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.     

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.     

A HISTORIC NEIGHBOURHOOD AS ARTS SPACE: THE LITTLE INDIA EXPERIENCE

Many cities around the world are redeveloping their neighbourhoods as arts and cultural precincts. Urban industrial zones and lower‐income residential areas have taken on new life as arts neighbourhoods in a bid to attract high‐yield visitors, propel their creative industry and brand themselves as attractive to investors and residents. This article has two aims. Conceptually it explores the notion of arts urbanization – the creation of arts spaces in cities and the socio‐spatial dynamics which they embody. Empirically, the concept is tested using the case of Singapore's Arts Housing Scheme. Under this scheme, historic ethnic precincts take on new roles as arts and creative belts. While the scheme has yielded some success by way of fostering spaces of identity and inspiration for artists, it has also generated social concerns and spatial challenges. Singapore's Little India offers an empirical setting to explore this concept. The paper argues that geography matters to the arts and that arts‐led urbanization creates distinct spatial configurations in cities. For this reason, a greater understanding of and research into arts neighbourhoods and their socio‐spatial dynamics are essential if we are to aspire to sustainable and sensitive development of cities and their creative communities.     

Cultural policy as development policy: evidence from the United States

Cultural policies and cultural projects in the United States have been reframed to emphasize their economic benefits to cities. New alliances between arts advocates and place promoters are apparent at all levels, but are most prominent locally. These new alliances are facilitated by the changing interests of local officials and business people, who have come to believe there is economic value in the arts and of arts administrators, for whom attracting broader public support has become imperative. In some cities, entirely new organizational structures have sprung up to plan and implement projects that serve cultural and economic development advocates simultaneously. Such new institutions are most prominent in more economically disadvantaged cities.     

Artists and policy: a case study of the creative industries in north-eastern Australia

Artists play a major role in the cultural fabric of society. They operate within the creative industries, a sector of activity widely accepted as significant to developed and developing economies. While there is a substantive body of literature relevant to the nature of policy-making as applied to the arts, research that explores the views of practitioners at the grass roots level is limited, and particularly so in regional north-eastern Australia, an area with significant challenges caused by isolation and distance. This article contextualises the issues of relevance in relation to artists’ engagement with policy, after which it presents survey and interview data obtained from those working in the field. The findings reveal the influence of isolation in north-eastern Australia, not only in a geographic sense, but in terms of the number of artists who see themselves as disconnected from policy, arts and cultural strategy.     

Sub-national cultural policy--where the action is: Mapping state cultural policy in the United States

Abstract

This paper argues that cultural policy analysts should turn their analytical attention towards the cultural policies of sub-national levels of government. State level cultural policy has become an increasingly important locus of interest for those who are concerned with the health and stability of the arts, culture, and humanities in American life, and the same is undoubtedly true elsewhere. This rise in the importance of cultural policy at the state level has not been accompanied by a similarly evolving understanding of the cultural policy system that has developed at this sub-national level. Cultural policy at the level of an American state has been the sum total of the more or less independent, uncoordinated activities of a variety of state agencies and allied organizations and institutions. This paper lays out a number of hypotheses concerning what we might be likely to find in such an inquiry and reports some preliminary findings from a cultural policy mapping project in the State of Washington.     

Cultural quarters and urban regeneration – the case of Cathedral Quarter Belfast

Elements of culture and cultural policy have now become firmly integrated within urban design and regeneration practice. Culture is recognised as a driver of economic renewal and many cities have utilised culture as an additional means of achieving regeneration outcomes through the application of designated cultural quarters. This study provides a critical evaluation of the regeneration and development of Cathedral Quarter Belfast, exploring the integration of cultural and economic strategies to encourage greater cultural provision and economic development as well as examining the role of culture as a catalyst in the regeneration process. It does so by utilising a mixed methodology incorporating qualitative key informant interviews and a quantitative survey of visitors to the quarter. This research examines and challenges existing theories in relation to culture-led regeneration making a valuable contribution to the literature on the application of cultural quarters and identifies areas for further investigation.     

The Territorial Approach to Cultural Economy: New Opportunities for the Development of Small Towns

In recent years, there has been a notable development of research on the role of culture in regional and local development models and on the relevance of the so-called cultural economy. Despite the existence of several nuances, it is possible to identify two basic research approaches to the issue. The first is focused on analysing the industry of culture, showing the processes of concentration of cultural activities in some places and the links with other sectors of the local economy. The other approach, more oriented towards the territory, emphasizes the role that a system of cultural assets can play in the dynamics of economic and social development of a specific area. In contrast to the first, which concerns larger cities, the territorial approach privileges medium- and small-sized towns and rural areas. In adopting this perspective, we present the case study of Volterra, a small Italian town whose cultural heritage has been considered in recent years as the main local development driver. By means of a direct survey and interviews with opinion leaders, we have attempted to assess the perceptions and reactions of residents and visitors and to identify the connections between the local heritage, cultural activities and strategies of urban development.     

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.     

A cultural justice approach to popular music heritage in deindustrialising cities

ABSTRACT

Deindustrialisation contributes to significant transformations for local communities, including rising unemployment, poverty and urban decay. Following the ‘creative city’ phenomenon in cultural policy, deindustrialising cities across the globe have increasingly turned to arts, culture and heritage as strategies for economic diversification and urban renewal. This article considers the potential role that popular music heritage might play in revitalising cities grappling with industrial decline. Specifically, we outline how a ‘cultural justice approach’ can be used within critical heritage studies to assess the benefits and drawbacks of such heritage initiatives. Reflecting on examples from three deindustrialising cities – Wollongong, Australia; Detroit, USA; and Birmingham, UK – we analyse how popular music heritage can produce cultural justice outcomes in three key ways: practices of collection, preservation and archiving; curation, storytelling and heritage interpretation; and mobilising communities for collective action.     

