as organisations, might elicit. Drawing on de Certeau's notion of tactics and strategies, the paper examines the policy and cultural climate of an Australian university which supports an Indigenous Graduate Attribute curriculum project. [ABSTRACT FROM AUTHOR]

A striking feature of the 2010s has been significant growth in the number of creative industries courses being offered worldwide, seemingly independently of the fortunes of creative industries as a policy concept. This paper undertakes an analysis of the growth in such courses in the United Kingdom and Australia, reviewing course content, host Faculty, and the underlying approach underpinning the degree programs. Based on this material plus interviews with key informants, the paper identifies five features of these programs: (1) loose and eclectic definitions of the creative industries; (2) the importance of the link between digital technology and creative practices; (3) the extent to which they may be displacing cultural studies, particularly at the postgraduate level; (4) the importance of international student demand; and (5) their inherently interdisciplinary nature. It is proposed that while eclecticism and interdisciplinarity have been necessary features of the early development of creative industries courses, there is a growing requirement for codification of the field, in order to benchmark the various programs against shared objectives. This requires industry and government engagement in order to provide the necessary scaffolding for such course design and development. [ABSTRACT FROM AUTHOR]

This paper reflects on the value of cultural policy research, particularly when such research forms part of projects that seek to produce insights or 'outcomes' that are useful to non-university research partners. The paper draws from the author's involvement in a project examining cultural diversity in the arts that was funded as part of the Australian Research Council's Linkage Project scheme. It addresses Eleonora Belfiore's provocation that this kind of instrumental cultural policy research routinely amounts to 'bullshit.' However, in order to understand the critical function of such research, there needs to be greater attention to the lifeworlds of cultural policy and the multiplicity of the policy-making process. This multiplicity both complicates the possibilities for usefulness in policy research, at the same time that it enables such research to be generative in unpredictable ways. [ABSTRACT FROM AUTHOR]

This paper explores how the Greater London Council (1981–1986) deployed community focused cultural policy initiatives to disseminate cultural forms of nuclear scepticism during its 'GLC Peace Year 1983' campaign. Drawing upon archival sources and interviews, this paper will present an overview of Peace Year's cultural programme, which promoted London's 'nuclear-free zone' through arts commissions, poster campaigns, pop concerts, murals, documentary films and photography exhibitions. Focusing on two GLC funded projects aimed at promoting positive representations of women's peace activism, this paper will reflect upon the emotional and political impacts of the GLC's radical cultural strategy. [ABSTRACT FROM AUTHOR]

This paper endeavours to examine different types of expertise in cultural policy. Unlike other conceptual studies, it focuses on the abstract notion of expertise i.e. the different forms of cognition and knowledge deployed in cultural policy, rather than the personage of an expert. The article proposes a distinction between arts expertise and technocratic expertise and employs five analytical categories within which they are discussed and compared with each other. Although a clear-cut differentiation seems impossible to achieve, the binary approach helps to shed light on how different forms of expert judgement in cultural policy can be framed and legitimised as well as how vulnerable they are to political influence and the concomitant pressure of the democratisation of policy-making. [ABSTRACT FROM AUTHOR]

The rise of digital music distribution has caused decreasing returns from CD and cassette sales in Burkina Faso and Ghana. In response to this decline in revenues, artists and their management have been trying to find ways to find other sources of income. One major way of doing this has been through focusing on (live) music performance. Yet this requires built and social infrastructures that are not always present, functional, or put to full use. This paper explores how musicians and music workers make sense of the cultural policies that have shaped and will shape the built infrastructure (concert venues, clubs, etc.) they need. Because the complex links between the built and social infrastructures mean that history weighs significantly on future plans, this paper argues that calls for new venues cannot be the solution to the range of existing issues without engaging more thoroughly with the past. [ABSTRACT FROM AUTHOR]

Copyright of Critical African Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The words multicultural and intercultural are not universal signifiers, as Guilherme and Dietz recently stated in this Journal (2015 Vol.10/1). This article therefore attempts to be culturally conscious scholarship, and draws a picture of the connotations of these expressions in the recent academic and public/political and discourse in Germany in the mirror of the recent intercultural program developments in German academia. Without attempting to provide a concise analysis of the multi-faceted scholarship and policy papers, the article focuses on the interconnectedness and the discrepancy between the political and the academic discourse. The paper points toward a possible integration of these two areas by suggesting a pedagogical approach that explains intercultural through the arts. [ABSTRACT FROM AUTHOR]

