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The author examines the marginalization of Jewish identities in multicultural clinical education and supervision amid rising antisemitism in the U.S., proposing the use of cultural democracy to address these issues. He critiques the erasure of Jewish identity due to the neglect of Jewish backgrounds in key theories and inaccuracies in clinical literature. He further underscores the importance of Jewish cultural considerations, including accommodating Jewish practices such as holidays, Sabbath observance, mourning customs, and dietary laws, while advocating for flexibility and sensitivity. Finally, he addresses considerations when supervisees experience antisemitism from a person at the center of a clinical encounter. [ABSTRACT FROM AUTHOR]

Times have changed and museums are adapting to it. Their traditional functions have evolved, and the sustainability of these institutions is becoming increasingly important. Therefore, museums are facing a paradigm shift: from heritage-focused to society, especially their audiences. These institutions must now foster and develop social and economic approaches to adapt to this new situation. Cultural democracy and audience development are emerging as an effective approach and management tool in this adaptation process.This research focuses on the case of the Museo del Traje of Madrid [Costume Museum] in Madrid. Through the study of the Museum's website on its activity and in-depth interviews, this article gathers the information analysed to highlight the effort made by this museum in terms of sustainability through its face-to-face activities. The conclusions reveal that despite the efforts made by the museum in its adaptation process, a new management approach is needed to enhance this work. In this way, by improving its management, the Museo del Traje can become a replicable model of a museum that works to promote sustainability. [ABSTRACT FROM AUTHOR]

This article examines how cultural policies focused on Democratisation of Culture and Cultural Democracy are affected by different public administration regimes, namely New Public Management (NPM) and New Public Governance (NPG). The NPM era saw a focus on performance measurement and goal setting in the pursuit of democratizing culture, while the NPG expects cultural institutions to take responsibility for widening access through projects involving non-users and NGOs. Cultural Democracy policies experienced an increase in demands for documented impacts under NPM, while the NPG emphasized participatory decision-making, and for cultural institutions to "do good". The article argues that NPG changes the appearance of instrumentality. In the era of NPG, actors in the field of culture 1) are expected to explore their own potential for innovation, 2) are expected to contribute on equal terms with other public institutions to the solution of society's pressing problems, and 3) experience a trend where cultural work is framed as doing good or creating change. This situation makes it difficult to identify and criticize instrumentality. The NPG conceals the disadvantages of instrumental cultural policy and makes it difficult to question it. The NPG reframes instrumentality as something that should be taken for granted, something positive, and because it is initiated from below, something that is not even recognizable as instrumental cultural policy. [ABSTRACT FROM AUTHOR]

This article approaches the idea of architecture, theatre and cultural democracy as relational concepts, and considers the theatre building as a cultural artefact which both manifests and embodies power relations. We use the case study of Liverpool's PurpleDoor to explore this idea. We consider theatre buildings as cultural artefacts to focus attention on the impact of material or physical factors and the power of cultural institutions to orient specific forms of behaviour and activity around themselves. In seeing architectural design as an embodiment of politics, philosophy and cultural policy, the article considers both the practical and theoretical dimensions of the future of a theatre architecture concerned with cultural democracy. The interconnection between political ideas of theatre's contemporary social role and the material construction of the building – the performative nature of the performance space – become vital in recognising and re-prioritising values designed to address the intersectional nature of power systems afflicting the cultural sector and enabling citizen usage of cultural space. The article situates PurpleDoor in an historical lineage which articulates the aspiration to become both a site for critical inquiry and a contemporary manifestation of cultural democracy for 21st century British theatre. [ABSTRACT FROM AUTHOR]

