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1.
ABSTRACT

This article critically examines how segmentation is used to identify, understand and engage arts audiences. Policy reports and academic publications are reviewed to establish the priorities of arts policymakers and practitioners for understanding arts audiences and their continued focus on audience data and segmentation. This article then makes two contributions. Firstly, critical perspectives on the use of data for audience profiling are applied to arts audience segmentation. Secondly, research using biographical methods is introduced as a new approach for critically evaluating arts audience segmentation. This research, employing biographical methods, shows the exploration and negotiation of audience identity positions. This article takes these insights to critically examine the implications of how profiles and segments are used to define and understand audiences for the arts. The conclusion addresses the implications of segmentation in terms of the design and communication of cultural experiences, the complexities of aligning audiences’ identities with segments, and the seemingly inevitability of exclusion. This article will be of relevance in the scholarly study of arts audiences and for arts and cultural organisations and policymakers in reflecting on the implications of quantitative and qualitative approaches in designing and undertaking audience research.  相似文献   

2.
ABSTRACT

With live performance audience research frequently relying on cultural organisations to facilitate access to their audiences, this article addresses the issues involved in evidencing spectators’ responses via discursive methodologies. Recalling a series of empirical projects conducted over the past ten years with a range of theatre practitioners, it examines the conflicts involved in carrying out scholarly studies of audience reception against cultural organisations’ pressures to produce their own ongoing audience evaluations. Examining key concerns about audience research raised by creative practitioners in varying theatrical contexts, from site-specific to building-based work, it addresses the difficulties of understanding live performance reception and aesthetic experience via impact frameworks. It begins by situating these three operations in the context of Knowledge Exchange (KE) between academics within Higher Education Institutions (HEIs) and those in the creative industry sector.  相似文献   

3.
ABSTRACT

This paper focuses on music practice of the New Workers Art Troupe (NWAT, xingongrenyishutuan) that is based in Pi Village (picun), Beijing. During last 3–4 years, the troupe has gradually attracted the attention of young scholars and college students due to their public advocacy for the rights and benefits of migrant workers in Mainland China. Given structural marginalization of workers and peasants that ironically contradicts with the officially claimed principles of socialism, the NWAT should not be ignored as far as cultural activism in nowadays Mainland China is concerned. Many researchers have investigated NWAT’s practices according to approaches of various discipline, however, the cultural meanings and social-historical condition of its core art form, music, have been largely neglected. Whereas this neglect acts both as cause and consequence, discourses about the NWAT have gradually been overwhelmed by moral commitment or sympathy to “disadvantaged groups,” which eventually proves nothing more than the coming-being of a moral order dominated by the new-born Chinese middle-class. In order to comprehend the affects the NWAT’s music articulated, what need to be illuminated are not only what they are singing, but also where and how they sing, as well as the cultural mechanism behind their practice.  相似文献   

4.
ABSTRACT

Urbanization over in last three decades in China has produced and accumulated more and more complex problems and challenges in everyday life. People need different spaces and ways to learn about them, not only to understand what kind of problems they face, but also find a way to act together in order to change their passive situation and take part in the process which always seem to be dominated by government and technology. “Womende Chengshi” (Our Cities) citizen forum was built in 2012 and has lasted for almost 5 years in Shanghai. It aims to create a new educational space for citizens to discuss emerging city problems and to imagine alternative ways of urban life. After a concise introduction about this forum in Chinese social context, this paper will focus on three points. First, while the ideal setting suggests that citizens are everyone living in the city, “Our Cities” actually confronts the concrete ones shaped by various spaces and limited times in the whole city system. So how to struggle with different forces in limited time and space in everyday life is the main duty this forum needs to face. The third point follows: what kind of standard we could have to estimate such self-education process?  相似文献   

