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1.
The cultural and creative industries (CCIs) have been hailed as offering great potential to create jobs and to be socially inclusive. Since artistic success is defined by individual talent, or merit, the CCIs should be one sector that is especially open to, and appreciative of, social diversity in terms of race, class, cultural group and gender. However, as expected, recent studies in both the UK and the US have revealed that employment in the CCIs is heavily dominated by the middle classes, and is not as diverse in terms of other characteristics. Since the advent of democracy in South Africa in 1994, transformation of firm ownership, previously dominated by white people, to include more black, coloured and Indian/Asian-origin South Africans, has been an important part of achieving greater economic equality and social cohesion, as well as being more representative of the cultures of the majority of the population. Using data from a survey of 2400 CCIs firms in South Africa, this paper examines the extent to which the CCIs in South Africa have transformed in terms of ownership and employment. Comparisons are also made across the six UNESCO [(2009). Framework for cultural statistics. UNESCO Institute for Statistics. Retrieved from http://www.uis.unesco.org/culture/Pages/framework-cultural-statistics.aspx] “Cultural Domains” in terms of ownership, average monthly turnover and the number of full-time, part-time and contract employees. Results show some diversity in the industry, but significant differences between the Domains. Statistical analysis demonstrates that CCI funding policy in South Africa is sensitive to advancing the transformation agenda in that more transformed firms were shown to be more likely to have received some form of government grant as part of their income.  相似文献   

2.
In Canada, government initiatives for the measurement of cultural value can be traced to the 1949 Royal Commission on National Development in Arts, Letters and Sciences, and later evolved to include more empirical measurement with the Culture Statistics Program (1972) as well as research into the social dimensions of cultural investment. In 2009, Statistics Canada launched a four-year Feasibility Study to culminate in the creation of a Canadian Culture Satellite Account (CSA), an accounting framework to measure the impact of culture, the arts, heritage and sport on the Canadian economy. Taking account of both the recent and broader historical context out of which the CSA emerged, this paper examines its intended use and future plans. The CSA is a useful tool to the Government of Canada in supporting its activities related to the funding of culture, but this paper takes the position that it is not in and of itself a sufficient means for measuring the value of culture in Canada, and so it is best understood as part of a constellation of tools with differing but complementary approaches.  相似文献   

3.
This study assesses the relationship between communication apprehension (CA) and factors of perceived communication situational frequency and communication situational importance. The results reveal a trend demonstrating that the more often a person encounters and the more important a person feels about the particular communication, then the less CA the person experiences. Both American and Indian participants exhibited this trend, demonstrating a connection between culture and CA.  相似文献   

4.
By calculating an additively decomposable inequality measure following the lines of Shorrocks (1980; see Econometrica, 48(3)) we are able to evaluate regional disparities in private funding of cultural enterprises in the UK in a novel way. The country-wide index of inequality separates funding differences across regions from disparities within regions. Using data on private investment in UK cultural organisations, we consider three datasets: the first includes 139 organisations between 1993 and 2005; the second includes 573 organisations between 2002 and 2005; the third includes 898 organisations between 2005 and 2006. Differences among the 12 UK regions account for between a quarter and a third of overall funding inequalities. The largest contributor to funding inequality of cultural institutions in the UK is the degree of heterogeneity among cultural organisations within each region. We find that successful private fundraising is not significantly associated with the region where the organisation operates or with the particular cultural expression object of its activity. These are significant findings for cultural policymakers working on addressing issues of regional concentration of culture and diversifying sources of funding for the sector.  相似文献   

