INTERNATIONAL NETWORKS AND ARTS POLICY RESEARCH1

There is a growth of networks in the cultural policy arena. Many of these networks have been formed to share information and to engage in comparative documentation and research. The International Federation of Arts Councils and Culture Agencies (IFACCA) is one such network, established with aims of consolidating the collective knowledge of arts councils and culture agencies, adding value to that knowledge, and improving the management and sharing of information on arts and cultural policy. Networks such as IFACCA impact on the research agenda in two main ways: directly, by undertaking, commissioning or collaborating on research projects, and indirectly, by highlighting the perceived information needs of their constituents or members. IFACCA’s main research programme, D’Art, is used as a case study to evaluate the direct impacts of the network, and this forms the basis for a discussion of the influence of such networks on the global arts policy research agenda.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

Cultural planning in Ontario,Canada: arts policy or more?

Cultural planning is often explained as a strategic approach to urban cultural development; an approach that involves the ‘mapping’ and leveraging of a wide range of ‘cultural resources’ (arts, culture, and heritage). However, it is increasingly being questioned whether cultural planning is anything more than a fairly traditional arts policy with a different name. In particular, it has been observed in Australia that cultural plans usually fail to address more than arts sector concerns. The objective of this paper is to investigate whether this assessment applies to cultural planning practice in Ontario, the province at the forefront of the current ‘municipal cultural planning’ push in Canada. An examination of all cultural plans in Ontario’s mid‐size cities and interviews conducted with municipal staff members overseeing these initiatives shows that whereas several municipalities do follow an arts‐driven policy agenda, this is not the case with most mid‐size cities in the province.     

Arts practitioners in the cultural policy process: spear-carriers or speaking parts?

This paper considers the argument that arts practitioners are rarely acknowledged by cultural policy researchers as being more than marginally involved in policy-making. Drawing on public policy analysis which pays attention to a breadth of policy actors, and on the concept of civil society, the paper examines whether these approaches can help to better investigate and understand the role of arts practitioners in the policy process. It discusses this subject in relation to cultural policy in general and in the specific arena of British arts policy, focusing on original case-study research of playwrights’ organisations and playwriting policy. The case-study evidence demonstrates that arts practitioners – through involvement in policy debate and implementation, and their own initiatives and activities – are frequently engaged in the policy process and thus more broadly in the democratic public domain. Understanding of cultural policy development is therefore considerably weakened if the role of practitioners is ignored.     

Auditing culture

This article explores the effects of the spread of the principles and practices of the New Public Management (NPM) on the subsidised cultural sector and on cultural policy making in Britain. In particular, changes in the style of public administration that can be ascribed to the NPM will be shown to provide a useful framework to make sense of what has been felt as an “instrumental turn” in British policies for culture between the early 1980s and the present day. The current New Labour Government, as well as the arm's length bodies that distribute public funds for the cultural sector in Britain, are showing an increasing tendency to justify public spending on the arts on the basis of instrumental notions of the arts and culture. In the context of what have been defined as “instrumental cultural policies”, the arts are subsidised in so far as they represent a means to an end rather than an end in itself. In this perspective, the emphasis placed on the potential of the arts to help tackle social exclusion and the role of the cultural sector in place‐marketing and local economic development are typical examples of current trends in British cultural policy making. The central argument purported by this article is that this instrumental emphasis in British cultural policy is closely linked to the changes in the style of public administration that have given rise to the NPM. These new developments have indeed put the publicly funded cultural sector under increasing pressure. In particular, it will be shown how the new stress on the measurement of the arts' impacts in clear and quantifiable ways – which characterises today's “audit society” – has proved a tough challenge for the sector and one that has not been successfully met. The article will conclude by critically considering how the spread of the NPM has affected processes of policy making for the cultural sector, and the damaging effects that such developments may ultimately have on the arts themselves.     

Fad,fetish or fixture: contingent valuation of performing and visual arts festivals in Singapore

This paper analyses how much culture is valued in a newly-developed economy with a distinct dichotomy of an arts-appreciating population segment and a less-culturally aware mass. An analytical framework weaving together the intrinsic, business and societal benefits of arts and culture is applied to explore whether arts festivals – a popular tourism event in many countries – are a temporary fad, an expensive governmental fetish or a naturally-evolving fixture. This has implications for government funding and cultural policy. Empirical evidence supports the notion that the long-running performing arts festival is a not a fad but a fixture with some fetish elements while the visual arts festival appears to be a fad but has the potential to be a fixture. Of particular concern, however, is the evidence from both festivals that the perceptions of community benefit, business benefits as well as bequest value from the arts are not significant determinants of willingness to pay for these events.     

Parties,promises and politics: exploring manifesto discourse on arts policy in Westminster,Scottish, Welsh and Northern Irish elections 1945–2011

This study addresses a key knowledge-gap by exploring the role of electoral politics in shaping public policy on the arts. Analysis of the prioritisation and use of language in party manifestos in state-wide and regional elections in the UK reveals that over recent decades there has been a sharp increase in the attention parties give to arts policy as they compete for the political centre-ground. It also shows how the framing of arts policy has broadened from an initial concern with social policy objectives to emphasise economic benefits and boosting international standing. However, parties have generally failed to advance comprehensive arts strategies raising accountability issues in relation to future government policy. Against the backdrop of a global trend of state restructuring, the analysis reveals how devolution is leading to the territorialisation of policy – as framing is contingent on ‘regional’ party politics, including nation-building by civic nationalist parties.     