5.
ABSTRACT

This article traces the transformation of an Iranian nationalist poem by Simin Behbahani entitled “I Will Rebuild You, Homeland” (1981) into an expatriate national anthem, and the poem-song’s subsequent incorporation into protests and political speeches by individuals and groups in and outside of Iran. Employing musical and textual analysis, interviews, and a transnational perspective on cultural circulation and reception, I show how exile pop singer Dariush Eghbali’s adaptation of the original poem mobilized the text and opened it to audience participation. The article argues that the poem and its musical–textual permutations exemplify contemporary Iranian practices of national identification in which conflicting parties attempt to motivate “the Iranian people” to political ends. As actors from around the world and across the political spectrum repeatedly turn to nationalist poetry, song, anthem, and political speech, we observe how mass-mediated popular culture reveals ongoing recourse to nationalist forms even in transnational space.  相似文献   

6.
ABSTRACT

This article reconsiders Peter Mandler’s essay ‘The Problem with Cultural History,’ and the complexities of locating evidence of culture’s impact upon ordinary people, or ‘throw.’ A brief examination of the history of market research and public opinion surveys in the 20th century offers important lessons for the cultural historian faced with locating and interpreting evidence of audience response that is either rarely there, or more disturbingly, rarely meaningful by our current standards of interpretation. Ultimately this paper asks of my fellow cultural historians: Does culture matter as much as we cultural historians want it to?  相似文献   

7.
Abstract

This is a first‐hand account of the initial 28 years of Select Books, an independent bookshop, located in Singapore, but with a regional Southeast Asian focus and a global reach. Select Books carved a niche for itself by specializing in books about Southeast Asia and published in Southeast Asia. Its comprehensive and in‐depth book stock gave it an edge over formidable competition at home and abroad. The author relates the difficulties encountered and the novel solutions Select Books employed to overcome administrative problems and sidestep bureaucratic red tape. Select Books operated on all levels of the book trade: as bookseller, distributor, library supplier and publisher. Equally important is its intangible role as a promoter of Southeast Asian authors and their works in Singapore as well as to the first world. Select Books provided a cultural space where authors could meet with their readership. Turning to the broader book community, the author is critical of the Eurocentric mindsets of public and academic institutions in Singapore. She is equally critical of the parochial and prejudiced international market that dismisses books about Asia as insufficiently ‘mainstream’ for their market.  相似文献   

8.
Abstract

Our main concern is to see if cultural studies can intervene more productively in the dominant educational processes, in ways that align with the sustainable interests of its critical project. As cynicism becomes the commonplace ‘distinction’ of our young graduates, we raise two questions: why should cultural studies be concerned with the spread of cynicism within our own institutional and pedagogic space? And what would be the implications of such critical reflection on our current practices, as scholar and teacher of this critical project? The paper draws on our continual engagement with the curriculum reform of secondary school subjects (Integrated Humanities and Liberal Studies) in Hong Kong, in an attempt to explore the limits and opportunities of education as social practice, as well as the effectivity of cultural studies within the contemporary contexts and crises of education. First we describe how taking part in the specific school reform projects has begun to change the critical and pedagogic orientation of cultural studies we do at the university. Then we discuss the implications of our recent experiments in doing cultural studies in and with the local schools. In all, we want to examine what brings us to our own search for a certain ‘politics of hope’, by re‐thinking and re‐mapping cultural studies as a collective, pragmatic programme in the local educational set‐up. For, without a constructive pragmatics, the students of cultural studies cannot be expected to work effectively across diverse institutional settings. Thus, criticism and the production of critical knowledge in the contemporary academy would go on to foster a state of cynicism among its graduates and the ‘stakeholders’ concerned. Cultural studies, we believe, can make itself more useful through concrete ways of mediating its expertise in the complex processes of education. As such, we emphasize the contemporary relevance and uses of cultural studies for educational transformation.  相似文献   

9.
Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.  相似文献   

10.
ABSTRACT

This project interrogates the premises of media literacy education – the predominant approach to equipping K-12 students to navigate the contemporary media environment – by moving it beyond teaching students to critique commercial media toward undermining ideological messages about health, violence, race, and gender embedded in media discourses. This participatory programme evaluation uses mixed-methods to assess the effectiveness of an alternative, performing arts education-based approach to media literacy called The Girl Project (TGP), a feminist artist-activist programme based at a non-profit community theatre in Versailles, Kentucky. The 12–18 high school-aged girls who participate in TGP every year are engaged in workshops by guest artists from around the nation to express what they think is important for their audiences to understand about their lived experiences as girls in a conservative sociopolitical environment.