5.
This article examines the London 2012 Cultural Olympiad through the lens of a devolved Scotland, exploring how the Scottish cultural programmes and projects are being evaluated, and what this approach might offer for the wider UK and international context. Structurally, the article begins with a discussion of the relationship between sporting mega-events and culture, focusing specifically (although not exclusively) on the sport and cultural nexus around the Olympic Games. The discussion then moves to consider conceptual, policy and practice debates around cultural value, examining the extent to which existing research tools and techniques satisfactorily capture the contribution of culture to major events, public and social policy. Methodologically, the article draws on elite interviews with strategic stakeholders directly involved in the design, delivery and evaluation of Scotland's London 2012 Cultural Programme. The authors conclude that, when taken alongside other cultural evaluations conducted nationally and internationally, there is a need to develop a multi-criteria analysis (MCA) that can more effectively capture cultural value around major sporting events in the UK. This study has demonstrated a level of dissatisfaction within the Scottish cultural community about the limitations of existing mechanisms for measuring the value of culture within the mega-event platform. A robust, but nuanced, impact assessment is required because, unlike the UK as a whole, Scotland has a unique opportunity to undertake a longitudinal study assessing the conditions for legacy put in place as a result of the London 2012 Olympic Games for the subsequent 2014 Commonwealth Games in Glasgow. However, further research is required into the efficacy of the MCA for assessing cultural value generally and within the framework of major sports events, in particular.  相似文献   

6.
ABSTRACT

This article compares the cultural governance pathways of two UNESCO “Design Cities” – Bandung and Cape Town – methodologically framing them as “repeated instances” [Robinson, J. (2018). Policy mobilities as comparison: Urbanization processes, repeated instances, topologies. Revista de Administração Pública, 52(2), 221–243] of a globalized drive towards more creative cities. While the value of mobilizing culture for local urban change in rapidly growing cities of the global South is increasingly recognized [Mbaye, J., & Dinardi, C. (2018). Ins and outs of the cultural polis: Informality, culture and governance in the global South. Urban Studies, 56(3), 578–593], postcolonial urban scholars have rightly questioned whether internationally popular cultural policy approaches are able to speak to their complex challenges, underpinned by informality and the after-effects of colonialism [Pieterse, E. (2006). Building with ruins and dreams: Some thoughts on realising integrated urban development in South Africa through crisis. Urban Studies, 43(2), 285–304]. As postcolonial states are slowly shifting away from a centralized cultural institution model linked to symbolic nation building projects [Booyens, I. (2012). Creative industries, inequality and social development: developments, impacts and challenges in Cape Town. Urban Forum, 23(1), 43–60], travelling cultural policies brought in by foreign agencies and adapted by local epistemic communities have inspired a range of responses that can be broadly described as cultural policy innovation from below Cohen, D. (2015). Grounding mobile policies: Ad hoc networks and the creative city in Bandung, Indonesia. Singapore Journal of Tropical Geography, 36(2015), 23–37]. In turn, we examine how different cultural policy approaches have been locally mobilized and reworked in Bandung and Cape Town in response to situated realities and in partnerships between cultural, academic, business and local government actors. We argue that comparing the emerging “creative cityness” [Nkula-Wenz, L. (2018a). Worlding Cape Town by design: Encounters with creative cityness. Environment and Planning A: Economy and Space, 1–17] of both cities provides valuable insights into the opportunities and challenges of urban cultural governance in the global South.  相似文献   

7.
ABSTRACT

Do ticketing data and national survey data on attendance tell the same story? This question is particularly important in the context of debates over the power of new forms of data to supplant the “traditional” survey methods that have underpinned our understanding of the social stratification of culture. This paper compares three data sources on attendance: the Active Lives Survey, the Taking Part Survey, and Audience Finder. We first compare self-reported attendance at events in each English local authority from the Active Lives survey with ticket sales data, finding a close relationship. We follow up by comparing the distributions of ticket buyers across the Indices of Multiple Deprivation with those from Taking Part, finding that for widely-ticketed and widely-attended art forms they track closely together, providing support for existing trends. Ticketing data does not seem to offer more information on social stratification than traditional social science sources. However, we extend the comparison through more detailed analysis of subcategories within less well-researched forms – literature and dance events – where numbers of attendees are lower, with accompanying uncertainty in survey sources. We find that the audiences for dance vary widely, with ballet attendance being heavily socially stratified but attendance at contemporary dance much more similar to the general population. However, we find that audiences for literature events are more heavily socially stratified than almost any other art form, almost regardless of the subcategory. The power of new datasets is in offering specificity about artforms, rather than overturning what we know about culture and inequality.  相似文献   

