From institutions to events – structural change in Norwegian local cultural policy

In this paper we discuss the ongoing restructuring of local cultural policy in Norway. Since the 1990s, we argue, the local cultural sector has been undergoing a structural change, in the form of a movement from institutions to events. As public resources granted to traditional local cultural institutions such as libraries and culture schools decrease, there is a rise in resources granted to new arenas of local cultural life, such as cultural festivals and culture houses. We explain this shift of balance from institutions to events in local cultural policy with reference to three types of mechanism. First, we point to the ‘flexibilisation’ of the cultural sector, which ensues from its sensitivity to changes in the funding of the local governments. Second, new forms of earmarked state funding schemes pull local resources in the direction of cultural festivals and cultural events. A third mechanism that explains the shift from institutions to events is local policymakers’ adoption of theories of culture as a source of urban and regional regeneration.     

PUBLIC‐PRIVATE SUPPORT OF THE ARTS AND GERMAN CULTURAL POLICY

This paper provides a historical context for thinking about Germany’s recent embrace of sponsorship and private donations as a means of supporting education and the arts. The paper notes that the chief architect of a new national cultural policy, Michael Naumann, has justified a turn to public‐private collaborative arts funding with the argument that a market‐driven model of private responsibility for the arts stimulates greater citizen involvement in civic life and thus greater democracy. Yet Naumann has not reconciled this argument with Germany’s own history, in particular the fact that Germany’s Golden Age of private support of the arts coincided with the authoritarian German Empire (1871–1918). My analysis of this historical constellation, presented as a case study of one of Germany’s most important museum directors, Wilhelm Bode (1845–1929), argues that private support of the arts formed part of a larger strategy designed to wrest control of arts institutions away from traditional elites. My essay seeks to show that the rise of more responsive public forums was intended to make the fruits of German imperialism and economic domination available to more Germans, particularly middle class Germans. On this basis, the essay suggests two things. First, German imperialist society was less hierarchical and more broadly participatory than is often assumed, complicating its ability to figure as a negative foil today. Second, the harnessing of market forces to German culture was expected to deepen popular appreciation for chauvinistic conceptions of German nationalism that today seem to conflict with what German democracy might ideally be. With these points in mind, I contend not that sponsorship and private donations are incapable of promoting greater public involvement in the arts. Rather, the private sector might yield more democratic outcomes when publicly funded democratic institutions retain a strong voice in the direction of culture.     

The end of cultural policy?1

ABSTRACT

The article discusses whether we are approaching the end of public cultural policy in Western democracies, because contemporary cultural policy is not adapted to major transformation processes in contemporary societies. I discuss seven different challenges/scenarios that public cultural policy has to confront today: (1) It appears to be very difficult to democratise culture. (2) Public authorities consistently continue to support cultural institutions that may be obsolete. (3) Professional artists are still poor, despite public support schemes. (4) Public cultural policy is still predominantly national, despite the globalisation of cultural production and distribution. (5) Public authorities increasingly justify subsidies to culture with reference to the beneficial effects that art and culture could have outside the cultural field. Therefore, one might argue that other public bodies could take better care of cultural affairs. (6) A specific public cultural sector may appear to ‘imprison’ culture in a bureaucratic ‘iron cage’. (7) Finally, one might argue that a public cultural policy has no sense in a period of stagnating public finances. In addition, I discuss several counterarguments to these challenges, without coming to a definite conclusion. I have based the analysis on available comparative research about the public cultural policies of Western democracies, predominantly Norwegian cultural policy.     

Who governs culture? Actors,federalism and expertise in Swiss regional cultural policy

ABSTRACT

This article proposes a novel approach to cultural policies and cultural policy change, drawing on public policy and institutional analysis to study how decision-making power is distributed between actors in the public and private sectors and at different state levels, as well as the precise roles of public administrations, elected officials and cultural actors. Indeed, rather than directly defining cultural policy, laws on culture mostly designate actors in charge of policy implementation. Based on an empirical application of this analytical framework to the case of Swiss cantons and focusing specifically on the positions of cultural actors, findings show that cultural policies are transformed in different ways, affording more or less power to actors from the cultural sector in implementation arrangements generally dominated by administrative actors.     

