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The federal constitution of 1961 stated that the Federal Republic of Cameroon shall be constituted from the territory of the Republic of Cameroon, hereafter to be styled East Cameroon, and [...]

Study of the trajectory of arts education in Singapore through examination of key policies and government reports suggests that, although the arts and arts education have generally taken a back seat to other national priorities, the government has consistently utilized them for ideological and political purposes. Arts education is typically subjected to the bureaucratic imagination, which assigns to arts education a particular state-sanctioned role. Whether to ennoble students as citizens of a newly independent nation or to endow them with the innovativeness believed to be necessary to a knowledge-based economy, arts education in Singapore has often shouldered the sociocultural aspirations of the ruling elite. This has been true even if the subject has not always been the recipient of unwavering political support. Keywords: arts education, Singapore, cultural policy, art schools, global city., It is de rigueur to describe Singapore as a 'cultural desert' in light of its short national history and lack of a long artistic tradition. It has also been easy [...]

The Isan Culture Maintenance and Revitalization Programme is a four-year, 500,000-euro programme devised and implemented by four municipalities and the College of Local Administration of Khon Kaen University in Northeast Thailand. The design and manufacture--using traditional processes adapted for making Western-style shirts that first became popular in Thailand in the first decade of the twentieth century--of student uniforms for Ban Phai municipality is one of the action lines of the Isan Culture Maintenance and Revitalization Programme. A brief review of Thailand's decentralization process is followed by a section on school uniforms. The project in Ban Phai had four phases: a survey of citizens' attitudes towards the use of traditionally designed and woven clothing; a capacity survey to review the local market; design and manufacture of municipal uniforms; and design and manufacture of school uniforms. The result was the production of more than 400 hybrid jackets for municipal officers with local, national and international characteristics and more than 1,200 similarly hybrid student shirts, using both traditional and machined processes and materials. Keywords: Northeast Thailand, Ban Phai, Isan Culture Maintenance and Revitalization Programme, design, silk, weaving, uniforms., The Isan Culture Maintenance and Revitalization Programme (ICMRP) was a four-year (1 March 2012-29 February 2016) project undertaken by a coalition of four quasi-autonomous municipalities to which the Decentralization Plan [...]

Since 2006, when France signed the UNESCO texts, (1) intangible cultural heritage has emerged as an issue of current concern. In the museum world, various institutional intermediaries are being used [...]

The case of intangible cultural heritage throws two particular issues into stark relief: first, questions about the boundaries of cultural policy, or what it is possible to administer; and second, [...]

As a North American folklorist, I had watched the gradual emergence of what has come to be called Public Sector folklore south of the border in the United States. By [...]

Abstract The purpose of the paper is to re-examine the value of multiculturalism and develop an argument that it is a key policy not only for nation-building, but also for [...]

Abstract One result of the intake and settlement of migrants is the formation of culturally plural societies. In these societies, the domain of intercultural relations is ripe for social psychological [...]

The Foundation Assisting Canadian Talent on Recordings (FACTOR) has existed since 1982. Its history exemplifies how first the private and then the public sector attempted to resolve the problem of supporting a neglected cultural industry in Canada. Recounting the history of FACTOR also addresses key issues that other cultural agencies in Canada have had to face. The essay proceeds in rough chronological order to describe the socio-political context that led to the creation of FACTOR, born first in 1982 as a private initiative and again in 1986 as a public-private partnership. La Foundation Assisting Canadian Talent on Recordings (FACTOR) existe depuis 1982. Son histoire vaut la peine d'etre racontee car elle demontre comment d'abord le secteur prive et ensuite le secteur public ont cherche a appuyer une industrie culturelle negligee au Canada. En outre, passer en revue l'histoire de FACTOR est un moyen de traiter de grands enjeux auxquels d'autres agences culturelles au Canada ont ete confrontees. Procedant en ordre chronologique, cet article decrit les conditions sociopolitiques qui ont mene a la creation de FACTOR, nee d'abord en 1982 en tant qu'initiative privee, et a nouveau en 1986 en tant que partenariat entre le secteur public et le secteur prive.

The article discusses the evolution and activities of the Fatherland Front in communist Bulgaria from 1944 to 1989, and some of their strategies such as propaganda campaigns, lobbying efforts and 'Comrade Courts' to establish a socialist state.

