Researchers,bureaucrats and the lifeworlds of cultural policy

This paper reflects on the value of cultural policy research, particularly when such research forms part of projects that seek to produce insights or ‘outcomes’ that are useful to non-university research partners. The paper draws from the author’s involvement in a project examining cultural diversity in the arts that was funded as part of the Australian Research Council’s Linkage Project scheme. It addresses Eleonora Belfiore’s provocation that this kind of instrumental cultural policy research routinely amounts to ‘bullshit.’ However, in order to understand the critical function of such research, there needs to be greater attention to the lifeworlds of cultural policy and the multiplicity of the policy-making process. This multiplicity both complicates the possibilities for usefulness in policy research, at the same time that it enables such research to be generative in unpredictable ways.     

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.     

WHAT IS CULTURAL POLICY RESEARCH?

Cultural policy research exists in many contexts, asks many different kinds of questions and adopts a wide repertoire of research methodologies from a raft of academic discourses. This article investigates the research questions and approaches being undertaken by those working in this field. In order to achieve this, the article draws upon readings of contemporary publications in the field and on the authors’ experiences of building a research capacity in the area of cultural policy in a British – and, more particularly, a post‐devolution Scottish – university. The article traces the emergence of an academic discipline in the field, and seeks to advance this by reviewing a tripartite research agenda investigating: the history and historiography of cultural policy; the principles and strategies of cultural policy; and, the relationships between cultural policy and cultural theory/cultural studies.     

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.     

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.     

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.     

Partisanship,policy entrepreneurs and the market for ideas: what we can learn from policy failure

ABSTRACT

The Office of Living Victoria (OLV), was established in 2011 by the then Liberal-National Party Coalition Government. It was created in response to a water crisis and intended to revolutionise water management and delivery, challenging established authorities and practices consolidated under the previous Labor government in Victoria. There was a decidedly partisan motivation for its conception. The drive for new ideas and innovation created opportunities for policy entrepreneurs who won the competition against more conventional research advocacy, and determined the agenda of the new agency, in the process curbing an existing policy network. Yet within a short period, this initiative was mired in scandal, and ended in 2014 having failed to achieve its purposes. This article explores this instance of policy failure, assessing the policy trajectory of the OLV in relation to the concepts of partisanship, policy entrepreneurship, and policy networks.     

Conceptualizing Greek cultural policy: the non‐democratization of public culture

This paper concentrates on several of the most significant moments of Greek cultural policy since World War II, together with its key concepts. It traces the cultural policy of the country, its main changes and its relationship with politics through a socio‐cultural analysis and a look at the political and cultural events which occurred. The concepts of national identity, hegemony, civilizing mission, democratization, and cultural democracy are applicable in this framework. Despite various attempts at reforms, the country's cultural policy could be characterized as ‘path dependent’; it connected unwaveringly to its two main objectives: heritage and the arts.     

THE AMBIVALENCE OF POSTCOLONIAL MAURITIUS

At the independence of Mauritius, multiculturalism policy, as part of the decolonisation agenda of “Mauritianisation”, was instituted in education. The official English language, through the curriculum, was buttressed to police the population according to the moral standards of multiculturalism. In this article, popular culture as manifested through ethnographic research into students’ negotiations of official multiculturalism implemented through school textbooks, will be shown to flout policy. It will be demonstrated that resistive cultural practices of Mauritian students, embodied by vernacular Creole, contest the cultural essentialism promoted by the government. Creole language, in particular, and various in‐between cultural experiences articulate the hybrid, diasporic and global dimensions of the lives of ordinary postcolonial Mauritians.     

From Coombs to Crean: popular music and cultural policy in Australia

The many bodies administering Australian arts activity were incorporated within the Australia Council, established in 1973 by the Whitlam Labor Government to oversee Commonwealth arts policy under the direction of H.C. ‘Nugget’ Coombs. This article takes the establishment of the Australia Council as a starting point in tracing changing attitudes towards the practices and funding of popular music in Australia and accompanying policy discourses. This includes consideration of how funding models reinforce understandings of ‘high’ and ‘low’ art forms, the ‘cultural’/‘creative’ industries debates, and their effects upon local popular music policy. This article discusses the history of local music content debates as a central instrument of popular music policy and examines the implications for cultural nationalism in light of a recent series of media and cultural reports into industries and funding bodies. In documenting a broad shift from cultural to industrial policy narratives, the article examines a central question: What does the ‘national’ now mean in contemporary music and the rapid evolution of digital media technologies?     

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.     

Designing cultural policy in a postcolonial colony: the case of Puerto Rico

Puerto Rico became a territory of the United States in 1898 with the end of the Spanish-American War. In 1952, the island became a ‘Commonwealth’ through the development and approval of a local constitution. While this political status allows Puerto Rico some degree of autonomy, it nevertheless continues to subject the island to United States federal authority. For the last 60 years, discussions on whether Puerto Rico’s Commonwealth status is a permanent or transitional status has fuelled much of the political debate and public policy of the region, and has been highly influenced by political status ideologies: to become a state of the United States, to maintain the current status, or to become independendent. Budgetary, legal, and commercial dependence on the United States causes constant conflicts in the design and implementation of Puerto Rican public policy in areas such as education, law, and economic development. Likewise, culture has not been exempt from these debates. In fact, cultural differences have caused conflict at all levels – from the theoretical conceptions of culture, to cultural policy and arts management. Moreover, the implementation of cultural policies has also been subject to political ideologies and the concept of culture has variably been seen as an obstacle or strength for specific political purposes. In the midst of a sustained economic crisis, the current Puerto Rican government has proposed the development of a comprehensive cultural policy through a participatory process. The objective of this paper is to present this process as a means of analyzing Puerto Rico’s experience through the challenges in designing and implementing cultural policy within a ‘postcolonial colony’ scenario. This paper will place emphasis on the government’s role, cultural public institutions, and cultural production.     