This paper analyses the impact of neoliberal policies on the film heritage sector at the European level. I first describe the specific debate to which this paper contributes, a conversation that deals with the relationship between neoliberalism and digital technology. With the aim of expanding the horizon of the debate beyond technology, I adopt an analytical framework that draws on the contribution of critical cultural policy scholars who have provided convincing accounts of neoliberalism in the cultural sector. Neoliberalism has had an impact on film heritage approximately in the same ways that it has on the cultural sector as a whole. In fact, economic instrumentalism, New Public Management and corporatisation - the three main features of neoliberal cultural policy - have found their ways into the film heritage sector. In spite of this, neoliberalism does not yet seem to have created a paradigmatic change, as the key features of the field persist. In the conclusion some potential ways forward are suggested. [ABSTRACT FROM AUTHOR]

Pierre Trudeau's vision of Canada's cultural policy was situated within a bilingual framework. Canada, so conceived, has "no official culture" and two official languages. Nearly 50 years later, debates regarding the effects and broader significance of this policy combination persist as illustrated by the recent debate about Supreme Court judges. Yet, Canadians' attitudes about bilingualism have received relatively little scholarly attention. This paper probes the structure and recent evolution of public attitudes toward the general idea of official bilingualism using the Survey on Official Languages (2003) and the Canadian Election Studies (1997-2011). It goes on to investigate regional differences in public support for bilingual Supreme Court judges using a large-scale survey conducted by Vox Pop Labs in 2015 (n = 291, 577). The combination of these data sources offers new insights into the contextual and individual-level determinants of regional differences in public attitudes toward bilingualism policy in Canada. [ABSTRACT FROM AUTHOR]

While many people may believe that Korean classical musicians' success is the result of endless hours of practice and special musical instruction for talented children from a young age, this paper explores the systematic investment in classical music by the Korean government and large corporations. This paper aims to understand classical music as a nation branding tool in two ways. First, we trace Korea's cultural policies since the early 1960s and locate the government's investments in classical music in its cultural agendas. Second, by taking a critical approach to nation branding that highlights the role of the market and marketization, we investigate how and why classical musicians have collaborated with the Korean government in order to promote national pride domestically and a positive image of the nation internationally in an era of global competition. We highlight the government's new agenda, 'K-Classic,' which has support from various actors, including private corporations. [ABSTRACT FROM AUTHOR]

This paper examines the distribution of cultural facilities in the City of Tshwane, post-1994 democratic dispensation. The spread of these amenities by the municipality throughout its jurisdiction since its inception has been uneven; tilting towards the urban formerly white towns and cities as opposed to black townships and rural areas as part of its mandate to reverse the legacy of colonial and apartheid spatial planning. Through qualitative research, the paper explains this unevenness and argues that the absence of cultural planning devices to inform and guide equitable as well as equal distribution of resources only serves to perpetuate the status quo. It thus proposes a cultural turn in spatial planning in South Africa in general and Tshwane in particular to offset obvious historic disproportionate geographical contours. [ABSTRACT FROM AUTHOR]

This paper considers the explicit/implicit cultural policy distinction from the viewpoint of economics, suggesting that some economic policies have a hidden cultural purpose, and therefore qualify as implicit cultural policy. Examples in the public policy arena are drawn from macroeconomic policy, immigration, taxation, labour market policy, media regulation and international trade. Some of these may involve deliberate cultural change, in others the effect on culture may be unintentional and in still others the policy is simply reflective of the cultural status quo. The paper goes on to look at the reverse possibility, i.e. that some explicit cultural policy may be implicit economic policy; creative industries policy is put forward as an illustration. The possibility that all these types of implicit policies may be exercised also by non-government agents is briefly discussed. The paper concludes with some observations about the implications of the implicit policy concept for cultural policy studies. [ABSTRACT FROM AUTHOR]