Regulating commercial public service broadcasting: a case study of the marketization of Norwegian media policy

This article looks at the issues facing the regulation of commercial public service broadcasting in Norway. A document analysis of the 2010 renegotiation process to renew TV 2’s public service licence illuminates how a general marketization affects the regulation of the television sector. This process comments on Hallin and Mancini’s model of democratic corporatism in the Nordic countries regarding the power of the state to regulate private media enterprises as cultural institutions. As such, the process of commercialization should include not only the broadcasting sector, but also the political sector. As part of a solution to retain TV 2’s licence agreement, the government effectively had to re‐regulate the cable distribution sector. This case study demonstrates not only the enduring strength and value of the public service institution in a political context, but also the extent to which regulation is guided by technical and economic forces to sustain democratic considerations.     

Were New Labour’s cultural policies neo-liberal?

This article assesses the cultural policies of ‘New Labour’, the UK Labour government of 1997–2010. It takes neo-liberalism as its starting point, asking to what extent Labour’s cultural policies can be validly and usefully characterised as neo-liberal. It explores this issue across three dimensions: corporate sponsorship and cuts in public subsidy; the running of public sector cultural institutions as though they were private businesses; and a shift in prevailing rationales for cultural policy, away from cultural justifications, and towards economic and social goals. Neo-liberalism is shown to be a significant but rather crude tool for evaluating and explaining New Labour’s cultural policies. At worse, it falsely implies that New Labour did not differ from Conservative approaches to cultural policy, downplays the effect of sociocultural factors on policy-making, and fails to differentiate varying periods and directions of policy. It does, however, usefully draw attention to the public policy environment in which Labour operated, in particular the damaging effects of focusing, to an excessive degree, on economic conceptions of the good in a way that does not recognise the limitations of markets as a way of organising production, circulation and consumption.     

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.     

Voluntary Environmental Programs in the Public Sector: Evaluating an Urban Water Conservation Program in California

Solving conflictual environmental policy problems is increasingly falling under the purview of local governments and public agencies. Nonregulatory approaches, such as the development of voluntary environmental programs (VEPs), could offer a useful policy alternative as they often have greater political traction and flexibility. However, there has been little work examining the use of VEPs in the public sector. This article uses a new dataset from California to examine how political institutions affect decisions by local governments and public agencies to participate in a voluntary urban water conservation program and whether this program has improved the water conservation performance of its members. The results show that special district governments, private utilities, and water suppliers dependent on purchased water are more likely to participate in the program and to join early. However, urban water agencies that have joined the program have not reduced their per capita water use more than those that have not. These results underscore the influence of political institutions in public‐sector decision making and demonstrate that, as in the private sector, commitment to a VEP by local government and public agencies does not guarantee implementation or environmental improvements. While voluntary programs offer political and administrative advantages, in order for VEPs in the public sector to be effective they must be accompanied and supported by credible enforcement mechanisms, performance standards, and rigorous monitoring programs.     

元管治:规范化的自组织协调机制——元管治与我国城市规划公众参与组织形式的构建

自1980年代初以来,管治(Governance)思潮已经在西方社会汹涌澎湃,社会、经济、政治、文化等领域受到其巨大冲击。在城市规划的具体实践中,如何在众多利益共同发挥作用的领域中取得一致的认同,这有赖于对管治的认识与理解。作为管治重要理论之一的元管治(meta-governance)理论在西方社会有着深刻而广泛的影响。本文通过对规范化的自组织协调机制--元管治的探究,试图以元管治为理论基础建立我国城市规划的公众参与组织形式和保障机制,从而在规划决策中发挥持久作用。     

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.     

