Reviews

Books Reviewed: David S.G. Thomas and Andrew Goudie (eds), The Dictionary of Physical Geography 3rd ed Ross A. Bradstock, Jann E. Williams and Malcolm A. Gill (eds), Flammable Australia: the Fire Regimes and Biodiversity of a Continent A. Carr, Grass Roots and Green Tape. Principles and Practices of Environmental Stewardship Felix Driver, Geography Militant: Cultures of Exploration and Empire G. Waitt, P. McGuirk, K. Dunn, K. Hartig and I. Burnley, Introducing Human Geography: Globalisation, Difference and Inequality I. Hay (ed.), Qualitative Research Methods in Human Geography A.J. Brown, Ill–starred Captains: Flinders and Baudin     

Rural Transformation and Cultural Industries: Popular Music on the New South Wales Far North Coast

This article explores the emergence of popular music as a niche cultural industry, connected to economic and social transformations on the New South Wales Far North Coast (also known as the ‘Northern Rivers’ region). The various images of the New South Wales Far North Coast as a ‘lifestyle’ region, ‘alternative’ locale and coastal retreat have attracted a diverse mix of ex–urban professionals, unemployed persons, youth subcultures, backpacker tourists and retirees. Yet, despite population growth, the region continues to suffer unemployment rates among the highest in Australia. Against this backdrop, diverse popular music ‘scenes’ have emerged, constituting an industry with linkages to cultural production in Sydney, Melbourne and overseas. While the region’s unique cultural mix has been suggested as a key site of comparative advantage, future employment is likely to remain transient, insecure, and governed by industry–wide labour relations. This case study illustrates some of the complexities underpinning contemporary urban–regional change in Australia, and provides cautious assessment of the capacity of the cultural industries to reinvigorate rural economies.     

From culture for the people to culture for profit: the PRC’s journey toward a cultural industries approach

This paper seeks to explore the internal driving forces behind the emergence and prosperity of China’s cultural industries. The paper traces the Chinese Communist Party’s radical transformation from stressing the class stand and ideological nature of culture to concluding with the concept of ‘cultural industries’ so as to expand an orthodox Marxist/Leninist/Maoist notion of culture. The Chinese party-state legalizes ‘cultural industries’ by extending the market mechanism into the cultural arena, and acknowledges the triple statuses of culture as a public service provider, a market profit contributor, and an essential builder of the ‘socialist core value system.’ By doing so, the Chinese Party-state is able to take advantage of the economic power of the market while retaining the ideological control function of culture. As such, cultural industries become a mode of governance for the CCP to maintain cultural security and national identity, and a source of soft power to maneuver.     

Three arguments against ‘soft innovation’: towards a richer understanding of cultural innovation

This paper critiques recent research on innovation in the cultural and creative industries. In particular, this paper examines Paul Stoneman’s idea of ‘soft innovation’ as a jumping off point for discussing theories of cultural innovation more broadly. Three critiques are advanced. Firstly, soft innovation is a theoretical perspective that has developed from neoclassical economics, and is therefore vulnerable to criticisms levelled at neoclassical explanations of economic behaviour. Secondly, the theory of soft innovation can be criticised for being contingently inaccurate: the observed reality of cultural industries and marketplaces may not reflect the theory’s premises. Thirdly, because soft innovation defines the significance of an innovation in terms of marketplace success, it implies that only high-selling cultural products are significant, a difficult claim to substantiate. This paper concludes by arguing that our understanding of innovation in the cultural sphere can benefit from a multi-disciplinary approach grounded in the full gamut of human creativity.     

Mapping the arts: industry concentrations,distribution, and change in the US, 1980–2010

This paper studies arts industries in all 366 US metropolitan statistical areas between 1980 and 2010. Our analysis provides evidence that the arts are an important component of many regional economies, but also highlights their volatility. After radical growth and diffusion between 1980 and 2000, in the last decade, the arts industries are defined more by shrinkage and reconcentration in fewer metropolitan areas. Further, we find that the vast majority of metros have strengths in particular sets of arts industries. As we discuss in the conclusion, these conditions present challenges and opportunities for urban cultural policy that goes beyond the current focus on the arts as consumption amenities.     

Youthful Creativity in Regional Australia: Panacea for Unemployment and Out‐Migration?

This paper addresses the theme of youth out‐migration from rural Australia, in the context of recent policy discussions about creativity and its role in regional development. Ethnographic fieldwork in one rural location – the New South Wales Far North Coast – is drawn upon to highlight how creative industries are being cast as a potential way of promoting cultural activities and jobs for young people, and in turn, how they might be imagined as a means to mitigate youth out‐migration. Yet, creative industries have contradictory employment and social outcomes. Creative industries are likely to generate higher rates of youth participation in economic activities than public data reveal. However, strategies for future job growth should also consider the limitations and instabilities of creative industry employment. Second, and more broadly, the paper discusses those socio‐cultural dimensions of nascent creative industries that may have a more substantial impact when conceived as part of strategies to stem youth exodus from rural areas. Creative activities may contribute to rural development in indirect ways, especially if linked to policy goals of increased tolerance of youth activities, better provision of cultural services, and improved well‐being for young people. While formal job‐creation may be limited, creative industries could mitigate some of the impacts of youth migration to cities by enriching regional social life and mediating perceptions of the advantages and drawbacks of rural versus urban life. This kind of policy imagination requires a shift in attitudes towards young people and a more genuine commitment to encourage young people to feel that they belong in non‐metropolitan areas.     

Sustaining popular music’s material culture in community archives and museums

This article examines the challenges of sustainability faced by community archives and museums that are concerned with the preservation and display of the material culture of popular music’s recent past. The sustainability of grassroots sites of popular music heritage is of great concern due to their role in making accessible cultural artefacts that have limited representation in the collections of more prestigious institutions. Drawing on three sites that have ceased operation – Jazz Museum Bix Eiben Hamburg, Mutant Sounds and Holy Warbles – the article highlights difficulties faced by the founders and volunteers of physical and online archives in sustaining their ‘do-it-yourself’ heritage practices in the medium- to long-term.     

Penetrating the ‘black‐box’ of ‘remembrance day’ playlist: bereavement and the induction mechanisms of glocalization – a study in cultural sociology

This article examines the musical repertoire broadcast on Israeli state radio stations on Remembrance Day. Commencing with the first Remembrance Day, Israeli radio stations have refrained from broadcasting songs that do not contribute to the glorification of the military mythology or failure to reinforce the consensual perception of national loss. In view of globalization – it might be assumed that Remembrance Day songs would undergo changes in tune with the times. From a musical point of view, new songs that belong to what Regev and Seroussi classify as ‘globalizing Israel’ penetrated into the nationalist arena. But, following Inglehart and Baker, these songs, despite their seemingly secular façade, remain limited hegemonic enclosures organized around the core of founding values. Apparently, this is an example of the process of glocalization of culture. The article seeks answers to the strategies employed to accommodate these new songs to the traditional ideology of the classical Remembrance Day songs and examines whether the mechanisms of legitimacy that enable the inclusion of new voices on Remembrance Day, can be identified. We argue that their choice is not arbitrary and that they illustrate the manner by which voluntary cultural entrepreneurs (musical editors) are co‐opted in the postnational condition.