‘Missing’ from policy history: the Dartington Hall Arts Enquiry, 1941–1947

Largely undocumented in the published accounts of cultural policy history in the UK, the Arts Enquiry was a privately funded survey of the arts in wartime England. It was launched in 1941 as an initiative of the Arts Department at Dartington Hall and funded by the trustees of Dartington Hall, who spent £19,000 on the study over its six-year history. The Enquiry brought together artists, intellectuals, philanthropists and arts professionals in specialist committees to examine the visual arts, music, drama and documentary film. Three book-length studies were published: The Visual Arts (1946), The Factual Film (1947) and Music (1949). This article examines the history of the Arts Enquiry, its entanglement in the cultural politics of the period and what it reveals about policy formation in the UK, as well as the historiography of cultural policy.     

The Urban “Cultural Nexus of Power”: Intellectual Elites in Shanghai and Beijing, 1900–1937

In the decades before the full-scale war with Japan in 1937, a robust series of institutions connected the bourgeois with intellectuals (which included professionals and journalists, as well as academics) in Shanghai. Collectively, these institutions can be understood as forming an urban “cultural nexus of power” that allowed non-state actors to effectively control aspects of Shanghai’s political life. This bourgeois-intellectual alliance was not inevitable; no similar bonds existed between these same two groups in Beijing. It was forged in Shanghai due to the city’s unique historical position as a Treaty Port and its dynamic economy, which included an extensive structure of private higher education and a market-based publishing industry. Unlike the rural “cultural nexus of power” originally described by Prasenjit Duara, this urban nexus grew stronger during the political and economic changes of the early twentieth century. War and revolution in the 1930s and 1940s, however, destroyed the connections between the bourgeoisie and the intellectuals, ending the vibrant urban environment they had created.     

The art of nationalism: Artists' perspectives on the Latvian Centenary film programme

In the aftermath of several decades of neoliberalism in Eastern Europe, the social fabric of post-socialist societies is frayed. In this context, nationalist cultural policies and everyday displays of national belonging have emerged as key instruments of social solidarity. There has recently been a drive of state initiatives in Latvia in the field of cultural policy aimed at strengthening national identity. In this paper, we focus our attention on one particular cultural policy initiative, Latvian Films for Latvian Centenary. Drawing on qualitative interviews with 16 film directors who participated in the Centenary film programme, the paper explores how artists and cultural operators involved in this programme are mobilised as national(ist) subjects and how they see their work within such a framework. We argue that nationalist cultural policy can be successfully implemented because the artists, themselves formed as responsible political and moral subjects in the tradition of Latvian cultural nationalism, share a regard for culture and the arts as a resource for sustaining the political statehood and the national community. However, the artists also recognise the limitations of their work as a source of social cohesion and solidarity in a society that is ethnically divided.     

二十世纪初期的槟榔屿华人知识分子——以《南洋英属海峡殖民地志略》记载为例的分析

以宋蕴璞《南洋英属海峡殖民地志略》一书为主要研究材料、槟榔屿华人移民社会中的华人知识分子为研究对象,简述了宋蕴璞笔下二十世纪初期的槟榔屿华人及其中的知识分子与边缘知识分子的基本情况,并对其在发起、推动和参与建设学校、发起书报社、筹办报馆、参与社团等方面的文化教育活动,以及他们漂泊海外的情感归依进行了分析梳理。     

六朝建康的教育与藏书

六朝是我国文化发展史上一个丰富多彩的时代,除了在学术思想、文艺和科技等领域取得了空前的成就外,教育和藏书的发展也令人瞩目。本文旨在探索建康教育和藏书的发展过程及其对造就人才、繁荣学术所起的重要作用。     

Viral nationalism: romantic intellectuals on the move in nineteenth‐century Europe

ABSTRACT. Intellectuals were important to the spread of nationalist ideology in nineteenth‐century Europe for a variety of reasons. Firstly, their works facilitated the international spread of the discourse of nationalism; secondly, they mediated between the fields of political institutions and cultural reflection. This article looks at the international mobility and networks of romantic‐nationalist intellectuals, and uses the case of August Heinrich Hoffmann von Fallersleben (1798–1874) as an example.     

Creating twenty-first century Korean bodies: public movement education practice,cultural policy and therapeutic ethos

This article focuses on the public movement education practices of a group of middle-class, Korean dance instructors at the Korea Laban Movement Institute (KLMI), a recently established civil institution in Seoul, South Korea. The KLMI classes promote self-directed and well-rounded Korean bodies through student-centered and egalitarian movement instruction. In recent years, these classes received public funds from the culture and arts foundations supported by the state’s cultural policies, as well as attention from Korean public media. This research introduces the public movement education practices that have aligned well with the state’s early twenty-first century cultural policies by making culture and arts education more accessible to the average Korean. In addition, the study shows the broader impact of KLMI’s public movement education practices, which have merged into the political and social landscapes of contemporary South Korea.     

