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This paper seeks to make realize out an appraisal to public culture policies on Municipality on Novo Hamburgo, tracing a panorama between the historical-social contexts, through its political-administrative processes, the institutionalization of the Municipal System of Culture and implementation of its components and mechanisms, in order to analyze the participatory management established in the relationship between public power and civil society, from the perspective of co-creation of value. For this purpose, it used exploratory research through literature review, documentary research and qualitative analysis. Among the results it was possible to observe that the collaborative processes demonstrate to be effective ways for the full development of the creative sectors, in order to generate qualified and immutable cultural policies. [ABSTRACT FROM AUTHOR]

The comparative study of cultural policies in the Arab region remains a relatively underexplored domain, particularly in how these policies influence nation branding and nation-building efforts. This exploratory study seeks to contribute to this nascent field by adopting a comparative lens to examine the cultural policies of three Arab nations: the United Arab Emirates (UAE), Saudi Arabia and Egypt. Through a document analysis of key policies from these countries, this research unveils the intricate ways cultural strategies are employed to articulate and disseminate national, ethical and political ideologies. The article articulates how each country's approach to cultural policy—commodification in the UAE, securitisation in Egypt and religionisation in Saudi Arabia—reflects and is shaped by unique local, regional and global power dynamics. By contextualising these policies within broader frameworks of market forces, security concerns and religious influences, the study offers insights into the complex interplay between cultural policymaking and nation branding in the Arab world. [ABSTRACT FROM AUTHOR]

With the innovation movements on music and institutions in the 19th century, the Alaturka-Alafranga distinctions have become evident in Turkish music. This has caused dilemmas, debates and disputes in the field of music. Classical music, Turkish music, Enderun music, so-called art music, the city-centered style of music, which is transmitted between generations through the meshk method, has caused it to be considered as a museum and archaeological material. With the establishment of the Republic, the modernization movement also made itself felt in music policies, and efforts to create new-contemporary Turkish music based on Western music began, and the understanding of harmonizing local musical elements according to Western music procedures was born. Although folk music is not targeted, this approach and policies have enabled urban music intellectuals to turn to the public; folk music has started to be “discovered” by urban intellectuals. Âşık Veysel is one of the first of this period. Âşık Veysel; he came to the fore with his life, sensitive functioning style, understanding of the republic and revolutions, style of using Turkish, and became an icon during and after his period. The task of narrating the revolutions of the state was given to the poet through public houses, associations, concerts, tours and village institutes. Although the state's approach to music in the multiparty period was non-political, it is seen that the expansion of cultural industries in this period continued the role of the lover in music with the tools of the period. This study aims to identify the aspects of Âşık Veysel that overlap and do not overlap with cultural policies, his task in transferring traditional Turkish music to the twenty-first century, his position in today's understanding of music and official approaches. In this direction, the effects of modernization approaches in music on the tradition of minstrelsy and folk music, the consequences of policies, the discussion and evaluation of their reflections on today's music will be the main point of the study. In the study, first of all, the literature on music policies was scanned and read. Then, the evolution process of traditional music was tried to be determined using the content analysis technique. As a result, it can be seen that the traditional music-contemporary music dichotomy was achieved in the case of Âşık Veysel, although not with the planned goals and methods of the policies of the period. [ABSTRACT FROM AUTHOR]

Copyright of Jangwa Pana is the property of Revista Jangwa Pana 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.)

In recent decades, the styles and the role of monumentality have undergone significant transformations in the West, in line with wider trends of democratization and demystification of arts. Nevertheless, statues depicting human figures are still important landmarks in urban cultures. The statue wars that have erupted in several countries during recent years to challenge the racist, colonial and/or patriarchal vision embodied by many monuments, are a tangible demonstration of this. However, the topic remains understudied in the scientific literature. This research paper is intended as a contribution to begin addressing this gap by focusing on the dimension of gender in public monuments. We analyze statues in Italy depicting contemporary secular female figures. The aim of this paper is to research gender-based patterns or stereotypes that are specific to cultural heritage and urban design. The sample consists of 34 statues, distributed throughout the Italian national territory. A thematic analysis is conducted on the corpus integrating visual, narrative, aesthetic and sociological elements. The results reveal the existence of evident and widespread forms of stereotyping and discrediting of the female figure in Italian monuments, as well as the inadequacy of cultural policies, both in small provincial as well as larger urban contexts. [ABSTRACT FROM AUTHOR]