Current art mediation practices often show experimental forms of relating “art” and “public” and are navigating in non-linear ways at the intersection of art and education. In this paper we explore what these contemporary forms of art mediation may mean, both from a theoretical and from a practice-research perspective. We describe how the “educational turn in the arts’ facilitated unconventional and experimental art mediation practices: artists included educational practices more evidently as part of their artwork and education practices were more and more seen as spaces for critical cultural practice. But what do these contemporary art mediation processes mean in terms of engaged pedagogies and politics? How can we understand their positioning in the relation between culture and democracy? We propose an engaged research approach—“soft cartography”—to map practices of art mediation in urban networks. In this article we elaborate this research agenda in the case of Park Poétik, a Belgian example of art mediation practice. A soft cartography does not imply an exhaustive, objective mapping that nails down places, but rather investigates subjective motives and cultural dynamics and thereby starts from the perspectives of artists, mediators and citizens involved. This research approach allows us to explore how we can describe art mediation as public practices; as an enactment of a concern for “publicness” or an achievement of human togetherness in plurality. Finally we distillate a number of principles for soft cartography as an engaged research approach to map networks of art mediation. [ABSTRACT FROM AUTHOR]

Abstract Cultural projects, particularly when aiming at social impact, are usually the result of the context, values, and social fabric. Some endogenous factors, such as governance models and availability of resources, mainly committed human resources, could explain their particular development as well, despite being widely recurrent. Cultural policies are also determined by dominant social values and usually respond to the territorial context. But to what extent are these also enabling factors for the development of cultural projects with specific social goals? The present article intends to study the emergence of cultural projects with a clear intentionality of social impact in the local context of Barcelona. Starting from the analysis of 14 cases, the article evaluates the exogenous and endogenous factors and typologies of programmes implemented in order to understand the non-linear complexity of social impact generation in the case of cultural projects.

This article offers an exploratory discussion of two cultural policy concepts and traditions: cultural democracy in the UK and cultural equity in the US. We explore what the concepts share, how they have been shaped by their cultural policy traditions, and how they yield value for cultural policy makers, scholars, and activists. As scholars from divergent yet mutually Anglo-centric traditions, we articulate how these concepts inform one another with a view to enacting a more democratic form of cultural policy. Though the terms are used imprecisely or interchangeably, differences between concepts speak to the intersectional character of cultural inequality. [ABSTRACT FROM AUTHOR]

Copyright of Sociology & Space / Sociologija i Prostor is the property of Institut za drustvena istrazivanja u Zagrebu (Institute for Social Research of Zagreb) 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 Sociology & Space / Sociologija i Prostor is the property of Institut za drustvena istrazivanja u Zagrebu (Institute for Social Research of Zagreb) 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 purpose of this study was to develop and validate qualitative value indicators of region-based community dance for cultural urban regeneration. To this end, the conceptual structure of local-based community dance was explored and evaluation indicators were developed by deriving questions related to this. The specific research procedures and results are as follows: First, a literature review and Delphi survey were conducted to obtain factors and questions regarding qualitative value indicators. Consequently, four factors of local singularity, convergent creativity, sustainability, and community culture were obtained with 43 questions. Next, a preliminary survey targeting 122 people who have participated in representative local dance festivals (the 'Wonju Dynamic Dancing Carnival', 'Cheonan World Dance Festival', and 'Andong Maskdance Festival') in Korea was conducted to determine the relationship between the factors and questions. Multi-dimensional value indicators with 30 questions in four factors were obtained from an exploratory factor analysis using SPSS version 25.0. Then, the main survey, targeting 341 people who have participated in three representative local dance festivals in Korea, was conducted to verify the validity of the value indicators. Finally, evaluation indicators of 26 questions (seven questions for regional uniqueness, five questions for convergent creativity, seven questions for sustainability, and seven questions for community culture) were developed from a confirmatory factor analysis using AMOS version 24.0. Additionally, the contents evaluated by each factor are as follows: Firstly, 'Local Singularity' is a factor in whether the evaluation target sufficiently contains the unique characteristics of the region. Secondly, 'Convergent Creativity' is a factor in whether the evaluation target converges the indigenous culture (traditional culture) and acceptance culture (modern culture) of the region well. Thirdly, 'Sustainability' is a factor in whether the evaluation target contributes to the sustainable development of the region. Fourthly, 'Community Culture' is a factor in whether the evaluation target contributes to the formation of community culture in the region. This study is significant in that it emphasises the potential possibility of community dance, which can contribute to cultural urban regeneration based on the perspectives of cultural democracy. Therefore, the results of this study are expected to be extended and applied to various types of community dance in the future. Moreover, it is further forecasted that this study will suggest the meaning of the qualitative valuation of art and culture for a variety of subjects, such as policy experts and administrators, as well as for directors, choreographers, and participants in community dance. [ABSTRACT FROM AUTHOR]