‘The problem with permanence is that you’re stuck with it’: the public arts centre building in the twenty-first century

Dedicated arts centres were a common outcome of the great expansion of the public sphere in the nineteenth and twentieth centuries. In the early twenty-first century, however, many of our arts centres present a challenge to cultural policy-making. Expensive to maintain and operate, they are often ill-equipped to host the increasingly diverse range of communities and arts practices that have emerged with each generation. The article outlines the difficulties that the presence of such arts centres present to cultural policy-makers, using case studies of four Australian centres. It argues that the ‘mobilities turn’ in sociology provides a useful framework for considering the challenges posed by a static building and its array of highly mobile stakeholders. The study focuses on the perceptions of arts centre managers as cultural intermediaries – giving voice to the opportunities and constraints for the arts centre building and to the needs and interests of public policy-makers, artists and audiences, and juggling the tensions between the ideological, political, demographic and cultural forces that define the field in which they routinely operate. The managers negotiate distinctive challenges that arts centres face within the context of decentralised and fluid understandings of creative spaces for contemporary leisure practices.     

The arts as an instrument? Notes on the controversy surrounding the value of art

In the last decade of the twentieth century a shift occurred in the way western governments defended their cultural policies. New, instrumental arguments were put forward. This collided with the way the arts had learned to see themselves in the twentieth century: autonomous, with a value of their own. This article elaborates this confrontation of the arts and policy in two ways. First, it is shown that the distinction between an instrumental and an intrinsic value of the arts originates in a misperception of recent history. It was the political constellation of the Cold War that made governments in the second half of the twentieth century support the arts to be free and independent. Next, an attempt is made to anchor the value of art in a unique kind of instrumentality. With the help of philosophers and historians of culture, it is argued that the arts should be considered instruments of experience.     

Why are cultural policy decisions communicated in cool cash?

In this article, we analyze the role of the economic rationale in modern cultural policy decision communication and ask why it remains such an important factor, even though research has argued against it. Based on Luhmann’s system theory, we show how the economic rationale manifests itself in the cultural political communication as parasitic and complementary couplings, and how different communication forms are in play: the indirect, direct, and the both-and form. The point is to construct communicative positions in cultural policy. The positions involve the economic rationale in their own particular way and each of them offers themselves as a communicative platform which the culture politician can optionally step into and out of. The arts system stands out from other systems by not distinguishing itself in one single distinction and coding. In exactly this issue lies the communicative complexity which the communicating cultural politician faces and must handle. As our analysis shows, this complexity is handled by communicating within the economic rationale and coding, with the result that complexity is reduced.     

Porcelain in the Ming Dynasty：Cultural and Artistic Exchanges Between Hans and Tibetans

As an example of Chinese arts and crafts, porcelain is an important element of Chinese culture. In ancient times, when transport and communications were extremely backward, the continuous flow of porcelain items between Han Chinese and Tibetans played an essential role in their material and cultural life. Put specifically, the close relationship between porcelain and Han-Tibetan cultural and artistic exchanges can be observed as follows:     

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.     

Essentialism,Memory and Resistance: Aboriginality and the Politics of Authenticity

This paper is about how the discourses of white intellectuals operating in Aboriginal Studies create a knowledgeable gaze which seeks to police the cultural practices through which Aborigines produce themselves. Aborigines have become the focus of a gaze which analyses, questions, and problematises their resistances and even their identities. Determining the boundaries of Aboriginal authenticity has become the preoccupation of some European intellectuals whose concern with situating the culture of Aborigines is at the expense of acknowledging the positioning power of their own cultural practices. This paper seeks to reverse this knowledge-power relationship by focusing on discourses operating in Aboriginal Studies and the effects of power created by the custodial pastoral roles which some white intellectuals have taken on.     

The Italian Communist Party,local government and the Cold War

The Italian national elections of 18 April 1948 handed power to the Christian Democratic Party. The Italian Communist Party had, however, gained significant municipal control in the local elections of 1946. For the Communists, the local level became the testing ground where administrative practices, political initiatives, social alliances and economic projects were developed. The leaders and the intellectuals worked to outline the cultural framework of a political project which could challenge national politics from town councils. Meanwhile, with a view to making gains in the local elections of 1951–1952, propaganda was used in an attempt to diffuse and proselytise municipal political programmes among different social classes in a divided socioeconomic environment.     

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.     

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.     

Intellectuals and politics

ABSTRACT. By imagining their audiences, intellectuals invented and constructed the collective identities of nations and transnational communities like Europe or humankind. Four ideal types of intellectuals are outlined by describing them in their relation to politics: the intellectual as cosmopolitan ascetic; the intellectual as enlightened legislator; the intellectual as revolutionary; and the intellectual as the voice of a traumatic memory. These ideal types change over time in response to their focus of attention and their mode of communication. Because of changes in their media (from handwritten to printed books) and changes in their written language (from Latin to French and Italian, and further to vernacular languages), intellectuals were able to change views on past, present and future times. Today, they are involved in (civic) resistance but rarely in politics per se. By renewing the tension of the sacred and profane – the so‐called axial‐age revolution – contemporary intellectuals in Eastern Europe are decoupled from direct political power.     

哈德逊河画派与美国自我意识的崛起

国内学者对美国文化研究的视角主要集中在政治经济领域,鲜有从艺术活动的角度考察美国文化的意义。在某种层面上,艺术活动可以反映一个时期国家占主导地位的意识观念。从19世纪中期流行于美国的哈德逊河画派的风景画的剖析入手,可以洞察这一时期美国的主流意识观念。从中可以看出,美国在文化上的自我意识最早出现于19世纪中叶。在这个阶段,美国不仅加强了国家认同,而且意识到在文化上需要脱离欧洲的影响,形成独立的美国文化。