8.
The publication in 2010 of Vital signs: Cultural indicators for Australia was the culmination of a complex national policy development process, which exemplifies some of the challenges of making cultural policy in a federal system of government. This paper examines the policy imperatives which gave rise to the original proposal to develop a set of national indicators, the context which led to support for the proposal, the process of policy development which ensued, and some of the key issues which emerged, and which are relevant for future work. The paper was written from the perspective of a bureaucrat closely involved in the project: the author was, between 2006 and 2011, head of the Queensland state government arts agency, and chair of the Statistics Working Group, the multi-agency body which managed the cultural indicators project on behalf of the participating governments.  相似文献   

9.
Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.  相似文献   

10.
ABSTRACT

What happens when we try to understand art as a commons? Elinor Ostrom [(1990/2012). Governing the commons. Cambridge University Press] challenged Hardin’s “The tragedy of the commons” [(1968). Science, 162(3859), 1243–1248] demonstrating that the governance of common pool resources is not always destined to failure. Ostrom’s analysis was initially applied to the management of shared natural resources; however, over time the term “commons” has also been used to describe non-tangible resources, specifically knowledge. Can Ostrom’s theory of the commons inform artistic practice? This article investigates some challenges presented by these research questions and their implications for cultural policy. In order to provide an empirical ground for the discussion of this topic, this paper will analyse the case studies of two cultural spaces in Italy, Teatro Valle (Rome) and Asilo Filangieri (Naples), which were occupied by groups of cultural professionals and managed as commons between 2011 and 2016; the outcomes of these occupations indicate possible ways to develop a commons-oriented approach to culture.  相似文献   

11.
This article explores, in the context of prevailing discourses around the value of the arts and culture, the reasons why the UK's Arts & Humanities Research Council launched a research project on cultural value and sets out the character of that project. It is concerned with arts and cultural engagement across the commercial, subsidised, amateur, and participatory sectors; embraces the full range of arts and cultural forms; and seeks to reach beyond dichotomies such as intrinsic and instrumental, high and low art, quantitative and qualitative evaluation, and public and private experiences. The article explains the project's thinking around the components of cultural value and the methodologies for evidencing them, and highlights some of the key research being funded.  相似文献   

12.
ABSTRACT

This study used questionnaires and interviews to investigate Iranian English language teachers’ intercultural identity and its metaphoric realization in the context of cultural globalization. While questionnaire findings revealed that the majority held first language cultural identity, factor analysis indicated teachers’ preference for American culture as representative of globalized culture. Interview data indicated teachers’ imagined direct exposure to the global village through the media. Metaphoric analysis revealed the conceptualization of local culture as closed home, which was valued by anti-cultural globalization teachers as protection while devalued by pro-cultural globalization teachers as a limitation. These findings have implications for expanding teachers’ intercultural identity.  相似文献   

13.
In contemporary accounts of cultural value, young people's perspectives are often restricted to analyses of their encounters with formal cultural institutions or schools or to debates surrounding the cultural implications of new digital spaces and technologies. Other studies have been dominated by instrumental accounts exploring the potential economic benefit and skills development facilitated by young people's cultural encounters and experiences. In this paper we examine the findings of a nine month project, which set out to explore what cultural value means to young people in Bristol. Between October 2013 and March 2014, the Arts and Humanities Research Council “Teenage Kicks” project organised 14 workshops at 7 different locations across the city, with young people aged 11–20. Working in collaboration with a network of cultural and arts organisations, the study gathered a range of empirical data investigating the complex ecologies of young people's everyday/“lived” cultures and values. Young people's own accounts of their cultural practices challenge normative definitions of culture and cultural value but also demonstrate how these definitions act to reproduce social inequalities in relation to cultural participation and social and cultural capital. The paper concludes that cultural policy-makers should listen and take young people's voices seriously in re-imaging the city's cultural offer for all young people.  相似文献   