Abstract: The Egnatia Road project describes a cooperative action between European artists and local populations along the ancient route flora Rome to Constantinople. Focusing on myths and memories of territorial [...]

Abstract: This article attempts to show how the conventional opposition between art and culture, on the one hand, and administration and organization, on the other, has been displaced. The main [...]

Abstract: Art has become a ubiquitous if at times convenient solution to problems of urban regeneration and social division. Generally, it takes the form of commissioned works or projects in [...]

Abstract: This article considers the development of a European Union (EU) cultural policy and its role in the making of Europe. One of the aims of cultural policy is the [...]

The significance of the impact of cultural capital on neighbourhood change is discussed and the ideas of lifestyle cultural capital as an asset in urban competitiveness, or a participatory tool in neighbourhood regeneration is compared with Pierre Bourdieu's idea of cultural capital applied in the neighbourhood context. The results suggest that the various forms of cultural capital might consolidate or dissipate to produce contrasting neighbourhood trajectories and a range of interneighbourhood and interaneighbourhood social distinctions and divisions.

Using the fine arts exhibition of the Venice Biennale as a case study, this article considers the role of the Italian national government's cultural policy in pursuing its key domestic and foreign concerns between 1948 and 1958. These were, respectively, suppressing communism at home, and promoting Western European unification and Italy's role within it. By scrutinising their involvement at the Biennale, it aims to show the importance placed not only by the Italian Christian Democrats but also by their European counterparts on constructing the idea of a culturally integrated Western Europe as a vital complement to analogous economic and political initiatives. A travers les expositions des Beaux-Arts de la Biennale de Venise, cet article s'interesse a la place tenue par la politique culturelle dans la poursuite des objectifs domestiques et internationaux des gouvernements italiens entre 1948 et 1958. A l'interieur, il s'agissait d'eradiquer le comnmnisme en Italie. Vers l'exterieur, de travailler a l'unification de l'Europe Occidentale et a l'integration de l'Italie dans ce nouvel ensemble. En etudiant la Biennale, on peut percevoir l'importance que les chretiens democrates italiens et leurs homologues europeens attachaient a l'idee d'une Europe Occidentale culturellement homogene, complement indispensable aux initiatives politiques et economiques. Dieser Beitrag diskutiert die Rolle der Kulturpolitik der italienischen Regierung in der Verfolgung ihrer wichtigsten innen- und aussenpolitischen Ziele zwischen 1948 und 1958. Die Biennale-Kunstausstellung in Venedig dient hierbei als Fallstudie. Die Ziele der Regierung waren die Unterdruckung des Kommunismus im Inland und die Forderung der westeuropaischen Integration sowie der italienischen Rolle in diesem Prozess. Die Untersuchung der Beteiligung der italienischen Christdemokraten an der Biennale zielt darauf ab, die Bedeutung aufzuzeigen, die nicht nur sie, sondern auch ihre Schwesterparteien in Europa der Idee eines kulturell integrierten Europas als unverzichtbare Erganzung zu den gleichzeitigen wirtschaftlichen und politischen Initiativen beimassen.

A dangerous fear is spreading around the world--a fear of cultures that seem threatening, for one reason or another. (1) This fear has generated questions about the role of culture [...]

The importance of cultural institutions to contemporary revitalization efforts in U.S. cities is attributed to several factors. First, the transformation of the urban political economy has made cities more dependent on their consumption economies. Second, urban cultural institutions have a strong interest in improving their surroundings, especially now that they have become more dependent on revenue-generating activities and on funding sources interested in attracting broad audiences. Finally, cultural hierarchies have become less rigid, allowing cultural institutions to draw on serious and popular art forms.

The article examines intrinsic and extrinsic rewards in government funding of the arts, specifically the role of copyright law. Copyright law is shown to be an important component in both cultural and industrial policy, as it achieves a balance between creativity and marketability in artistic production.

The author discusses the difference between political representation and cultural representation, asserting that regional interests are connected to politics and are an essential part of it. Issues concern cultural identity and its conflict with the individual, as well as the division between the northern and southern regions, and rural and urban centers.

An overview is presented on the growing development of citizenship studies, cultural policy studies and media policy studies as academic disciplines. Topics include the disciplines' relationship to information science, the arts and sociology.