Cultural projects, particularly when aiming at social impact, are usually the result of the context, values, and social fabric. Some endogenous factors, such as governance models and availability of resources, mainly committed human resources, could explain their particular development as well, despite being widely recurrent. Cultural policies are also determined by dominant social values and usually respond to the territorial context. But to what extent are these also enabling factors for the development of cultural projects with specific social goals? The present article intends to study the emergence of cultural projects with a clear intentionality of social impact in the local context of Barcelona. Starting from the analysis of 14 cases, the article evaluates the exogenous and endogenous factors and typologies of programmes implemented in order to understand the non-linear complexity of social impact generation in the case of cultural projects. [ABSTRACT FROM AUTHOR]

In Brave New World Revisited Aldous Huxley observed that 'genius has been the servant of tyranny and art has advertised the merits of the local cult' (Huxley 1958). Regarding the complex relationship between art and society, Huxley argued that democracies need to identify good art in the making rather than retrospectively. Drawing also on Raymond Williams' analysis of the limits imposed on dialogue by representative democracy (Williams 1980), this article considers the data from our pilot ethnography on the prospects for cultural democracy in the arts. Private patronage and largely unaccountable interests presently influence the use of public money; spending is guided towards the logic of individual or organisational self-promotion and an overwhelmingly promotional culture which serves different types of governance, whether authoritarian or democratic. By incorporating private patronage and non-western gift-economics many critical dialogues springing from the arts are contoured by their origins in elite social and political courtship (Bourdieu 1977; Burke [1790] 1997; Schiller [1794] 1994). Here we show how aesthetics remain a key to twenty-first century statecraft. Noting the effects of top-down patronage, whether in the direct manipulation of dialogue or in the more indirect tailoring of critique, the premise of our research is that if widening participation in the arts matters, it matters first and foremost in decision making about spending. Our study tests the deliberative capacities of randomised citizen juries as patrons financially empowered to commission public-interest arts projects on controversial themes and across contested frontiers of sovereignty or cultural identity. We consider our initial findings from the comparison of deliberation in non-randomised control groups and in randomised juries. We discuss the potentially positive role of randomised citizen juries as 'jolts' of equality and pluralism at the level of cultural governance (Connolly 2017). We also outline the main political, institutional, and professional blockages and impediments to the democratic integration of such empowered dialogical encounters. [ABSTRACT FROM AUTHOR]

Between the financial crisis of 2007-2008 and the pandemic crisis of Covid-19, the Anjos neighborhood in Lisbon presented a particular concentration of public spaces offering concerts, exhibitions, dance classes, bars, etc. Many of these spaces are non-profit and promote cultural democracy thus fighting gentrification. From visits to the neighborhood, document analysis and interviews with board members, volunteers and other key actors, we identify two ideal-types of these spaces' missions: the cultural-entertainment and the cultural-activist. We conclude by pointing out that both allow us henceforth to monitor the influence of the participation of these spaces in urban reconfiguration. [ABSTRACT FROM AUTHOR]

Cet article s’intéresse aux visions et aux pratiques collaboratives entre institutions culturelles et organismes communautaires, thématique encore peu traitée de façon empirique et dans la littérature scientifique. Le domaine des bibliothèques publiques au Québec apparaît comme un cas particulièrement pertinent, proposant avec le modèle du « tiers-lieu » une redéfinition des approches traditionnelles de relation aux publics, ainsi qu’un virage « citoyen » s’arrimant notamment au déploiement d’espaces de collaboration diversifiés, incluant des acteurs de la société civile organisée particulièrement interpellés par ces évolutions. Comment les dimensions citoyennes et les représentations symboliques de la collaboration sont-elles travaillées par une pluralité d’acteurs aux intérêts, aux représentations et aux modes d’action différenciés ? Quelles synergies et conflictualités les structurent ou en découlent? Mobilisant le concept de citoyenneté culturelle, l’article s’appuie sur une démarche qualitative comportant des entretiens de groupe auprès de responsables d’organismes consacrés aux femmes monoparentales et aux jeunes ainsi qu’une recherche documentaire. Il permet de mettre au jour un écart entre les intentions et les logiques institutionnelles effectives, qui témoigne du caractère toujours embryonnaire de l’instauration d’espaces communs de citoyenneté culturelle. L’étude développe des considérations théoriques et empiriques qui en découlent, proposant une réflexion portant sur une conception « forte » de la démocratie culturelle et soulignant la pertinence du politique, tant pour la recherche que pour les milieux de pratique.