14.
In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.  相似文献   

15.
Ian Huffer 《Cultural Trends》2017,26(2):138-154
It has been argued that the circulation of film online is a “democratising process”, evident in the breadth and depth of international film now available online, and in the greater ease of access to this content for audiences across the world. This is seen by some to present greater commercial opportunities for film-making from countries marginalised by previous distribution networks, and to foster a more globally diverse and inclusive film-viewing culture, with particular benefits for diasporic populations. Others, however, have pointed to the way in which audiences’ engagement with film online may be constrained by the economics and technology of online distribution and cultural competencies rooted in social stratification. These factors may limit how and what audiences watch, extending beyond issues of physical access to those of cultural access. As such, they raise questions regarding the demographic composition of the audience for online methods of film distribution and different types of international film. We lack sufficient understanding of these issues, however, due to the limited emphasis upon socio-demographic variables in existing academic research into online film consumption, and the limited consideration of particular film content in relevant market research. This article uses original audience research to interrogate the extent to which online distribution is able to connect audiences to a diversity of international film in comparison to other methods of distribution. It also considers some of the socio-demographic characteristics of the audiences for different methods of distribution and types of international film. In doing so, the article grants us a clearer understanding of the degree to which online film distribution fosters diversity and inclusivity through the connections it facilitates between audiences and content.  相似文献   

16.
Bev Hong 《Cultural Trends》2014,23(2):93-108
New Zealand was one of the first countries in the world to report national cultural indicators – specifically choosing to use a conceptually based framework which was broadly underpinned by theories of culture, industry and political economy. One of the essential elements of this work was the incorporation of a Māori perspective in recognition of the Treaty of Waitangi and the importance of the indigenous Māori culture. Manatū Taonga Ministry for Culture and Heritage has primary central government responsibility for cultural policy and advice and the reporting of national cultural indicators. The term “culture” in this context broadly refers to Māori culture and the cultures of all New Zealanders, and to endeavours relating to arts, heritage, media, and sport and recreation. The Ministry is currently scoping a programme of research that aims to refine the indicators; relate indicators more clearly to the cultural policy role of government (and in turn their related cultural agencies); and more clearly articulate the relationship that cultural sector indicators have with those of other sectors. Cultural sector consultation to identify and clarify perspectives and reconfirm a common terminology (if not understanding) will be an essential and important part of this work. Better contextualising the national indicators will make them more meaningful and useful for reinforcing the importance and value of the cultural sector; monitoring the “health” and performance of the cultural sector over time; providing useful quality information; measuring the effectiveness of policy interventions and connecting across the cultural sector and to other sectors. This paper outlines the New Zealand context and the development and reporting of national indicators; reflects on the usefulness of reporting national indicators to date; and describes and discusses the intended direction of further work.  相似文献   

17.
Abstract

Between 1845 and 1917, a total number of 143,939 Indian immigrants were brought to Trinidad under the system of Indian indenture to fill the labour gap created by the abolition of slavery. Approximately 88% of these immigrants practised various facets of Hinduism. Upon completion of their five‐year periods of contracted labour, over 90% of the indentureds opted to make Trinidad their permanent home. From their very entrance into Trinidad society, Hindus were engaged in the practice of many aspects of their religion. However, in Trinidad, elements of religion were variously truncated, modified, diluted, intensified or excised. During the initial decades of Indian indenture, Indian cultural forms were met with either contempt or indifference. Yet, despite the arduous nature of the task, various dimensions of Indian culture have now been integrated into the Trinidad and Tobago's multicultural prism.