Counting eyeballs,soundbites and ‘plings’: arts participation,strategic instrumentalism and the London 2012 Cultural Olympiad

This article examines cultural participation, its metrics and ‘drivers’ as they are defined through cultural programming for the London 2012 Olympics. The meanings and interpretation of these terms are considered by examining the development of an evaluation framework for the We Play programme in the North West of England, an initiative funded by Legacy Trust UK and part of the London 2012 Cultural Olympiad. It argues that in spite of the dissonance between arts and sports within Olympics programmes and claims of the deleterious impact on arts funding, particular within the regions, London 2012 has engendered creative programming which strategically deploys the Cultural Olympiad to satisfy local cultural policy objectives as well as meeting broader interests in ‘legacy’ from the Games. Such ambitions require the development of appropriate methodologies for understanding arts participation and engagement for the purpose of evaluation and evidence-based policy making, a particular challenge for such a complex range of activities, sites and settings for arts participation.     

Arts and culture in an era of austerity: key stakeholder views on the current and future Australian context

The arts and culture sector in many countries faces major challenges, as a consequence of ongoing austerity measures and changes in the ways in which the arts are experienced. In major nations such as the United States, the United Kingdom and in several European countries, there is considerable pressure to look for new ways of surviving in an age of consumerism, accountability and rapidly changing technologies. On the other hand, many Asian countries have invested heavily in building their arts and culture sector as part of the new twenty-first-century economy. The arts and culture sector in Australia faces serious challenges at present, including ongoing fiscal pressures, an absence of any national cultural policy and disruption as a consequence of changing governments. In order to explore these issues, interviews were held with 22 key leaders from a range of Australian organisations associated with arts representation, funding, policy and advocacy. The findings highlight both the challenges and opportunities facing Australia towards what may be considered the next wave of innovation and change.     

Footprint or fingerprint: international cultural policy as identity policy

This article focuses on government policy aimed at the presentation of the nation abroad through cultural activities and its relation to national identity, external cultural policy. The methodological framework is offered by the discourse analysis of Wodak and the notion of identity of Laclau and Mouffe, treating policy as a discourse. A closer look is taken at the concept of cultural diplomacy and the closely related term nation branding. This article will show how the shift in paradigm also changes the role of ‘the other’ in the construction of national identity and how this influences the role of the arts in international cultural policy.     

Australia's international cultural relations: Some domestic dimensions

Recent policy statements about and administrative innovations for Australia's international cultural relations activities (involving the country‐specific councils administered by the Department of Foreign Affairs and Trade, the Australia Abroad Council, the Australia Council and the Cultural Ministers’ Council) are examined in terms of the connections between foreign policy making and the domestic political sphere. The evidence demonstrates that while the developments were promoted in terms of supporting Australia's interests in the external world each is demonstrably serving the domestic political interests of the bureaucratic units involved.     

The Debate that Had to Happen But Never Did: The Changing Role of Australian Local Government

The past few decades have witnessed a significant transformation in the composition of Australian local government service provision away from its traditional narrow emphasis on ‘services to property’ towards a broader ‘services to people’ approach. This process has occurred by default in an ad hoc incremental manner with virtually no debate on the changing role of local councils, unlike the New Zealand experience where a similar transition in service delivery generated public debate. In an effort to stimulate a ‘debate that had to happen but never did’, this paper seeks to establish whether a significant shift in the service mix of Australian municipalities has indeed taken place and then evaluates three stylized models of local government that could be adopted in Australia: minimalist councils; optimalist councils; and maximalist councils.     

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Comparative studies of cultural policy commonly emphasize the way in which states treat the autonomy of the arts. Such studies often claim that liberal states promote autonomy, while social democratic states promote more external, instrumental values, such as solidarity, universalism and equality. This article challenges this conception by claiming that in actual cultural policy-making it is in fact the other way around. Based on a comparative study of theater policy in England, Norway and the Netherlands, I find that the focus on artistic autonomy is surprisingly absent in the liberal state of England, compared to what it is in the social democratic state of Norway. Conversely, English theaters are more obliged to work for, and with, the citizens and the community than theaters in Norway are. In the Netherlands, where recent development in general policy has headed in a liberal direction, artistic autonomy actually appears to be increasingly challenged.     

THE THERAPEUTIC STATE

State subsidy for the arts in Britain has been determined by a variety of political and social factors over the last two hundred years. This article examines the recent emergence of a therapeutic ethos that has come to shape arts policy in the United Kingdom. It begins with a survey of existing literature describing a shift in Britain’s arts policy since the 1970s. It examines the limitations of existing explanations and suggests another explanatory factor – the growing valorisation of the arts as a therapeutic tool to address social problems. This can be seen in two historically convergent trends: the challenge to cultural authority through the emergence of a therapeutic understanding of creativity, and the reorientation of political activism around issues of culture and wellbeing. Finally, the article considers how and why these ideas became institutionalised in Britain’s main arts policy body – the Arts Council.     