The project employed “youth-adult partnership model” to programme evaluation that involved working with programme alumni as co-researchers to evaluate TGP 2017. In June 2017, a team of eight co-researchers comprising alumni from the 2014, 2015, and 2016 classes met to develop evaluation questions and make data collection decisions. Data collection included surveys and interviews conducted pre- and post-programme with participants, field notes of the co-researchers’ observations of workshops and rehearsals, and feedback from guest artists and audience members. The team met again in January 2018 to collaboratively analyse how the data answered their evaluation questions. The survey data allowed us to see that girls’ statistical scores on mental health and body confidence measurements significantly improved after their participation in TGP, meaning that girls are less vulnerable to depression, anxiety, and eating disorders. In talking with participants and audience members, we learned that TGP participation increases girls’ self-confidence and ability to set boundaries in friendships, family relationships, and romantic relationships.  相似文献   

11.
ABSTRACT

This article first examines the resurgence of popular, semi-academic nationalist discourses that solidify the figures of “Japan” and “Okinawa” within post-1945 U.S.-led formation of nation-states across the Asia-Pacific. It critiques two discourses that are symptomatic of such a return to the figure of the nation: developmental economist Matsushima Yasukatsu’s thesis of “Ryukyu’s independence” and philosopher Takahashi Tetsuya’s call to relocate the U.S. military bases from Okinawa to mainland Japan. These symptomatic instances of the mutually transferential nationalisms in Okinawa and mainland Japan rely upon crudely culturalist assumptions about the self and the others and are thus surprisingly oblivious to how the very nation-forms have been instituted as part of imperial modernity. Their implicit figurations of the exemplary national subjects partake in the biopolitical assumptions as to whose lives must be “made to live” and “made to die” within and outside the border of the national. Ultimately, such nationalist discourses about Japan and Okinawa engage in a zero-sum exchange of imperial shame and colonial shame, a process that further stabilizes the co-operative placement of local nation-forms within the U.S.-led inter-state regime of warfare and biopolitics. But insofar as these discourses require the images of the nations that they seek to represent, their (re)production of what Naoki Sakai calls “a schema of co-figurative” nationalities needs to be critiqued through an exploration of a radical aesthetics and affect that pertain to image production.

The second part of the article presents my interpretation of artist Nema Satoko’s recent book of photography titled Paradigm, a work in which both bodies and objects explore their potential transformations in the midst of their precarious exposure to one another. I argue that Nema’s images of fragile bodies and objects in the present landscape of Okinawa are poised on the cusp between the past that invokes a sense of shame and this past’s potential future that necessitates an ethical posture of humility. In the vicinity of Adorno’s notion of “art’s shame,” Nema’s photographic images illuminate an amorphous realm of fragile beings, whose linkage and exposure to one another opens a space of viability that is obscured by the biopolitical imaginaries of nation-forms.  相似文献   

12.
ABSTRACT

This essay examines contemporary art as a tool of political resistance against existing and emerging ideologies as well as controversial and discriminatory cultural norms. On the example of the 2017 Venice Biennale, this research project analyses art, and more specifically, selected nation-specific exhibits, as pieces of critical pedagogy, representative of ideological and cultural resistance. Concentrating on the comparative analysis of art exhibits from US-American, Russian, and German national pavilions, this research project explains what their respective art communicates, what the main messages are, and elaborates on the impact, the salience, and the affect the exhibits have on their numerous audiences today, when the sphere of international and intercultural relations is challenged like never before. This essay further demonstrates that the exhibits challenge and critique the past and the present of their respective national cultures and attempt to refocus and humanize the future in the globalized world.  相似文献   