Protection,survival and growth: an analysis of international policy documents

This paper reports findings from the analysis of three international policy documents produced by a department of the UK Government, a leading British cultural organisation and a national arts development agency. The analysis takes an unorthodox stance, proposing that the international strategies are rationales for the self-protection, survival and growth of the government department, agency and museum, as opposed to the operational action plans that they first appear or are assumed to be. As such, they bear little relationship to formal policy and should be viewed as organisational stratagems. This research raises a number of questions about the nature, purpose and impact of policy and its making. Calling for a rethinking of key concepts within the field, this article returns to the fundamentals by asking what we mean by cultural policy and how we conceptualise and study it empirically.     

Information Processing and Policy Dynamics

In this article, we trace the evolution of punctuated equilibrium theories of the policy process to the development of a full theory of government information processing. Noting that punctuated equilibrium is one realization of a larger theory of government information processing, we outline a research agenda for the study of agenda setting, policy dynamics, and information flows in the policy process. In doing so, we relate the study of government information processing to such important features of American government as inter-institutional dynamics and delegation in the policy process.     

Consumption,Environmental Sustainability and Human Geography in Australia: a Missing Research Agenda?

‘Consumption’ is a central concept in the global environmental sustainability agenda. However, one important argument from Agenda 21 — that all social actors must now practise ‘sustainable consumption’— has been publicly and politically marginalised in high‐income countries such as Australia. Geographers potentially have a role in bringing consumption back onto the agenda by constructing a critical geography of consumption. Such research can help understand how the contextual use of natural resources is perceived and practised, and how consumption helps to shape contemporary social relations. This body of knowledge is vital for building sustainable development into everyday lives. Yet a focus on urban consumption perceptions and practices appears somewhat lacking in Australian geography. Ways forward can be drawn from international geography, such as in the United Kingdom where a substantial body of work has drawn a complex picture of contemporary consumption and environmental understanding. It has also challenged prevailing ‘ecological modernisation’ policy approaches, which ignore consumption's cultural facets. In sum, considering consumption in Australia can offer insights into cultural practices expressed through consumption; can challenge and add to European geographical literatures, and can also contribute to sustainability debates by offering alternatives to currently ineffective policy discourses.     

Developing sustainable cultural policies in Turkey: an investigation of public opinion on the theatre scene

The arts scene in Turkey has been witnessing many discussions with the revealing of the governmental reform agenda on the state support model for the arts that includes establishment of an arts council type institution, the closure of the State Theatres and, the State Opera and Ballet. Nevertheless, despite strong public criticism on this reform agenda, there has never been any comprehensive research to reflect the public opinion. Therefore, this study aims to contribute to recent discussions by providing data on public opinion regarding such a fundamental change, with a particular focus on theatre. Towards this end, a survey was conducted in Istanbul. The findings demonstrate that the majority, including both users and non-users of theatre, value the State Theatres and are in favour of sustaining it. There is also a common belief that in case of the State Theatres’ closure, the private theatres cannot undertake its public mission.     

Cultural policy as mythical narrative

ABSTRACT

In this paper, we argue that policy assumptions are shaped by mythical narratives carrying underlying beliefs and values. Drawing on narrative studies, organisational theory and Gramsci’s cultural hegemony theory, we examine how sense-making narratives create consensus, how they imply causation and individual agency, and finally how narratives fragment to reveal alternatives to hegemonic ‘common sense’ assumptions. Applying this framework to cultural policy we examine the place of mythic, sense-making narratives in the historical development of foundational national cultural policies in the UK and Mexico – respectively, narratives of ‘the civilising mission’ and ‘social transformation’. We then consider narrative emplotment and individualisation underpinning assumptions about individual creativity in the UK creative industries policy. Finally, we address the postmodern turn in narrative studies, showing how fragmented, polysemous narratives fracture cultural policy into ‘personalised truths’ and give voice to other, counter-hegemonic perspectives. We conclude by proposing an agenda for narrative research in cultural policy.     

THE RETURN OF THE SOCIAL

This article is concerned with the social exclusion agenda in contemporary French cultural policy, exploring the relevance of aspects of postcolonial theory to an understanding of that agenda. The tensions involved in recent attempts to evolve policies addressing interculturalism, integration and “emergent” cultures (such as hip‐hop) while also staying true to the French republican tradition of universalism are illuminated by France’s problematic relationship with its colonial past. They are also shown to be related to a wider movement of post‐industrial, postmodern experimentation with aesthetic forms, from video and computer art to street arts, free parties and electronic dance music.