THE FORMATION OF “TRANSNATIONAL COMMUNITIES”

This article will explore the multicultural challenges resulting from increasing numbers of migrant workers and foreign (non‐Chinese) brides in Taiwan, and discuss how such outside cultural influences create new forms of cultural expression, identity and citizenship. It will further describe experiences and present theories specific to Taiwan’s experience. Research on “transnational communities” is fairly advanced in Taiwan. “Transnational communities” in Taiwan are expected to “assimilate” quickly into mainstream Taiwanese society, and personal cultural needs and influences are largely ignored. These communities continue to remain isolated from mainstream Taiwanese society, thus making them “invisible” to society as a whole. Therefore, this research hopes to encourage research into “transnational communities” within the field of cultural policy studies and provide a basic picture of the cultural influence and development of these communities in Taiwan.     

THE MEANING OF CULTURAL FESTIVALS

Cultural festivals and events are increasingly becoming arenas of discourse enabling people to express their views on wider cultural, social and political issues. Often the debates polarise into those advocating change and those wishing to preserve “traditional” or “local” culture in the face of modernisation and globalisation. This article analyses the discourse on cultural festivals from the perspective of stakeholders involved in traditional and popular culture events in Catalunya. There is generally a high level of agreement about the aims of cultural events and the cultural content that is appropriate for them. In particular, the importance of cultural events in underpinning Catalan identity is seen as being important. However, stakeholders tend to differ more in the meanings attached to concepts such as identity, with policy makers exhibiting a greater emphasis on economic and political issues, whereas cultural producers are more concerned with social aspects of identity. However, the general consensus on the social role of cultural events between the different stakeholders may be one explanation for the relatively vibrant festival culture in Catalunya.     

心理文化学视野下的华侨华人研究--兼论华侨华人研究学科建设

论文简述了心理文化学的发展脉络、核心工具与方法论特点;阐述了华侨华人研究中的文化人类学视角;探讨了世界“强联结”时代心理文化学用于华侨华人研究的可行性。在华侨华人研究领域,文化人类学视角的研究占有重要份量,故把作为文化人类学一个分支的心理文化学引入华侨华人研究领域具有一定的学科基础。世界进入“强联结”时代后,华侨华人研究领域出现了一些需要研究的新课题,心理文化学在华侨华人研究领域的应用有可能在提供比较文明背景、认识华人的文化认同、人际关系、行为模式以及心理调适方面提供帮助。     

Rules for Cultural Radicals

Abstract: This article explores the various forms of “social skill”, what we call “rules for cultural radicals”, that the Amber Film and Photography Collective (and primarily its founder and leading visionary, Murray Martin) used to create and sustain an egalitarian arts organization and oppositional cultural movement in the Northeast of England. The collective represented a radical challenge to the world of British filmmaking, featuring innovative practices of cultural work, non‐commodified forms of cultural economy and a commitment to a democratic culture. These “rules” constituted innovative forms of strategic action—visionary leadership, improvisation, risk taking, brokerage—that helped create a durable collective identity and networks of solidarity. We explore the extent to which Amber's “rules” are prefigurative of contemporary forms of cultural activism and radical artistic practice.     

A critical perspective on socially embedded cultural policy in France

This paper aims to show how in France, the synthesis of cultural policy and social concerns throws up a number of tensions and pitfalls. These tensions are perhaps most acute because these sorts of cultural policies are not merely about socio‐economic issues but are actually tied to France’s colonial legacy and the presence of a large and often marginalised population of migrants and their descendents. The pitfalls stem from the universalist starting point of French cultural policy, which, although designed to integrate “new” and migrant/postmigrant publics, emergent artists and cultural practices, seems to simultaneously marginalise them since it is already premised on a binary that opposes art as aesthetic expression and art as an expression of cultural (anthropological) identity or social cohesion.     

Theoretical reflections

The article starts with a discussion about the frequent statement that culture is a marginal area in politics. It proceeds with an analysis of the phenomenon and concept of “the cultural turn” and its possible consequences for cultural democracy. Then there follows a reflection on the potential power of religion and culture in political developments. After these introductory sections I present and discuss what I call five “democracy dimensions” of cultural policy: norms and ideologies; distribution of economic resources; institutional structures and decision‐making procedures; agents and interests in the policy‐making process; and access to and participation in cultural life. The conclusion is that under certain circumstances culture may mobilise huge masses of people in political actions but this is unlikely to happen in Western European democracies where culture in a long historical process has been privatised and isolated from big politics by the establishment of a specific sphere with its own structures, norms, logics and discourses. It is questionable if cultural policies will be more democratic under the reign of global capitalism and new liberalism. “The cultural turn” is an ambivalent phenomenon which cannot by itself bring about more cultural democracy. The future of cultural democracy cannot be decided for by cultural life or the cultural policy system themselves, it is dependent on what will happen to democracy as a total political system, of which cultural policy is only a small part.     