‘They'd Rather Go Play Footy’: an Exploratory Study of the Enjoyment and Benefits of the Arts in Western Australia's Remote Murchison Region

The role of the arts in the revitalisation and strengthening of Australia's rural, remote, and Indigenous communities has been of particular interest to Australian State and Federal Governments, as reflected through various policy and positioning documents. In order to understand the relationship between the arts and communities, it is important to explore why people engage in the arts and what might be some of the barriers to that engagement. For the rural, remote and Indigenous communities of the Murchison Region, the arts has been a useful way of reaching and engaging with residents to build a stronger sense of community, provide light relief and entertainment, and facilitate communication among community members, government, and industry. However, there are several barriers that impact on the viability of arts projects. These barriers are amplified in rural and remote areas, and particularly for the three case study communities of the Murchison Region for a number of reasons. These include the transient nature of the population, a lack of resources, isolation and remoteness, and local politics, culture and history. The arts can provide a context in which other non‐arts related outcomes, such as health, capacity building, income generation, and so on, are facilitated and achieved. It is important for policy makers to recognise and address the barriers which hinder activity and serve to lessen the impact of the arts on communities.     

The nonprofit arts organization concept and its transformation in Korea

ABSTRACT

After the Korean War, both the autocratic and later democratic South Korean governments actively fostered the development of Korea’s arts sector, in part by emulating the organizational and legal structures of U.S. nonprofits. Yet, in this policy transfer, Korea has taken a different path, notably rearticulating the U.S.-style hands-off facilitation model to reflect and accommodate Korean political, institutional, and cultural exigencies. We analyze the effects of the resulting cultural policy on Korean public arts institutions, using documentary evidence and narratives from our case studies of two national arts organizations restructured by the government: The National Theater Company of Korea and the Seoul Arts Center. We employ the concept of cultural statism, conditioned by "culture as glorification," resource dependence, and path dependence, to understand the development of Korea’s public arts sector. Specifically, we consider: the government’s desire to use the arts to enhance its image on an international stage shaped by western liberal democratic values; arts leaders’ desire for reliable support (resource dependence); and the tendancy of Koreans to want to be associated with the stability and prestige of the government (path dependence).     

Re-thinking festivals: a comparative study of the integration/marginalization of arts festivals in the urban regimes of Manchester,Copenhagen and Vienna

Arts festivals have been on the ascendant since the 1980s. However, while these are proliferating, it remains unclear as to whether they are also flourishing. The present narrow construction of festivals for marketing and economic purposes tends to disregard the festivals’ social and cultural potential, i.e. in terms of functioning as urban laboratories where new and alternative urban and cultural strategies can be tested and developed. In order to address these imbalanced conceptualizations of arts festivals within urban policy frameworks, the article is based on a comparative case study of festivals that try to function as urban laboratories. By examining how these festivals are integrated in or marginalized by the urban regime, and how this influences their operational conditions, the research elucidates the need to create new and more holistic policy frameworks to chart an equitable path for the future development of arts festivals.     

SOVEREIGNTY AND SOFTWARE

This article will critically appraise two approaches to cultural policy. The first focuses upon the need for a national cultural policy in order to establish a national “common culture” among its citizens, through measures to promote the arts and popular media sectors, and set limits to the flow of imported materials into the nation. This is what has been termed the “sovereignty” model, and has historically been the driver of cultural policy debates. The second approach, which is called the “software” approach, aims to create cultural infrastructure and other environmental factors to promote a creative economy, whether at local, regional, national or supra‐national levels. It questions the historical divides between “culture” and “industry”, and between “creativity” and “innovation”, and is focused upon the development of future ideas and creative concepts. It draws upon the very different conditions associated with the development of software to those of established arts and media sectors, and aims to extend the “software” model more widely into cultural and creative industries policy.     

Managing Multidisciplinarity: Lessons from SUBR:IM

Abstract

The complex nature of societal problems has fuelled arguments that such issues can only be addressed by holistic responses which are informed by high-quality policy, practice and techno-scientific research. As a result, research councils are encouraging the development of interdisciplinary research consortia through which the strengths of various scientific and social scientific disciplines can be harnessed to produce coherent, well-informed and cross-disciplinary outputs. Yet the task of managing such projects is problematic. The paper draws on the authors' experiences of managing one such consortium, SUBR:IM (Sustainable Brownfield Regeneration: Integrated Management). We reflect upon the processes and politics of building a broadly-based consortium and argue that, while the benefits of such endeavours can be significant, research councils need to give greater recognition to the barriers that exist to achieving genuine collaboration, such as disciplinary incommensurabilities, centrally imposed constraints and internal resistance. The paper explores these barriers before identifying possible ways forward, including better processes of consortia building, more effective internal structures, focusing on a single case study and recruiting the right mix of academics.