Discourses of social justice offer the sense of a progressive and developing narrative within the arts sector. Cultural democracy, cultural equity and cultural diversity address broad policy issues related to production, consumption and representation. This article questions whether these approaches have failed in their challenge to the long-established power dynamics of the cultural sector. We take this position of failure as a starting point for a self-reflexive account of the lack of progressive change in the sector. We argue that reflexivity is needed to avoid the elision of the progressive impulse through the inauthentic and rhetorical promotion of 'fakequity'. As scholars from divergent yet mutually Anglo-centric traditions, our aim is to better understand how a self-reflexive approach might counter the (non)performative behaviour of the cultural sector. Without such an approach, initiatives supposedly designed to be culturally democratic risk enforcing structures of exclusion and facilitating a 'non-performative woke democratisation of culture'. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ 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.)

Providing access to high quality books for all types of readers is a premise for cultural democracy. Many people, however, have challenges reading mainstream books. There might be diverse reasons why people find reading challenging. Some examples are reading impairments, reduced vision, cognitive impairments, learning a new language, or due to stress, fatigue or illness. To ensure everyone access to literature, it is therefore vital to produce books that can (and will) be read by a wide range of users. This case study addresses the following research questions: Do adapted books represent accessible or universal design? Can adapted books be perceived as motivating to read for all types of readers? Are "special books" necessary to ensure that all users have access to high quality literature? In Norway, the association Books for Everyone develops adapted, printed fictional books to accommodate various types of reading challenges. This paper examines the production of these books and uses this collection to investigate the research questions. The main finding is that most of the books by Books for Everyone can be considered examples of universal design, rather than "special books" directed at a very narrow user group. Moreover, there seems to be a limited need for "special books", except for books targeting readers with severe cognitive or sensory impairments. By applying the universal design approach, fictional literature can potentially make books more accessible for all types of readers. [ABSTRACT FROM AUTHOR]

The paper explores art and the city beyond the 'hype' of large cultural investment, urban creative titles and cultural place branding programmes. It emphasises the importance of exploring the neglected perspective of the role that everyday culture can play in cities, especially in moments of crisis. It investigates Athens and the economic crisis that affected urban life in the last decade to consider the impact this has had on everyday cultural practices, arts institutions and the experience of the city. Drawing on de Certeau's concept of everyday practice and using the case study of Athens Fringe Festival, we highlight how ordinary artistic practice and everyday creativity in the city can shape new patterns of cultural participation, urban dialogue and, possibly, cultural citizenship, in a moment of crisis. The paper concludes by arguing for the need to re-orient academic scholarship and future research agendas on art and the city towards everyday creative practice, moving beyond conventional city marketing and institutional, cultural regeneration discourses and strategies. [ABSTRACT FROM AUTHOR]

Based on dialogues with Radical and Plural Democracy in Ernesto Laclau and Chantal Mouffe, I will focus on the concept of Cultural Democracy, in opposition to the notion of the Democratization of Culture, to reflect on cultural public policies and, ultimately, defend the need for paradigmatic changes in the formation of such policies. As part of this effort, that also becomes a task for the State and its institutions, I will seek to problematize the need for effective political participation through critical involvement with the institutions (Mouffe 2014). To do so, my starting point is based on Lopes (2007, 59), who maintains, “To speak of cultural public policy is to speak of conditions of freedom and citizenship in democratic societies”. The context of the considerations that I will present based on Lopes’ assertion involve sensitivity to a i) contemporary democratic environment of cultural plurality, and ii) a political project of the radicalization of democratic plurality. It is in this sense that I take up Radical and Plural Democracy to explore the possibilities of theoretical openings and its possible developments in reflections on concrete policies. Methodology: this work is theoretical-normative-essayistic in nature and its methodological instrument is a bibliographic review. Conclusions: By highlighting the role and importance of the State throughout the article and thinking about effective political participation and the relational nature of democratic policy, I seek to differentiate a “simple participation” within a limited political model, to point to possibilities of a change of the institutions and of the hegemonic model itself. In addition, based on dialogues with different authors, I present a number of principles adapted to a cultural public policy project based on the concept of Cultural Democracy. Originality: The relevance is in the reflective, and why not utopic, exercise of discussing cultural public policies beyond the mere analysis of results: the central element here is a political project.