13.
ABSTRACT

This article explores inter-Asian media reception using the example of Bollywood films and the setting of Metro Manila in the Philippines. Drawing upon a series of interviews and focus groups with both the existing audience and “unexposed” viewers from the “mainstream,” this study takes an interest in how audiences establish the “common ground” that allows them to decode Bollywood narratives. By rescaling the dynamics of inter-cultural media exchange from geopolitical competition down to the grassroots experience of ordinary people, this article demonstrates how Bollywood films provide the basis for imaginative comparisons that open up everyday affinities based on shared economic situations and moral dilemmas. Developing the further intuition that the comparative aspects of global imagination are felt as much as considered, this article seeks to demonstrate how the melodramatic form of Bollywood generates emotional responses that inculcate empathy and an ethic of care. Our larger purpose is twofold: firstly, to explore the potentials of inter-cultural exchange between two societies on opposite sides of “Asia” and, secondly, to encourage reflection upon the ways that mediation facilitates the comparative functions of the global imagination in everyday experience.  相似文献   

14.
Relying on fundamental psychological parameters of the communication process, an intercultural model is described which stresses the need to adapt communication content to the cultural meanings and frame of reference of one's audience. This special need is supported by examples showing the nature and depth of the meaning differences which have to be bridged when the persons involved in communication come from different cultural backgrounds. The examples illustrate the potential of free word associations to reveal cultural meanings and their major perceptual and affective components.  相似文献   

15.
Abstract

This article sets out to be a concise account of Mark of Toledo's Qur?ān translation. It will be structured as follows: first, it will provide information about when and in what circumstances it was realised. Second, it will present some examples, which will show Mark's way of translating and transferring form and content of the Qur?ān for his Latin-speaking Christian audience. Mark mostly translates words consistently throughout the text, and also tries to translate words derived from the same Arabic root with root-related Latin words. Moreover, he does not usually try to convey the semantic nuances a word may have, seemingly not paying attention to the context, but translating with a standard, basic meaning of the word. (This observation should be taken as a tendency and not as a rule, as the excursus at the end will illustrate.) Nevertheless, Mark does not violate the grammar of the Latin language. Despite his fidelity to the text, Mark's Christian cultural background sometimes influences the translation. In the conclusion, the features of Mark's translation will be set out in relation to the cultural and political activity of its commissioner, the Archbishop of Toledo Rodrigo Jiménez de Rada.  相似文献   

16.
What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.  相似文献   

17.
Sara Selwood 《Cultural Trends》2019,28(2-3):177-197
ABSTRACT

In March 2019, Arts Council England (ACE), an official statistics producer, started collecting a new set of data from its National Portfolio Organisations intended to reveal whether those organizations’ intentions correlate with the perceptions of their peers and audiences. In a world dominated by quantitative data, the Impact and Insight Toolkit addresses a perceived lacuna and marks a substantial investment in qualitative metrics. ACE also expects it to address a number of other concerns – help organizations self-evaluate, measure their short-term outcomes and advocate more effectively. Indeed, it envisages that an aggregation of the data collected will support the case for sustained public support of the sector. The Toolkit’s launch comes at a time when changes to the UK’s official statistics are encouraged, and policymakers are looking elsewhere to inform their thinking. The campaigning aspect of ACE’s aspirations suggests a model of data collection and analysis distinct from that of official statistics production, valued for its impartiality. This article considers what might happen if the Toolkit, which relates to ACE’s role as a development agency, encourages data to be collected and analysed in order to deliver specific outcomes. It reflects on three visions of cultural sector data from the past 50 years: Toffler’s The Art of Measuring the Arts, DCMS’s Taking Part and ACE’s Impact and Insight Toolkit. These suggest a trajectory of cultural sector data determined by increasing importance being attached to institutional interests, and implies that the future of cultural sector data in England may be determined by how ACE addresses its potentially conflicting interests as an official data provider and development agency. Greater investment in the former would more accurately reveal the arts’ contribution to economic and social development; greater investment in the latter would encourage the teleological development of cultural sector data designed for sectorial advocacy.  相似文献   