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Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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 Future Museums Project Group was created under the Portuguese Ministry of Culture with the mission of proposing recommendations for a 10-year public policy for museums, palaces, and monuments, considering sustainability, accessibility, and innovation issues and their relevance in society. Against this background, museums were understood as agents of change with a role to play in achieving a more sustainable future, and culture as a fundamental pillar for democracy and sustainable development. This study discusses the findings of the project, focusing on three features that highlight the approach adopted to sustainability, which included collections management, participation, and mediation. Drawn from empirical research, a series of concrete recommendations, both for policy makers and museums, are discussed. The study concludes by arguing that cultural policies must place sustainability at the core of their strategy in order to function as a framework to drive and implement sustainable development practices in museums and heritage. Furthermore, within the scope of post-pandemic recovery plans, climate emergency, and the energy crisis, it is even more pressing that cultural policies provide support for museums and heritage and ensure that they have the conditions and resources to be able to move forward in a more integrated manner, thus contributing to a sustainable future. [ABSTRACT FROM AUTHOR]

Since the beginning of Spain's transition to democracy in the late 1970s, cultural policy has gone from virtually zero to a policy priority, especially in the country's regional and local governments. Spain's will to achieve a great socio-political transformation and to converge with Western Europe have been two of the drivers behind this trend. However, since the 2000s, three factors have undermined these policies: austerity; regional tensions; the crisis of the model. Thus, cultural politics are threatened by a detachment from High Culture, as well as by cultural populism and the Far Right. This is why our paper analyses support for cultural spending as reflected in CIS (Spanish government agency of sociological research) surveys, which show overwhelming support for such expenditure. However, the factors explaining this support are diverse and are linked to generational, ideological and political factors. [ABSTRACT FROM AUTHOR]

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This article aimed to assess the impact of the Aldir Blanc Law (ABL) on cultural and creative economy initiatives in the city of Campo Grande, MS, during the covid-19 pandemic period. For that, it used bibliographic and documentary research focusing on the budgetary dimension of the law up to its actual implementation as an emergency public policy. Besides the budgetary dimension, the article categorizes the initiatives and sectors predominantly supported, as well as the impacts on the different projects chosen through a public call. The results show that the ABL, as an emergency cultural policy, was of fundamental importance in maintaining cultural and creative economy initiatives during the covid-19, particularly in 2020 and 2021. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana 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.)

Based on the analysis of the experience of José Antonio Encinas (Peru, 1888-1958) as director of School Center No. 881, this essay proposes that the aesthetic experience is a productive way to rearticulate pedagogical-humanistic reflection and the design of educational-cultural policies, whose purpose is to offer students the necessary tools for their personal self-design. The first part defines and analyzes the components of the aesthetic experience that emerge from Encinas’ pedagogical project, as a product of national and international knowledge and experiences that aim at the construction of a democratic society; through the aesthetic experience, pedagogical praxis would play a key role in the design of educational-cultural policies that are situated and viable from the school. The second part focuses on various experiences during Encinas’ leadership (implementation of workshops; organization of plays and newspapers; and his original interpretation of the life and work of the Peralta brothers, former students of the Center) in order to show the value of aesthetic experience for social transformation. By the end of this research, it will have been demonstrated that the aesthetic component of this pedagogy should not be identified with the institution “art”, but with an organic experience of self-design and community self-government. [ABSTRACT FROM AUTHOR]