This paper explores issues about the concepts of social capital and multiculturalism, and how their use impact on the lives of South Asian women. The aim of the paper is to contribute to current research on ethnicity and social capital by providing insights into the lived experiences of South Asian women in minority ethnic communities. It raises questions about power and structural inequalities based on gender and race, and points out how the two concepts are fraught with difficulties. It is suggested that multiculturalism simultaneously encourages and erodes relations of trust, obligations and reciprocity that feature prominently in definitions of social capital. Social capital and multiculturalism can therefore be thought of as existing in a relationship of tension. The paper begins by asking whether social capital is enabling or disabling and outlines the ways in which it has been conceptualized and its applicability to ‘the community’ and women in general. It directs us to the gender-blind analysis of social capital which has been contested by feminist scholars who point to the inherent paradox it generates. It is argued that multiculturalism operates at different levels, and in the context of minority ethnic communities multiculturalism can result in compounding structural inequalities and the oppression of women. On a more optimistic note the paper suggests that women, even under the most oppressive conditions, are able to create networks and organizations to challenge unacceptable cultural practices. Cet article examine les enjeux relatifs au capital social et au multiculturalisme et la manière dont leur utilisation influence la vie des femmes originaires du sous-continent Indien. Le but est d'apporter une contribution aux recherches actuelles sur l'ethnicité et le capital social en donnant des aperçus des expériences vécues par les femmes du sous-continent Indien des groupes ethniques minoritaires. La question du pouvoir et des inégalités structurelles fondées sur les concepts de race et de genre seront examinées; on démontrera que ces deux concepts sont remplis de difficultés. Nous suggérons que le multiculturalisme encourage et mine à la fois les relations de confiance, les obligations et la réciprocité éléments majeurs dans la définition du capital social sont à la fois encouragées et minées par le multiculturalisme. On peut donc penser qu'il y a une relation de tension entre le capital social et le multiculturalisme. D'emblée, nous posons la question de savoir si le capital social est positif ou négatif; et précise les modalités de sa conception, utilisation et de son applicabilité à la communauté et aux femmes en général. Ceci nous amène à analyser le concept du capital social sans différenciation sexuelle, concept contesté par les féministes pour qui il comporte un paradoxe inhérent. Nous soutenons que le multiculturalisme opère à plusieurs niveaux et, dans le contexte des communautés ethniques minoritaires, il peut mener à une accumulation des inégalités structurelles et à l'oppression des femmes. Sur un ton plus optimiste, l'article suggère que les femmes — mêmes sous des conditions des plus opprimantes — sont capables de créer des réseaux et des organisations pour contrer les pratiques culturelles inacceptables. capital social, multiculturalisme, femmes, communantés, ethniqnes minoritaires, oppression, agence politique [ABSTRACT FROM AUTHOR]

Cross-country comparisons are popular in cultural policy. This paper looks at how cultural statistics are used in the making of such comparisons. Analysts have identified a general ‘sloppiness’ in current cultural statistics comparisons. Some of the major problems in both data production and data presentation are documented, and a ‘checklist’ of good practice is provided. The paper aims to provide guidance and ideas for anyone making cross-country comparisons of cultural statistics. [ABSTRACT FROM AUTHOR]

This paper draws policy insights from the first comparative analysis of multiple hotspots of regional cultural and creative activity across Australia. Focussing on the state of Queensland, it provides three interlinked findings relevant to international cultural policy debates. The first – municipal agency – goes to the crux of the value of studying small regions. We examine the degree to which Cairns, an isolated, small regional city, can exercise effective cultural agency in a tripartite system of government, demonstrating that policy ambition and asset management at the local level can deliver outsized cultural infrastructure benefits through a focus on demand from the local community. The second further illuminates the question of demand for cultural infrastructure as a critical enabler, in conjunction with allied infrastructure, in a very remote, distressed community–the Central West region. Cultural tourism's surprising prominence as support for mainstream tourism on the Gold Coast, an international mecca for surf, sand and sun, is the third example, deepening the significance of allied industry connectivity. Drawing on fieldwork conducted in 2019, the trend data and analysis offered here will be significantly impacted by the global COVID-19 pandemic of 2020. [ABSTRACT FROM AUTHOR]

The role of the National Endowment for the Arts (NEA) in shaping the arts and cultural sector is not well understood. In this paper, I focus on the development of the governance of the creative placemaking policy to unpack the complexity of the role of the NEA. Governance is used to refer to collective action designed to achieve a general interest through different actors from both the government and civic society. I use intergovernmental relations theory to capture governance dynamics in creative placemaking. In particular, I focus on three main tools developed by the NEA to spur a multi-level governance: research, grants, and partnerships. What emerges is that the role of the NEA in the development of the creative placemaking policy is multifaceted as it includes offering and leveraging funding, shaping the conversation, providing insights, and spurring collaborations. These actions create a multi-level governance based on a dynamic exchange between national and local governments, and the involvement of a variety of actors from civil society. [ABSTRACT FROM AUTHOR]