中国社会文化史研究:25年反省与进路

我国史学界社会文化史学科兴起25年来,经过了前十年"兴起奠基期"、继十年"发展兴盛期"、近五年"深化扩散期"三个阶段。学术贡献有:理论方法创新,开辟史学新生长点;推动中国近代史研究超越"革命史范式"及"现代化范式",走向"本土现代性";关注民间社会,挖掘内在社会文化资源。存在问题与瓶颈:学科意识模糊,研究"碎片化",平面描述性、意义稀薄及理论缺失。当今社会转型呼唤社会文化史的理论创新成果,未来将会引起关注的"关键论题"有:民间社会、社会治理、生活方式、价值系统。这几个"关键论题",可能会成为社会文化史学者为中国社会发展理论创新作出贡献的生长点。     

An economic analysis of a National Theatre: The case of the ‘Abbey’

Abstract: This article asks how a regional community is culturally constructed as a policy subject in the centre/periphery relation of Finnish cultural policy. The focus is on the options the cultural recognitions analysed from the cultural policy documents of central government and the provincial administration of North Karelia provide for different political interests. It is stated here that the democratisation of cultural policy can be open for and a vehicle of the interests the prevailing spatial dominance attempts to get within the population of peripheries. North Karelia has for centuries been a geographic and economic periphery without inner cultural distinctions. Yet it is regarded as a culturally rich and specific area. The analysis shows that the regional community has continuously been used as a partisan identity for maintaining and reinforcing the spatial integration of national projects. Public cultural image would provide a symbolic compensation for the economically underprivileged. Furthermore, the strong cultural identity of North Karelia has constantly been taken by the regional establishment as an instrument to fight the “opponents of common regional interests” in political conflicts. Thus the principles of democracy have not always meant the capability or attitude to notice cultural polyphony within the region abreast of cultural political decision-making.     

A study of social‐market interventions in the shaping of the field of cultural production

A social analysis based on extensive evaluation of the Dance and Drama Awards programme reveals the social‐market political paradigm underpinning the formation of cultural policy in the UK underthe New Labour government. This specific intervention in the field of cultural production is placed in the context of broader government interventions in the cultural domain that seek to give respect to undervalued social and cultural groups. There is a political analysis of the characteristics of the social‐market political formation that underpin New Labour’s “affirmative” actions, and the political strategies informing the government’s “access” and “inclusion” agendas and their impact on the cultural and creative industries. The authors argue that the construction of a “social‐market” position in New Labour’s cultural policy represents an attempt to bridge or “hyphenate” the contradictory claims of social democracy, on the one hand, and economic fatalism, on the other. Despite the rhetoric of social and cultural “transformation”, the authors argue that a “faith” in the market prevents New Labour from transforming the political‐economic and cultural structures that generate economic and cultural injustices.     

Combating coloniality: the cultural policy of post-colonialism

The distinguishing characteristic of cultural policy in countries characterized by a legacy of coloniality is the importance of the identity formation and the politics that are involved in formulating its definition. At root, coloniality is an experience involving dominating influence by a stronger power over a subject state. However, this is not just a matter of external governance or economic dependency, but of a cultural dominance that creates an asymmetrical relationship between the ‘center’ and the ‘periphery,’ between the ruling ‘hegemon’ and the marginalized ‘other.’ In these circumstances, what constitutes an “authentic” culture, and how this informs national identity, is a central political and social concern.     

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.     

Cultural governance and creative industries in Singapore

Singapore, a leading country in the Asia‐Pacific region, is currently attempting to transform its cultural industry into creative economy. Creative economies capitalise on how knowledge can be marketed by merging arts, technology and business. They ensure a nation's competitiveness within an integrated global economy. This paper critically examines Singapore's recent cultural policy developments in tourism, broadcasting and new media. It argues that new creative industries have produced new consumption patterns and identities that harness the place‐branding of “New Asia” as a form of cultural capital and a strategy of regional dominance. Cybernetics is proposed as an approach to frame creative cultural governance and consumption in Singapore.     