Whether within the context of colonialism, the immediate post independence ferment, or the post 1980s dynamic political ethos, Trinidad's ‘cultural’ diversity has consistently underscored intriguing, sometimes tumultuous dialogue between the State and various elements of the society. Predictably, the common factor and point of contention was the conflict between Hindu and non‐Hindu ideologies. This essay seeks to explore one dimension of that dialogue; namely, the engagement of the Trinidad Hindu community with the State, with specific emphasis on the issues that can be situated within the realm of culture. These include Adult Franchise, the Hindu Marriage Bill, the Divorce Bill, the Cremation Ordinance, the issuing of capitation grants, education, symbolic claims and ‘nationalizing’. Underscoring the dialogue are two, often contradictory, determinants: the attitude of the State towards Hinduism (and Indian culture on the whole), and the tension between the retention of ‘Hindu’ culture and the need to transcend the boundaries of communalist discourse into the nationalist frame. Therein resides the crux of a most intriguing interaction between two very dynamic entities.  相似文献   

18.
Abstract

This paper explores the relationship between (national) culture and state formation, arguing that the former is effectively a field of contestation where struggles over hegemony between various classes and social blocs are played out. Cultural nationalism has been the pre‐eminent form of nationalism in the twentieth century, particularly within the anti‐colonial and postcolonial contexts. Since this form of nationalism lends itself to moral regulation by ruling classes in a way that civic or political nationalisms do not (given its ability to produce and manipulate emotional affect) it becomes imperative to understand its relationship to power and to the project/process of state formation. This paper uses the case of postcolonial Pakistan as a lens through which to explore and analyse the complexities of this relationship during the early years of the Pakistani nation‐state. Using primary material – Constituent Assembly Debates and the texts of important intellectual debates on culture during this period – I show the different ways in which Pakistani culture was defined at this time, the politics and interests behind these various articulations, and their ultimate impact on state formation.  相似文献   

19.
The Non-Aligned Movement was a transnational political project, a coalition of small and middle-sized states, mostly former colonies and developing countries, from the global south or the Third World. It was formed in 1961 in Yugoslavia at the Belgrade summit. The NAM represented the first major disruption in the Cold World map, a quest for alternative political alliances, for “alternative mundialization.” Culture was accorded particular importance in the NAM, despite the fact that it never took center-stage at summits and conferences. However, NAM’s cultural politics strongly condemned cultural imperialism and epistemic colonialism. Western (European) cultural heritage was to be understood in terms of “juxtaposition”; this heritage would be interwoven with and into the living culture of the colonized, and would not simply be repeated under new (political) circumstances. Consequently art and culture in the NAM were largely about politics and history, or to put it differently, they were a way of staking a claim to history. It seems the movement was somehow aware of the fact that this was the only way it could enter the world’s (cultural) space on an equal footing. There existed a heterogeneous artistic production, a variety of cultural politics and extensive cultural networks which enriched the cultural landscape of the NAM and enabled discussions about the meaning of art outside the Western canon.  相似文献   

20.
This work studies the information that the historiography on King Alfonso XI of Castile offers on the Marīnid dynasty of Fes. In spite of the confrontation between the two states in the thirteenth and fourteenth centuries for the control of the Strait of Gibraltar and the southern part of Andalusia, the Alfonsine texts (the Crónica del Rey don Alfonso el Onceno, the Gran Crónica de Alfonso XI and, to a lesser extent, the Poema of Alfonso Onceno) attempt to reconstruct the history of the rival sultanate through a verifiable and rigorous approach comparing with Arab sources from that period. In this regard, their ideological conception moves away from the usual stereotypes, which are generally negative in the way they portray the other, i.e. the Maghribi opponent. In contrast, Alfonsine historiography assumes the empathetic portrayal of the identity values of the rival as part of the task of the historian, and uses the history and deeds of the adversaries to highlight the victory of the Castilian monarch over them.  相似文献   

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