The muse with a wandering eye: the influence of public value on coproduction in museums

ABSTRACT

Across management, marketing, public administration and museology literature, coproduction has been presented as an innovative approach to service improvement. This case study of the Australian museum sector contributes to the instrumentalisation debate, by revealing the potential inhibitors to such improvements when coproduction distracts rather than enhances the work of cultural institutions. While public value requires the strategic cultural manager to negotiate between ‘upstream audiences’ (government and funding bodies) and ‘downstream audiences’ (users and the body politic), these two groups appear to exert different levels of influence. This research suggests that upstream audiences currently absorb the attention of museums. As a result, the manner in which museums coproduce, and the motivations for this work, appear to be geared towards advocating the public value of museums to government and funding bodies. This case study suggests that museums sacrifice the service innovations and exhibition enhancements offered by coproduction (intrinsic outcomes) to pursue government funding and support (instrumental outcomes).     

When megaprojects meet archaeology: a research framework and case study from Yenikapi,Istanbul

From 2004 to 2012, 37 well-preserved Byzantine shipwrecks were discovered during construction of two underground train stations at Yenikap?, Istanbul. Despite its complexity, archaeology is rarely studied through organisational and management lens. This paper investigates the Yenikap? rescue excavations using two innovative analytical frameworks for archaeology – the Heritage Chain and Structure Conduct Performance analysis – which highlight the crucial but too often overlooked role of practices (or emerging strategies) in public policy, helping identifying strengths and weaknesses of the project. In this sense, two elements of the system seem fundamental: its extreme centralisation and its ongoing process of decentralisation. The research, based on a phenomenon-driven approach to management of archaeological and cultural heritage projects, highlights how Turkey’s uncertain legal environment for rescue archaeology led to emergent, ad hoc management and funding solutions that mixed state and private involvement in novel ways through a multi-level outsourcing.     

Intermediaries in Regional Innovation Systems: High-Technology Enterprise Survey from Northern Finland

Intermediaries play an important role in national as well as in regional innovation systems, especially in innovation policy. In linking organizations within an innovation system, intermediaries are focusing on technology transfer, commercialization of ideas and funding. This research focuses on the role of intermediaries in high-technology product development in northern Finland. Based on a survey of 168 high-technology enterprises, funding services are regarded as the most important activity of intermediaries. Our results show that finance matters: a key actor within the Finnish innovation system in terms of direct funding and indirect collaborative resourcing, the Finnish Funding Agency for Technology and Innovation (TEKES), is considered the most important public sector organization in private sector product development. The survey also reveals that growth-driven companies with emphases on product innovation and high levels of investment in research and development for increasing their annual turnover benefit the most from intermediaries.     

Collections of industrial and product design: a pathway for improved economic development connections among cultural institutions

This research investigates US cultural institutions housing collections of industrial and product design (IPD) and explores how IPD are collected, curated, and exhibited to uncover the barriers and opportunities that exist in connecting these collections to economic development. Based on key person interviews with nine institutions, this inquiry finds the collections generally are not externally integrated as a local or regional economic development asset. The full depths of these collections are somewhat concealed within the institutions because of their curation across departments or through a broader Decorative Arts lens. Using a framework of arts and culture research and development, this article argues that IPD collections represent an opportunity for greater engagement of cultural institutions in culturally oriented economic development strategies that pair their expertise and assets with those of the private sector.     

Deconstructing the Financialization of Healthcare

Financialization is promoted by alliances of multilateral ‘development’ organizations, national governments and owners and institutions of private capital. In the healthcare sector, the leveraging of private sources of finance is widely argued as necessary to achieve the Sustainable Development Goal 3 target of universal health coverage. Employing social science perspectives on financialization, the authors of this article contend that this is a new phase of capital formation. The article traces the antecedents, institutions, instruments and ideas that facilitated the penetration of private capital in this sector, and the emergence of new asset classes that distinguish it. The authors argue that this deepening of financialization represents a fundamental shift in the organizing principles for healthcare systems, with negative implications for health and equality.     