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Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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 article borrows Heri Lefebvre's space production theory to discuss the cultural governance of East Asian cities and how culture is used as a means of spatial organization in a structured way. Text analysis, field investigation, and comparative analysis are used as the main research methods to explore the specific social production process of Taipei's Songshan Cultural and Creative Park and Hong Kong's The Mills. The social production processes of these cultural spaces took place in the same period, having some similarities, and they mostly involved transformation from old factories and old buildings in urban areas. However, the cultural governance strategies in Taipei and Hong Kong are different. On the one hand, the Taipei government's continuous cultural policy has spawned diverse cultural spaces rooted in factory renovations and unified under the authorities' imagination of "Creative Taiwan". A benign model of cultural heritage protection has been formed in terms of community participation, industrial development, and ecological conservation in Taipei. On the other hand, Hong Kong's cultural governance pays more attention to landmark cultural projects from the perspective of tourism development. Mainly driven by private capital, The Mills completed the transformation from a factory to a cultural space. The Mills' transformation process is also the epitome of the decline of Hong Kong's textile industry. In addition, different cultural governance strategies and cultural policies in Taipei and Hong Kong affect the dominant forces in the social production process of cultural spaces. The main driving force of cultural spaces in Taipei is the local government, while the production of cultural spaces in Hong Kong involves more stakeholders, such as private developers, non-profit organizations, etc., and presents the characteristics of a multi-path and multi-participant historic building activation process. Moreover, at the regional level, the abandonment and reuse of industrial buildings in Hong Kong and Taipei are rooted in the migration of local traditional manufacturing to mainland China with cheaper labor and the upgrading and transformation of local industries. This comparative study complements the global picture of cultural space production and also provides references for other areas. [ABSTRACT FROM AUTHOR]

Copyright of Journal Public Administration & Social Management / Administração Pública e Gestão Social is the property of Administracao Publica e Gestao Social 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.)

Copyright of International Journal for Tourism, Archeology & Hospitality (IJTAH) is the property of Beni Suef University 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.)

During the COVID-19 pandemic, information concerning attendance at cultural activities and arts participation has not been fully explored. Thus, this manuscript aims to explore the factors related to attendance at cultural and artistic activities during the shutdown period. With that purpose, we use the 2018, 2019 and 2020 MODECULT datasets (n = 1994, n = 1978, n = 1663, respectively) to perform a logistic regression analysis. Results suggest that, during the COVID-19 pandemic, being young, high education attainment, interest in cultural activities, and being familiar with cultural and artistic activities are positively associated with attendance at plays, music performances, dance performances, exhibitions and movies. Contrary, availability of information, perception of prices, perception of free time and cultural offering near home show negative relationships with those same categories. These findings have relevant implications on cultural policies, regarding the aspects that affect culture and arts participation in crisis times. [ABSTRACT FROM AUTHOR]

This article intends to reflect on the Solidarity Museum project carried out by the Brazilian critic Mário Pedrosa within the framework of the Popular Unity government of Salvador Allende. Two central hypotheses will be proposed, the first has to do with the meanings that the Popular Unity project, in general, and the Solidarity Museum, in particular, could have had for Mário Pedrosa; the second, closely related to the first, is what significance a project such as the Solidarity Museum could have had for the cultural policies of a government such as that of the Popular Unity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Urban and Cultural transition refers to several levels, with the environmental one occupying the minds. This transition raises the question of a new politicization of culture, of which cities are the theater. We will illustrate this point in the first part. In the second part, we will discuss this first point by posing the hypothesis that the politicization of culture is not a cyclical but a structural phenomenon, and that it includes certain peculiarities that must be taken into account at the time of urban transition. On the other hand, there is a transition resulting from the pandemic situation that the world has endured for the past 2 years. It is no less crucial for cultural policies, and has already obvious implications for the relationship that polity has with cultural policies. This is the third point we will address. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia 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.)