The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art

This essay explores two primary concerns in the art and artistic practice of contemporary Iran, namely “identity” (i.e. local, historical, imagined and collective identity and also self-identity) and “exoticism” (which appears inevitably related to the first), both of which (identity and exoticism) involve challenges relating to the “self” and “other” and the issue of “expectation”. It suggests that these issues see broader contextual socio-political parallels. The first apprehension relates to the concept of identity which addresses how artists have interpreted contemporary aesthetics in the light of national and indigenous ideology. The second refers to the ever-present obsession with cultural and frequently social concern with which Iranian artists are engaged within the country. The two concerns are integrated, in the way that the second is seen to be the outcome of the first. Some critiques are based on the issues of cultural commodification, anti-canonical West, cultural formulation, and also the stereotypes rooted in the preference and interest of the market.     

Untangling the different components of Norwegianness*

ABSTRACT. National identity is under scrutiny in Europe. A new non‐ethnic conception of the nation to replace the traditional ethnic one is needed. National identity is therefore undergoing a public reconstruction. This article is based on narratives of “Norwegianness” that emerged in a qualitative interview study of white majority Norwegians who live in multicultural suburbs in Oslo. I respond to an overlooked need to analytically untangle different components of “Norwegianness” as phenomenological knowledge, to decouple its different constituents from each other. In order to analyse qualitative data where notions of “Norwegianness” and “non‐Norwegianness” are at play, their different aspects must be clarified. I identify multiple discursive oppositions that researchers ought to keep apart, and distinguish between civic aspects (citizenship), cultural aspects, and ethnic/racial aspects. I suggest that everyday notions of the national are fruitfully studied as discursive space constituted by a series of overlapping, but sometimes mutually contradicting, oppositions.     

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.     

Human–animal relations and the celebration of place‐identity: A case study of the Scone Racing Carnival,New South Wales

Festivals and carnivals are social‐cultural assemblages of human and non‐human entities. This paper investigates interactions between humans and animals by focusing on the Scone Racing Carnival, a key event in the Scone and Upper Hunter Horse Festival. This paper contributes to existing studies of non‐metropolitan festivals and animal–human relations by questioning how and why non‐humans are enrolled in these cultural events, and the impact this has on place identity. The central argument is that the relationship between humans and thoroughbred horses, in particular, has played a significant role in the creation of a distinctive landscape, a regional identity for the Upper Hunter region of New South Wales, and a local identity for Scone. In turn, the carnival has assisted in maintaining an ‘eque‐cultural’ identity through the marketing and annual public celebration of human–horse relationships.     

Rhetoric of unity and cultural diversity in the making of European cultural identity

The fundamental aim of the cultural policy of the European Union (EU) is to emphasize the obvious cultural diversity of Europe, while looking for some underlying common elements which unify the various cultures in Europe. Through these common elements, the EU policy produces ‘an imagined cultural community’ of Europe which is ‘united in diversity’, as one of the slogans of the Union states. This discourse characterizes various documents which are essential to the EU cultural policy, such as the Treaty of Lisbon, the European Agenda for Culture and the EU’s decision on the European Capital of Culture program. In addition, the discourse is applied to the production of cultural events in European Capitals of Culture in practice. On all levels of the EU’s cultural policy, the rhetoric of European cultural identity and its ‘unitedness in diversity’ is related with the ideas and practices of fostering common cultural heritage.     

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.     

AUDIENCE DEVELOPMENT AND SOCIAL INCLUSION IN BRITAIN

This paper attempts to distinguish the different meanings of “audience development” and “social inclusion” – two areas receiving increasing attention in British cultural policy – by discussing their overlap and close relation to “access”. These policy areas are fraught with inherent contradictions when examined in the light of sociological theories on culture. Consumption skills, the level of which is determined socio‐economically, and the function of culture for distinction suggest problems and paradoxes for audience development and social inclusion. Discussion on representation in culture, which can work to institutionalise inequality, also leads to a call for a “target‐driven” approach to these areas. This would be fundamentally different from the dominant “product‐led” approach that tries to leave the core product intact whilst making changes in presentation. To become truly inclusive is a most formidable challenge for cultural organisations as it inevitably brings them into a wholesale review of their core products.