Broadcasting constitutes a major platform on which contemporary public cultures may be built and managed. However, mainstream broadcasting, even when its charter responsibilities focus on service to and representation of a culturally pluralistic social field, has limits as it seeks to meet these responsibilities. Diasporic video, although marginal to most national media ecologies, is important at a global level in addressing cultural maintenance and renewal. This factor is neglected in existing accounts of the emergence of a genuinely multicultural and international public culture.

The ethic of community participation is dominated by the ideal of the self-governing community of reflective citizens. This article suggests the need to focus on some of the more down-to-earth ethical attributes of a responsible participant that tend to be overshadowed by that ideal. The authors look at the disciplinary, rhetorical, and role-specific demands of participatory styles of governance. Implications of this perspective are drawn out in an examination of how the challenges of community participation are or might be played out in an arts policy field that is currently under the sway of neoliberal approaches to government and anti-elitist political challenges to the arts.

This article seeks to explain the battering sustained by the United States' National Endowment for the Arts (NEA) during the ongoing culture wars over federal subsidies, by situating the NEA in the conjoined histories of both U.S. cultural policy and contemporary debates about citizenship. On the basis of this analysis, it is suggested that the policy options of leaving culture to the market, base, or existing systems of support all lack a base in democratic politics.

Some of the most valuable work in the field of American history these days is being done by the men and women who restore and preserve historical sites. Though such [...]

The Indonesian government has managed to break the frontiers of the Biaks in Irian Jaya by appropriating traditional Biak performative genres for the tourism industry. The domestication of the Biak performative arts, such as the yospan and wor has allowed for the assimilation of foreign elements into the Biak culture, such as the the birds on the head dress of the Waropen. While yospan offers the tourists visual poetics of shock, wor expresses surprises in songs. Their domestication has eliminated much of the element of shock and surprise inherent in these cultural forms of Biak identity.

England in the 1940s envisioned geography as part of a wider debate over reconstruction which aimed at developing a sense of citizenship centered around visual aesthetics. Geographical imagination envisioned landscapes of reconstruction to enhance a sense of belonging through national space and knowledge of environmental issues. The educated eye of the citizen defined the aesthetic geographies and the visual culture of landscape as rooted in human senses, developed. Geography combined environmental and social visions to propel a cultural movement which sought a design for modern life.

Art organizations in the developed countries are facing increasing financial problems due to the limited and in many cases, decreasing levels of funds provided by their governments and private institutions, especially large corporations. The funding of the arts has become a politically and socially sensitive matter. Corporations are avoiding the sponsorship of controversial art and are shifting to community and education projects, endeavors considered 'safe.' Public funding and support for the arts will decrease when it becomes to be regarded as a marginal good and a luxury.

The Culture Wars came to a head in 1995 as the newly empowered Republicans in Congress set out to defund or privatize the National Endowment for the Humanities, the National Endowment for the Arts, and the Corporation for Public Broadcasting. This paper will attempt to map the political, economic, social and cultural terrain of the dispute as a means of exploring one of the central political issues of the late 20th century, the "Culture Wars."(1) There are many players to track; while their identities, ideologies and positions have not changed much since 1980, their relative strength has shifted. Personalities and issues of the moment change, but the basic conflict was about how a nation should go about officially proclaiming its core values. Since historians have been central participants in the debate, and have a direct financial interest in its outcome, it is especially important to understand where the characters stand, and what were their motivations and their interactions., 1. Political History The National Endowment for the Arts and the National Endowment for the Humanities were twin agencies created in 1965 by liberal Democrats to fund vocal constituencies. At […]

Chinese scholars have emphasized the importance of cultural fusion based on the union of strong and good traits of all civilizations in a diversified world. The current cultural debate is based on the question of the domination of the Chinese cultural traits by Western traits. Western value systems are gaining strength in China. This generates apprehensions that Chinese values will soon lose their importance. Internationalization of the economy creates situations for cultural interactions. Different cultures can co-exist in the present situation.

The social and political thunder that rumbled through American society during the 1960s told academics that they should reexamine what they were studying and teaching. Institutions tend to become more [...]

The idea of inequality is essential to the definition of cultural quality in critiques of mass media and cultural policy. Judgements of aesthetic quality are influenced by the social inequality of access to high art forms, and critics must form clear positions on social access to judge quality. Ambiguity results in their critiques otherwise, as in the works of Pierre Bourdieu and Raymond Williams.