Cultural policies can be a strategic key to shaping more inclusive and sustainable urban regeneration processes, especially exploiting the acceleration promoted through transition dynamics. The City of Issy-les-Moulineaux, for its recent and deep investment in culture, sustainability and innovation in a non-conflictual and socially homogeneous urban dense context, is a valuable demonstrator of the role and forms in which institutional cultural policies at the urban scale can produce a shift of values, acceleration or simplification of decision-making processes towards inclusive and sustainable ways of life. The presentation of examples of cultural policies and regeneration programmes aims to contribute to the identification of some innovation trajectories in this direction, looking especially at the management of cultural policies or spaces and their flexibility and openness to inhabitants. Conclusions sketch the potential of strengthening some regime-niche traits of cultural policies in Issy and creating a permanent experimental environment in the governance (and approach) to cultural policies that reshape from rigid to fluid, thus increasing the anti-fragile nature of public policies and practices. [ABSTRACT FROM AUTHOR]

Cultural management is one of the most recurring concepts for the management of public cultural policies and due to its epistemic and methodological scope, it is located at the center of attention by a group of researchers from the Cuban social sciences. The reflections that are written in this article are part of two research projects, one referred to the characterization and improvement of the management of cultural institutions, the second, Cuenta Cuba, both from the Ministry of Culture and whose headquarters are the Center for Cuban and Caribbean Social Studies and the National Union of Writers and Artists of Cuba, of Ciego de Avila. The incursions made into the culture system, 12 years after the publication of an article on cultural management by Martínez & Expósito (2011), reveal fractures and point to new reconsiderations in management in a scenario of cultural changes. [ABSTRACT FROM AUTHOR]

This article is an approach to the perspective defended and practised by sociologist José Vidal-Beneyto on cultural policies, which is based on his conception of culture as resistance, solidarity, diversity, participation and a tool for the transformation of the world. Equal parts thinker and man of action, his facet as an analyst and sociologist of culture occupies a preponderant place among the multiple dimensions that define him, to which must be added his extensive institutional experience in the cultural field, especially in the European sphere. These pages begin with a review of the concepts and reflections that Vidal-Beneyto developed over more than three decades on the cultural question and, specifically, on cultural policies. This is followed by an overview of the main initiatives and projects on the subject that he was involved in at the Council of Europe, the European Commission and UNESCO, among other EU and international bodies. [ABSTRACT FROM AUTHOR]

Copyright of Polis (07176554) is the property of Polis - Revista Academica Universidad Bolivariana 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.)

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Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

As a former French colony, Mali's musical landscape contributed in important ways to the formation of the world music scene in France, where many of its most famous musicians have recorded, performed, and sometimes settled, especially from the 1980s onwards. Drawing on this context, the essay offers an overview of the African world music scene in France through some of its main vectors of development, including labels, festivals, and cultural institutions. This is approached through the analysis of programmes from important French world music festivals showcasing Malian musicians, such as Africolor or Musiques Métisses, and by exploring examples of musical collaborations—referred to in France as 'transcultural musical creations'—which were often implemented within cultural institutions and featured in festivals. Elaborating on how an elitist art culture was created, by stressing certain features of Malian music to the detriment of others, it is argued that these musical productions perform a play with otherness, which, in turn, has enabled western canons to take the guise of praising Malian music genres and instruments. Ultimately, these creative processes—and the discourses that foreground them—shed light on how France articulates and negotiates the postcolonial relationships it sustains with some of its former colonies. [ABSTRACT FROM AUTHOR]

Copyright of Methaodos: Social Science Journal / Methaodos: Revista de Ciencias Sociales is the property of Departamento de Ciencias de la Comunicacion y Sociologia, Universidad Rey Juan Carlos 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 main goal of this research is to analyze the experts' opinions on cultural sustainability and the importance of sustainable development in the EU cultural policies. Besides, the research analyses how institutional communication may contribute to the introduction of the sustainable development, and, specifically, of the SDGs in the European Union cultural policies' definition. In order to achieve these objectives, we share a survey with several experts in EU cultural policies. The experts' conclusions show that the SDGs need to be explicitly included in the cultural policies, adding a more practical perspective through specific projects and action plans. Institutional communication is a strategic factor for the success of sustainable development in terms of cultural policies and cultural sustainability in the European Union. [ABSTRACT FROM AUTHOR]

Copyright of Cuestiones Políticas is the property of Revista Cuestiones Politicas 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.)