中国入境外国游客旅游行为研究

在心理测试量表调查的基础上,利用心理学实验,归纳,演绎推理,行为意象图,数理统计等分析方法,从游客决策行为、空间行为、旅游文化行为切入,研究中国热点城市日韩、北美、东南亚、欧洲客源市场游客的行为规律及其制约因素,构建主要群体入境游客的旅游行为模式,发现了入境外国游客旅游选择偏好、时空动态规律;探讨旅游决策的主导模式、范式和影响决策的可控因素;研究"文化边际域"中的跨文化冲突特征和旅游认知预期衰减效应模式;揭示了旅游意愿评价、旅游感知评价数量模型和四种不同群体游客文化交互模式。并提出了适应外国游客旅游行为的相应对策建议。     

From Mexico to Beijing: ‘Women in Development’ Twenty Five Years On

During the past twenty five years the Women in Development (WID) approach has become an increasingly important issue in the literature on Third World development. WID policies and related activities have now been incorporated into the aid practice of most development agencies. This paper critically analyses the diverse and conflicting ideologies that have emerged in the WID literature since the early seventies.     

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.     

Putting the “art” back into arts policy making: how arts policy has been “captured” by the economists and the marketers

Abstract: This paper explores the current discourse about arts policy and funding and its placement within an economic paradigm. The models of “cultural industry” and “creative industry” are explored and how they affect arts funding discourse. Similarly the impact of the introduction of the language of industry and business to the arts sector is considered. If bottom-line arguments are used by funders, governments and critics to argue the merits or otherwise of arts activity, how does this affect arts practice? In recent times arts funding agencies have been restructured to reflect a market-driven agenda rather than an arts-driven agenda. The impact of all these issues is considered in the context of Australian arts' models in particular, but with reference to examples in the United Kingdom and the United States of America. The paper concludes with suggestions for a reassertion of core cultural values in future discourse.     

DESIGN SPACES: AGGLOMERATION AND CREATIVITY IN BRITISH DESIGN AGENCIES

Although there is a growing body of research into the cultural and creative industries, little work has focused specifically upon on the geography of design and its role in regional economies. The relative neglect of the geography of the UK design industry is surprising given recent assertions about the sector's role in national economic competitiveness; its contribution to product innovation; and its importance as an urban regeneration resource. This paper explicitly considers the extent to which existing conceptualizations of agglomeration and creativity provide insights into the realm of design. Our discussion reflects upon recent surveys of the design sector and analyses current design organization membership data, both of which reveal an overwhelming concentration of design activities in London and the South East. Our analysis of the strategies, organization and practices of agencies in London reveals that a number of the key features associated with cultural industries in general are significantly less discernible within design.     

The participation myth

Policy rhetoric around strategies to and the value of increasing participation in the arts has been well documented internationally over more than a decade. But in the UK, which is the focus for this article, targets to increase participation have been consistently missed and there remains a direct correlation between those taking part in cultural activity and their socio-economic status. The starting point for this article is to examine the barriers to increasing participation in the arts and question the way that such policy has been implemented within the English context, which may have relevance for policy-making in other countries. What is demonstrated is that policy implementation is influenced by vested interest of those in receipt of funding and that a narrow range of voices, from a powerful cultural elite, are involved in the decision-making in the arts. The article makes a case for widening the range of voices heard in decision-making in order to support both artistic practice and public engagement.     

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.     

Young islanders,the meteorological imagination,and the art of geopolitical engagement

There is scant literature analysing how young islanders regard climate change, particularly in terms of resilience, agency and a geopolitical aesthetic. To address that gap, this paper offers a theoretical framework and empirical example responding to such issues. The work's theoretical foci are upon the role of the artist as interlocutor; the importance of arts practices in encouraging children to participate in climate change debates and actions; and the potential of what anthropologist Tim Ingold has called the meteorological imagination. These three matters inform a two-year praxis project – A Map of a Dream of the Future – involving methods from the geohumanities and engagement with young islanders, academics, artists and writers, community cultural development workers, and educators. Together, we worked on various activities to draw out our individual and collective ideas about islands, arts, climate change, and geopolitics. In the process were created an education kit, children's workshops and exhibitions, and a professional art installation at a major national arts festival. At the same time, new insights have been gained about how the meteorological imagination may be a significant resource by which to work with children as they come to terms with a future whose climate has changed.     

中国文化遗产竞争力指标体系构建与测评

提升文化遗产竞争力,谋求中国在国际文化竞争中的话语权,无疑是当今国家文化建设面临的重大课题.本文从文化遗产生产力、文化遗产消费力、文化遗产支撑力、文化遗产传播力、文化遗产管理力以及文化遗产创新力六个方面构建中国文化遗产竞争力指标体系,在此基础上,结合主客观赋权法对文化遗产竞争力指标体系的权重进行综合确定,并对我国31个...     

Cultural participation in Europe: shared problem or shared problematisation?

Europe has a ‘problem’; it is becoming a ‘less cultural continent’ as fewer Europeans are ‘engaging in cultural activities’. This conclusion has been reached due to the findings of the latest cross national cultural participation survey. This paper questions the existence of this ‘problem’ and instead suggests that there is a shared problematisation across Europe sustained by common discursive archaeology that employs various discursive strands in relation to a dominant institutional discourse. The argument is that the ‘problem’ of ‘non-participation’ legitimates a ‘solution’ that predates its emergence: the state subsidy of arts organisations. The paper recaps the comparable problematisations that the researchers have previously identified in the policy texts of their respective countries. It progresses to consider three distinct but interwoven discursive strands upon which the problem representation in both countries, and potentially across Europe, appears to rely.