Scaling up Civil Society: Donor Money,NGOs and the Pastoralist Land Rights Movement in Tanzania

Tanzania's pastoralist land rights movement began with local resistance to the alienation of traditional grazing lands in Maasai and Barabaig communities. While these community–based social movements were conducted through institutions and relationships that local people knew and understood, they were not co–ordinated in a comprehensive fashion and their initial effectiveness was limited. With the advent of liberalization in the mid–1980s, they began to gain institutional legitimacy through the registration of pastoralist Non–Governmental Organizations (NGOs). Registered NGOs provided community leaders with a formal mechanism for co–ordinating local land movements and for advocating for land rights at the international level. The connections of pastoralist NGOs to disenfranchised communities, and their incorporation of traditional cultural institutions into modern institutional structures, resonated with the desires of international donors to support civil society and to create an effective public sphere in Tanzania, making these NGOs an attractive focus for donor funding. In spite of their good intentions, however, donors frequently overlooked the institutional impacts of their assistance on the pastoralist land rights movement and the formation of civil society in pastoralist communities. NGO leaders have become less accountable to their constituent communities, and the movement itself has lost momentum as its energies have been diverted into activities that can be justified in donor funding reports. A political movement geared towards specific outcomes has been transformed into group of apolitical institutions geared toward the process of donor funding cycles.     

Cultivating digital mediation: The implementation of publicly funded digital museum initiatives in Denmark

ABSTRACT

The aim of this article is to review and re?ect on the factors defining the expected benefits that have influenced the implementation of digital mediation initiatives in publicly funded museums over the course of the last 20 years. The expectations directed towards digital museum mediation are established by taking a closer look at Danish cultural policy implementation and socio-technological development. Examples from a review of cultural policy documents, funding applications and reports, supplemented by articles from a museum practice journal illustrate trends and developments in digital museum mediation. This article identifies a development of digital museum mediation in three phases, from providing access to digitized cultural heritage to more user-oriented communication strategies such as personalization and participation. The analysis shows that, in a cultural political context, the adoption of digital mediation in institutions is part of a higher strategy where technological development acts as a catalyst for innovation in the cultural sector.     

University–Regional Partnership in a Period of Structural Adjustment: Lessons from Southern Adelaide's Response to an Automobile Plant Closure

This paper examines some of the issues that arise out of partnerships between universities and regions. It draws upon the experience of Flinders University in working with a range of regional agents in responding to the closure of the Mitsubishi Motors Australia Limited (MMAL) plant at Lonsdale in Adelaide's southern suburbs. The paper suggests that there are a number of hurdles to the establishment of effective partnerships that include: the perception that universities behave in ways that are different to either public or private sector organizations; the absence of universities from the networks and communication protocols central to the work of economic development practitioners; the sporadic nature of university engagement with regional issues; and, the gap between university funding models and local economic aspirations. The paper also finds that government-established mechanisms for regional development may be flawed, especially if they are dominated by representatives of the public sector. The research concludes that current policy preoccupations with the development of commercially valuable intellectual property results in a heavy discounting of other economic impacts. Finally, the paper argues that a pathway for effective engagement between universities and their regions can be established, but such initiatives require considerable time, patience and understanding on the part of all parties. Periods of regional economic stress may not be the most appropriate periods for establishing these working relationships.     

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).     

Before the NGO: Chinese Charities in Historical Perspective

Two decades ago, only a handful of NGOs operated legally in China. Today the sector is thriving. Even with the threat of new restrictions under the Xi Jinping government, private social initiative appears poised for even greater expansion in the future. To fully appreciate the significance of these recent developments, this essay presents a wider view of China’s long history of civic organisation, comparing the contemporary resurgence of NGOs to the historical development of private charities in the Qing and Republican periods. It finds similarities in the motivations of organisers and donors, as well as in the relationship between civic organisations and the state, but sees other developments, such as the capitalisation of the NGO sector and its ability to mobilise public opinion, as substantively new.