Several non-profit cultural organisations opened up public spaces during the financial crisis in Lisbon with a particular concentration in the Anjos neighbourhood. These organisations promote different activities, ranging from debates, exibitions, traditional dancing, activist cinema to bars. This article aims to convey the transformative role they played for individuals, the neighbourhood and the city. Although facing challenges over organisational sustainability as they are not publicly funded, these organisations do seem to have reinvented the mission of the century-old recreational societies through their convivial and transdisciplinary activities. Based on documental analysis and interviews with different actors, we map this vibrant neighbourhood and show that these hybrid organisations represent what cultural democracy may today look like, while providing resilient responses to the contextual challenges. [ABSTRACT FROM AUTHOR]

Copyright of Lubelski Rocznik Pedagogiczny is the property of Maria Curie-Sklodowska University in Lublin 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.)

From his in-depth study on cultural industries in Ghana and Burkina Faso, Christiaan De Beukelaer (2012) observed that the surge in digital piracy, normally regarded as a violation of intellectual property rights, had actually created new possibilities for increased distribution and consumption networks for the African music industry. Joe Karaganis (2011) further argues that digital piracy should not be regarded as a 'crime' but 'a global pricing problem'. The high prices that are charged for media products such as music, film and video games do not match the low incomes of most consumers in less developed countries. This article argues for a revisiting of intellectual property rights (IPR) in contemporary African contexts, with particular focus on the question of 'digital piracy'. If the shift toward cultural democracy is meant to promote cultural capabilities for everyone to create and express their own possibilities, then new approaches to intellectual property rights are needed. [ABSTRACT FROM AUTHOR]

Brighton People's Theatre and Slung Low are at the forefront of the contemporary people's theatre movement in the United Kingdom. I examine these companies and the broader utility of a people's theatre, historically concerned with working class representation and/or performances of civic unity, in the context of economic austerity and inequality. I assert that ideologies and practices of people's theatres have the capacity to generate networks of solidarity and realise resilience as a mode of care and resistance. I explore how these practices directly intervene in urban governance reaffirming the potential of community-led economic, cultural, and social practices of resilience. [ABSTRACT FROM AUTHOR]

While previous studies have examined cultural democracy in connection with cultural policies enacted by policymakers, they have overlooked the role of public participation and mobilization. This study explores how cultural democracy is achieved by collective mobilization. Our case study of Guggenheim Helsinki shows that rising cultural globalization triggered a social movement to resist diminishing representation of national identity. A bottom-up process of collective mobilization created pressures on policymakers to direct cultural policies toward maintaining the dominance of local culture. In particular, cultural democracy was delivered through public participation in the control of culture while rejecting cultural globalization. [ABSTRACT FROM AUTHOR]

This article contributes to debates regarding the fundamental aims of cultural policy. It argues that hope is central to political imagination, and that competing hopes need to be addressed within discussions of what cultural policy is ultimately seeking to achieve. In doing so, the paper suggests the distinctive role that cultural policy can play in responding to a 'populist moment'. It begins with a case study of young people's cultural opportunities in one London borough, demonstrating the significance of practices of care. Care enables people to narrate their lives, and to experience that their actions matter. Drawing on this case study and a survey of literature on hope, the second section shows that practices of care and creative self-narration support individual and collective hope. The third section argues that addressing the conditions that enable 'democratic hope' is an important step in theorizing and realizing cultural democracy as a normative framework for cultural policy. The paper concludes by suggesting that at a time of populist 'anti-politics', cultural policy can enable conditions of democratic hope at multiple scales: from supporting practices of care and self-narration within specific projects, to helping rearticulate the public narratives that structure political possibility. [ABSTRACT FROM AUTHOR]