18.
ABSTRACT

The rise in LGBT-themed novels in Indonesia over the last decade demonstrates the sea-change in social attitudes and the public presence of sexual and gender minorities in Indonesia. The genre emerges from the popularity of sexually-charged novels by female authors such as Ayu Utami and Djenar Maesa Ayu. However, many novels were criticised for the supposed westernisation of Indonesian culture that threatens the national identity and moral disposition of its readers. This article explores the underlying themes of these criticisms—nationhood, cultural authenticity, and morality—and juxtaposes them with the claims of cultural authenticity and legitimacy made by gay and lesbi Indonesians. Representations of “traditional” homoeroticisms in the novel Mairil by Syarifuddin bring these lines of arguments together and synthesise a discursive space where cultural and national authenticities are “queered.” It is my contention that religious and traditional elements that foster same-sex practices offer a key to queer legitimacy for Indonesian sexual minorities.  相似文献   

19.
Abstract

The essay analyses the history of geopolitical conceptualizations of Asia a century ago, found in the texts of Japanese Okakura Tenshin, Indian Rabindranath Tagore, and Chinese Sun Yatsen. They are not only classics in formulating new meanings for Asia, but they are also relevant nowadays in the light of contemporary attempts to advance Asian cooperation. During both periods, a crucial aspect of the discussion was conceptual: what to include and what to exclude from Asia, and on what grounds. In their own time all three authors appeared as innovative ideologists, who rhetorically redescribed the concept of Asia. That was necessary, because the whole geopolitical construction named Asia had thus far been dominated by European civilizational discourse, where Asia was seen as an aggregate of everything geographic, racial, and cultural that did not fit within Europe. It was a residual category, not containing anything that would make Asia into a common entity, except its essentialized non‐Europeanness. Culture, in the sense of the existence of a high civilization different from the dominating European one, became the central concept on which the three authors began to build a new understanding of Asian commonality. Because they were early pioneers, they often had to proceed metaphorically, using imaginative leaps of thought to fill the empty places necessarily appearing in such a new endeavour. Occasionally they also run into conceptual problems, which are as interesting as their usually quoted slogans. The problems were caused by the fact that they were Western educated and had to base their thinking on Western concepts, while at the same time attempting to proceed with classical Buddhist and Confucian ideals. It is exactly these conceptual difficulties that are relevant nowadays, when there is again a need to create Asian commonalities, while Asian relations with the rest of the world make these common aspects relative and contextual.  相似文献   

20.
A cultural map of the United Kingdom, 2003   总被引：1，自引：0，他引：1  
Mike Savage   《Cultural Trends》2006,15(2-3):213-237
This paper employs Multiple Correspondence Analysis (MCA) to map cultural participation and taste in the UK. It constructs what Bourdieu calls a space of lifestyles from evidence collected in a national random sample survey of the British population in 2003. MCA constructs the space relationally on the basis of similarities and differences in responses to questions about a large number of cultural items in several sub‐fields including music, reading, TV and recreational activity. These items are mapped along two axes and their clustering indicates affinities between tastes and practices across sub‐fields. The cultural patterns are described. We then superimpose socio‐demographic variables, including class, educational qualifications and age, the distribution of which indicates tendencies for certain categories of person to have shared tastes. The analysis reveals meaningful, socially differentiated patterns of taste. The space of lifestyles proves to be structured primarily by the total volume of capital (resources) held by respondents and by age. Strong oppositions are revealed. An older, educated middle class shares ‘legitimate’ established cultural preferences. The repertoire of a younger middle class group contains more contemporary and ‘popular’ items. Less well‐educated, working class groups are characterised often primarily by lack of cultural participation, but also, especially among the young, by an aversion to ‘legitimate’ culture.  相似文献   

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