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Using an ethnographic approach, including various techniques such as bibliographic analysis, analysis of documents and archives and longterm field work in Pilagá communities, this article analyzes --various transformations of Pilagá basketry between 1978 and 2014. Our research highlights the creation of an indigenous craft and its simultaneous attachment to the Pilagá identity as authentic. In addition, the paper examines and identifies the various transformations and their dialogue with market trends and public cultural policies --both in presence and absence--, in relation to artisanry in the province of Formosa, within a field that includes multiple actors holding unequal power. [ABSTRACT FROM AUTHOR]

This article reflects on the articulation of cultural policies and artistic projects for social inclusion in the province of Buenos Aires. The Cruzavías community theater group, from the Nueve de Julio city, is taken as a case, seeking to investigate the modalities of articulation between the group and the State based on specific cultural and social policies, which at the same time enabled and hindered the development of activities and the exploration of other areas of social life through art. Through an ethnographic approach to the object, we propose an analysis that is both historically situated and theoretically transdisciplinary, which reveals processes linked to the region's cultural policies and participants' subjective transformations. In this way, we seek to contribute both to the field of cultural policy studies, as well as to the perspectives that analyze processes of art, inclusion and social transformation. [ABSTRACT FROM AUTHOR]

From a critical perspective, this article raises a set of problems identified in the field of socio-cultural policies in Uruguay, particularly within the cycle of progressive governments (2005-2020). In this sense, it contributes to critically rethinking the sustainability of these strategies, taking into account the risks of ascribing to a rhetoric of the socioeconomic impacts of culture; the precarious working conditions of those who work daily in these policies; the subordination of cultural policies to the agendas of social development and education organizations and institutions; and some of the challenges that commonly emerge in processes based on the participation of lowincome and precarious sectors. This paper is based on extensive fieldwork carried out in Montevideo and Paysandú between 2016 and 2020, which included observations in work spaces and interviews with cultural workers enrolled in socially oriented cultural policies and programs. [ABSTRACT FROM AUTHOR]

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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.)

Copyright of Culturas: Revista de Gestion Cultural is the property of Universidad Politecnica de Valencia 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.)

In this article I focus on the motives and practices of a group of women who ensured the continuity of the small Austrian music festival 'Konfrontationen' after its bankruptcy in 2007. While the association responsible for the festival was being restructured, they assumed responsibilities and re-modelled organizational practices into a cultural-political practice. I look at their agency through the lens of Judith Butler's concept of subversive repetition. By contextualizing their practices with Austrian cultural policies that have been neoliberalized since the late 1990s, I place them in the arena of what in Austria is called 'Kulturpolitik': the negotiation of rivalling (world)views of what is to be understood as 'culture' and what the role of that culture is in society. [ABSTRACT FROM AUTHOR]

This article examines legitimacy and legitimation processes in cultural policies after the 2008 crisis. This is done by studying the relationships between the main institutional and economic reforms carried out by France, the UK, Spain and Greece cultural policies between 2008 and 2012 and legitimation narratives used to frame them. Based on literature and documentary review, this comparative case studies analysis addresses cultural policy models, each country cultural systems' economic power, and continuity and change in policy legitimation strategies. The comparative analysis reveals the importance of the EU centre-periphery dynamics and historical trends for cultural policy legitimation approaches adopted in changing socioeconomic scenarios. [ABSTRACT FROM AUTHOR]

It is in the rural reality of our country that cultural policies are showing more clearly the birth of a new cultural paradigm in which the interrelation between culture, equality and sustainable development is evident every day. Without an overflow of the conventional sectoral gaze in our cultural policies, we cannot understand the new debates and transformative forces that are emerging in rural Spain, debates and initiatives in which the role and protagonism of women is being decisive. In this article we draw an overview of the main lines of force that are disputing a new concept or rurality from equality in Spain. [ABSTRACT FROM AUTHOR]