This paper considers the use of evidence for government decision-making using ethnographically informed data from the lived experiences of those involved in British cultural policy. It does this in order to engage and extend work that has sought to defend bureaucratic forms of activity. The paper offers an empirical case study of how the civil servants’ ethic of office [DuGay, P. (2008) ‘Max weber and the moral economy of office’,Journal of Cultural Economy, vol. 1, no. 2, pp. 129–144] is reinforced by the identity of the social scientist. The use of social science in policy advice is a moment where the bureaucrats are able to distance themselves from political decision-making, thus reasserting an important aspect of civil service practice and identity. However, as the latter part of the article illustrates, the dynamics of cultural policy-making, in particular the use of economics, situate the role of social science as paradoxical. It is both supportive and corrosive of the bureaucratic ethic. This paradox is the basis for a critical perspective on the ethic of office as deployed in contemporary government. [ABSTRACT FROM AUTHOR]

This paper explores higher education development and policy shifts in Singapore over the last decade, within a landscape of an increasingly globalised creative economy and international cultural policy transfer. Using qualitative interviews with key players in policy and higher education institutions, the paper aims to explain the push and pull factors behind investment in creative higher education. It considers the emerging dynamics and diverse patterns, embedded in a society where higher education interactions with economic development have a long history and pragmatic rationale. While still in the early days of these investments, the paper argues that there are some global policy lessons to be learnt from the case of Singapore and the role that higher education can play in developing a creative economy, while striving to overcome issues of over-supply and innate vulnerability of creative careers. [ABSTRACT FROM AUTHOR]

Throughout the last two decades, cultural quarters have been used by many local councils across the UK as attempts to redevelop and revitalize declining urban centres. Cities have spent millions of pounds developing cultural quarter policies, justified by the prevailing rhetoric of culture revitalizing the local economy and the creation of a “cultural milieu” that stimulates creative industry activity. However, in many cases in the UK, visitor numbers remain lower than expected, and in some cases, flagship projects have been sold off or closed down. High rents force out small and freelance creative industry actors, and (non-commercial) artistic interventions are strictly policed. Forming part of the wider debate on the political circumscription of the creativity paradigm, this paper argues that cultural quarters have been viewed within a predominately economistic, dichotomous and simplistic framework. This paper argues that there is a need for a more practiced-based, subjective account of cultural quarters that goes beyond such a traditional framework to include more deleterious practices such as community impoverishment, precariousness and short-termism. [ABSTRACT FROM AUTHOR]

The common expression of ‘cultural development’ appears in many cultural policy statements without it necessarily arousing questions about its precise meaning. Indeed, we usually spontaneously associate ‘cultural development’ to any governmental intervention that aims at stimulating cultural vitality. However, if we look more closely at the origin of this concept, we soon discover that its appearance on the eve of May 68, in France, corresponds to the rise of new concerns in cultural policy matters and to a radical redefinition of the state’s role in this domain. Still enjoying a strong influence, France’s political transformations were closely followed by some Quebecois politicians and socially engaged intellectuals who were participating, at that time, in the formulation of a new political vision in cultural matters in Québec in the 1960s and 1970s. The objective of this paper is thus to retrace the origin of the idea of cultural development and follow its evolution in Québec. [ABSTRACT FROM PUBLISHER]

The purpose of this paper is to demonstrate how talking with children can provide an awareness of the 'funds of knowledge' (Moll et al., 1992) that they bring with them to school. These funds of knowledge represent cultural knowledge, and at times this knowledge can be scientific in nature, in this instance, in the domain of biology. The paper outlines research recently conducted by the author that: (1) employs linguistic analysis to examine and analyse the talk of a young girl from a culturally diverse background, in a way which gives insight into her cultural scientific knowledge; (2) explores an adult's ability to collaborate with the student in pursuit of the topic; and, (3) offers some suggestions for using these funds of knowledge in educational contexts. It is argued that cultural differences in 'funds of knowledge' must be recognised and built on if we are to achieve multicultural science curricula that are genuinely 'two-way', as this term is understood by Malcolm (1995). [ABSTRACT FROM AUTHOR]