In 2020 it will be fifty years since the coming to power of the Popular Unity government in Chile led by Salvador Allende. In its three years of revolutionary project, the discussion on cultural policies played a key role. Half a century later, Chile experienced a social outbreak in October 2019 that led to a radical questioning of the neoliberal model imposed during the military dictatorship on the one hand and, on the other, in a process for the elaboration of a new political constitution for the sake of replace the one imposed by Pinochet in 1980. This article makes an analysis of the cultural policies implemented in the Popular Unity in order to establish critical lessons to think about the ongoing constituent process. [ABSTRACT FROM AUTHOR]

The crisis of the totalitarian regime in Syria and the option for democracy of a large proportion of the population from this country are, undoubtedly, the consequences of the intense promotion and media coverage of the concept of human rights. On this way, the European Union plays an important role both in terms of its democratic regime – where human rights constitute a fundamental pillar – as well as from the fact that its common cultural heritage includes the material and spiritual assets of the continental nations, but also the resources generated by the ethnic minorities. The recent European summit have not completely solved the problem of the Syrian refugees, which has become a political and a cultural one. This article analyses the implications and advantages of enforcing human rights and civil liberties to solve efficiently the refugee crisis in the EU by integrating them as much as possible across the multicultural and the multi-ethnic space of the continent. This space is part of the European heritage and it is characterized by value and variety in all its dimensions.

Public participation has become axiomatic in contemporary museum theory and practice. In the absence of consensus about the fundamental principles of participatory museology and what participation looks like in practice, the term is now routinely attached to a heterogenous array of museum-stakeholder interactions. This article interrogates the rhetoric of participatory museology by critically examining its intellectual roots, followed by a preliminary review of contemporary museum policy and strategic documents from international and national cultural bodies to generate a typology of participation in the museum sector. Taking the findings into account, this article questions whether New Museology's desire to empower visitors is genuinely realised through participatory practices. It concludes by outlining future research directions that may contribute to greater understanding of the political and practical implications of audience participation in the museum context. [ABSTRACT FROM AUTHOR]

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 recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of 'excellence and access' and the neoliberal logic of 'creative industries'. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying 'cultural democracy' as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice. [ABSTRACT FROM AUTHOR]

It is argued that educational spaces often maintain certain forms of hierarchical cultural patterns to reproduce an unequal civil society. The history and contemporary nature of Indian civil society, ridden with relations of caste and class, often interpellates its agenda of hierarchical order in the cultures of schooling. Children from marginalized communities, particularly from the Adivasi (tribal) cultures, are more vulnerable to these undercurrents, and this often results in their dispirited autonomous participation in schooling. The content and nature of the curriculum and modes of pedagogical interactions are the focal channels of its operationalization. In recent times and earlier, various forms of contestations had emerged against this dominant agenda, particularly from subaltern contexts. These took the form of democratic resistances seeking to establish democratic cultures in classrooms and schools (Apple C James, 2007; Darder et.al, 2009). Creating a sphere of this order would promise to enable children to become transformative human beings and autonomous intellectuals. Viewing the regime of education as both liberatory and oppressive (McLaren, 2009), this paper is an attempt to engage with democratic concerns in the realm of schooling in India within the relations of culture, knowledge and its politics. [ABSTRACT FROM AUTHOR]

The major purpose of this paper is to examine the extent to which multiethnic Korea and Thailand are cultural democracies. The primary conceptual framework guiding this study is the powerful but largely ignored concept of cultural democracy. Bereday's classic model of comparative research is another major theoretical and methodological framework utilized. The major methodologies used are comparative qualitative case studies, meta-synthesis, and participant-observation. Comparative national case studies are rare. A number of striking similarities between the two countries are identified. The very low fertility rates of both nations drive a critical need for guest workers and international students. Both countries in general have pursued assimilationist policies not conducive to cultural democracy. The final part of the paper offers suggestions for strengthening cultural democracy in both nations. Their long-term potential can be enhanced if both these societies recognize the 'diversity advantage' and move actively to realize the ideal of cultural democracy. [ABSTRACT FROM AUTHOR]