This paper reviews The ANCER Conference 2020: Disruption as Opportunity organised by Lasalle College of the Arts in Singapore. The conference focussed on how the arts and cultural sectors in Southeast Asia have been navigating the challenges caused by Covid-19. By showcasing a wide range of ongoing art projects in different parts of Southeast and East Asia, the event offered a fresh perspective on the meanings of (making) local-regional-global nexuses which have been both challenged and given new impetus by the current crisis. The Southeast Asian perspectives highlighted in the conference also provided new opportunities to scrutinise the crisis not just in geographical but also in temporal terms, questioning the relationship between the past, present and future state of the arts. The presentations provided inspiring cases to examine the political relevance of artists and the potential and limitations of the emergence of cultural policy entrepreneurs in different Southeast Asian societies. [ABSTRACT FROM AUTHOR]

Cultural institutions are growing in importance as tools of cultural policy and for promoting the city brand. Moreover, these major cultural institutions devour the lion's share of public subsidies, sparking debate on the legitimacy of such public largesse and its "value". In this connection, one needs to ask to whether opera houses are "cultural white elephants" whose sheer cost greatly outstrips their supposed public benefits. This paper analyses the case of Valencia's Palau de les Arts, where the neo-Liberal discourse of management flexibility was combined with a shocking lack of accountability. Moreover, the creative city frame, neo-Liberal discourse and practices, the elitist management and disconnection from local cultural have spawned a herd of "cultural white elephants" that have become the hallmark of Valencian cultural policy. [ABSTRACT FROM AUTHOR]

Analysis of the role emotions play in a range of social processes has increased significantly, but is neglected in the context of cultural policy-making. Recent literatures in feminist and emotional geographies draw attention to how emotions are emergent in, and play a role in shaping, a broad range of social contexts and processes, while other literatures stress the need to 'personalise' the expert and consider the emotional aspects of planning. Inspired by these literatures we deploy the notion of 'affective urbanism' to study how emotions are interwoven with cultural policy spaces in the city and explore the 'emotional regimes' that incorporate emotions with the multi-scalar politics that is shaping urban cultural policy-making. This is undertaken through an analysis of emotions in the working lives and political contexts of cultural policy-makers in Stockholm (Sweden), Gdańsk (Poland) and Manchester (UK). Overall the paper seeks to develop a research agenda that places emotions centrally in studies of cultural policy formation and implementation. [ABSTRACT FROM AUTHOR]

This article explores an encounter with 'unknowns' of knowledge production and analysis experienced by a dance practitioner-scholar and social science researchers during an ongoing, collaborative project charting the effect of territorial borders on dance artists' lives and practice. Expanding the investigation of borders beyond the territorial to also encompass the methodological, the Co-Motion: Dance and borders project experiments with how improvised dance responses to research questions place an affective and embodied experience of borders in dialogue with more traditional methods of sociological enquiry. In contrast to 'Danced Data' projects that position dance as a primarily interpretative and communicative tool, Co-Motion considers how dance practice can be made integral to interdisciplinary, mixed-methods research processes as a source of knowledge production in its own right. The project's aim to achieve an interweaving of different knowledges through a possible fusion of horizons in an event generated by a joint questioning (Gadamer) seemed a relatively straightforward premise at the outset. However, the practical execution raised questions as to how a mixed-methods approach might truly embrace epistemological pluralism in knowledge production from inception, and how seemingly paradoxical forms of knowledge generation and languaging (Ingold) might be reconciled in analysis. Acknowledging these complexities, this article presents a dialogue between the researchers involved, mapping a terrain that welcomes unknowns and challenges the knowledge hegemonies experienced. Building on Mignolo and Tlostanova's (2006) critique of Western imperial and colonial knowledge hierarchies and their concept of 'critical border thinking', we ask how dance troubles epistemic frontiers that place knowledge classified as other outside of discourse. We also consider what epistemic shifts need to occur in collaborative, interdisciplinary projects to enable an 'unlearning and ungrounding of knowledge' that allows 'unforeseen bodies, movements and relations' (Cvejić, 2018, p.226) to inform the design of cultural policies that impact artists' daily lives and practice. [ABSTRACT FROM AUTHOR]

The paper examines entanglements between aspects of linguistic Magyarization in four towns of the Banat under Dualist Hungary, two of which are today in Romania and two in Serbia. After outlining local power relations and the shifting relations to central and county authorities, the author assesses the spread of Hungarian language skills in the urban population and charts out the evolution of language policies. This reveals that local decision-makers had to walk a fine line between the expectations of a monolingual norm and their home-grown elites' limited competence in the state language. While the four towns continued to project a multilingual image to their citizenries and their elected bodies continued to rely on the local languages, government agencies had by the end of the era enforced the use of Hungarian in everyday bureaucratic routines. Special focus is placed on German-speaking Catholic elites, who often resonated with Hungarian state nationalism, but typically without full cognizance of its linguistic consequences. [ABSTRACT FROM AUTHOR]

Cultural policies and cultural policy-making are closely associated with creativity and cultural innovation. While the festivals, large-scale art exhibitions and literary conferences supported by such policies play a vital part in the cultural landscape, in recent years they have been increasingly criticised as actually preventing creativity and innovativeness. The claim is that they foster a limited number of creative individuals while rejecting others, and that they are dominated by Western cultural norms that erase cultural diversity. A lack of wide-ranging empirical data with which to substantiate such claims, particularly from an historical perspective, has led to the creation of a 15,000-entry database with the names, nationalities and other details of the artists participating in perennial exhibitions, such asdocumenta, the Havana Biennial, Istanbul Biennial and Gwangju Biennale. These biennials and perennial exhibitions are widely regarded as vital to the definition of artistic standards and innovations in the visual arts, as exerting an important influence both in their home countries and abroad, and as encouraging the participation of artists from around the world. The first part of this paper considers which artists have appeared in regularly occurring exhibitions, determining whether the majority of them are, indeed, the same and whether there is any bias towards a particular cultural region. The second part inquires whether biennials and other regularly occurring exhibitions in the Western hemisphere “ignore” artists from other regions, or whether they, in fact, represent a global perspective. In short, this paper explores the cultural diversity of these perennial exhibitions and determines whether they favour artists from particular regions, while excluding others. The findings reveal that the data do not support these assumptions and that international exhibitions do, in fact, contribute to creativity, diversity and multiculturalism. [ABSTRACT FROM AUTHOR]

This paper argues that our fascination with creativity is distracting and potentially destructive, resulting in a tendency to discard projects and people before they achieve their potential. ‘Uncreativity’ is used to recognise the importance of continuity over change, the contribution of intermediaries and administrators to creative processes and the possibility of reconfiguring and refining existing ideas rather than inventing new ones. The paper argues that the ‘discourse’ of creativity prioritises novelty over value. This leads to an unsustainable emphasis on new ideas and initiatives in organisations. For individuals, it encourages an overemphasis on individual talent and relentless self-belief. This partial understanding of creative processes results in unrealistic expectations and self-destructive and self-exploiting behaviours. Uncreativity is proposed as a necessary element in creative processes for both organisations and individuals. Cultural policy and cultural management need to acknowledge the important contribution of these uncreative elements as well as simply endorsing ‘creativity’. [ABSTRACT FROM AUTHOR]

This paper charts the turn in the UK New Labour government’s (1997–2010) creative industries policy from an early focus on encouraging wider access to the arts to an increasingly instrumentalist emphasis on self-funding and the generation of wealth from intellectual property. The paper demonstrates the effect of this policy primarily through the case of the teaching of media and communications in UK universities. Focusing on the Skillset Media Academy Network, the authors ask whether this is both the best approach to teaching media and communications in UK universities and appropriate that many of these courses appear to be solely geared towards preparing graduates for jobs in the creative industries. [ABSTRACT FROM PUBLISHER]

This paper examines the relation between the cultural policy of the Chinese Communist Party (CCP) and the music of model plays (yangbanxi 样板戏), especially music produced by Western symphony orchestras, during the ten-year Cultural Revolution in China. It takes the Shanghai Symphony Orchestra (SSO) as the focal point of this historical episode. Model plays of the Cultural Revolution promoted communist and revolutionary themes. All aspects of their performance were examined for conformity to Maoist thought. This paper explores how the CCP’s ideology and its cultural policy were embodied in revolutionary music, using one of the model plays, Taking Tiger Mountain by Strategy, as an analytical case study. Most of the historical materials cited in this research are held by the SSO Archive. The SSO played a crucial role in creating and performing the music for Taking Tiger Mountain by Strategy. The academic value of its archive has long been overlooked. This paper provides a new perspective on the Cultural Revolution, one viewed through policies of a Western symphony orchestra, and it suggests that scholars apply the term ‘cultural policy’ more deliberately in future studies of the Chinese Cultural Revolution. [ABSTRACT FROM AUTHOR]

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon - the transnational expansion of Korean popular culture - during the past two decades has reshaped the society's perception of the governor-governed relationship within the cultural sphere. [ABSTRACT FROM AUTHOR]