Heritage management at the local level: rhetoric and results in the case of Gaziantep,Turkey

Following international trends, Turkey has recently introduced decentralisation reforms to its highly centralised public administration system. These reforms have also applied to the cultural heritage sector, where innovative laws since 2004 have allowed local administrations and private actors to play new entrepreneurial roles. The Gaziantep Metropolitan Municipality has been a pioneer in this process, promoting policies that promote cultural tourism as an engine of economic growth. Under its leadership, hundreds of historic buildings have been restored, nine new museums and heritage sites opened, and museum visitors increased tenfold. These positive results make Gaziantep an interesting case of successful decentralisation in heritage management. Despite these successes, however, the disconnection between rhetoric and results, and the fragmentation and ambiguity of responsibilities emerging from the decentralisation process raises serious questions about its sustainability and replicability.     

New Danish Screen – an organizational facilitation of creative initiatives: gatekeeping and beyond

This article looks at how the film consultant directing the subsidy scheme New Danish Screen carries out this job. The aim of the article is to provide an understanding of the function of an organizational representative who succeeds in generating the making of innovative cultural products. The article illustrates how the job of the film consultant does not only imply choosing between different products but also entails involvement in the making of these products. As a result of this, the article argues that to understand the job of the organizational representative the term gatekeeper should be connected to the concept cultural intermediary which highlights involvement in the production process.     

Cultural spending in Ontario,Canada: trends in public and private funding

Governments around the world have accepted the idea that spending on culture can have economic side‐effects such as attracting high technology industry, regenerating urban economies, or increasing a country’s status in the global economy. As governments increased their cultural spending, however, critics charged that their interest reflected an instrumental approach to funding the arts that prioritized large cultural organizations and iconic building projects with the potential to attract tourists over more mundane matters such as operating funding. This study examines flows of government and private funding to cultural organizations in the province of Ontario, Canada on the basis of the size of these organizations. The data show that in real terms, government operating grants to organizations that have received large infrastructural grants for building projects were lower in 2006 than in the pre‐spending cut era of 1990. When a larger group of arts organizations is examined by size, the reality is more complicated than either advocates or critics of the instrumental approach claim. One universal pattern across all size categories is the increase in private funding to cultural organizations in Ontario.     

NO DISCORD,OR, AN AREA WITHOUT SIGNIFICANT POLITICAL STAKES?

The aim of this paper is to give a broad sketch of the Swedish cultural policy discourse during the twentieth century, with special reference to the specific features of Swedish history, notably the hegemony of the social democratic Folkhem period from the 1930s to the 1980s. The discourse may be divided into four different periods. Each of these periods, in various respects, goes back to the ideas behind the Folkhem. The paper argues that the discourse still shows the same logic even after the downfall of the Folkhem model in the 1980s. The regulative principle being that there no longer exists, from the 1950s, any competitive concept of culture to the conventional aesthetic concept of high culture.     

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.     

Ethnic Performance and the State in Laos: The Boun Greh Annual Festival of the Khmou

Following the 1975 revolution, the Laotian statesmen adopted a modernising discourse that targeted “backward” traditions as undesirable. But since the 1990s, authorities have mitigated this standpoint, distinguishing “good” from “bad” traditions according to their compatibility with the program of national development, and professing their will to (re)instate the former as suitable expressions of culture in a multi-ethnic nation. This is manifest everywhere from the National Constitution to TV shows and ethnic catalogues. This paper analyses the implementation of these principles through the case of the boun greh New Year festival, an invented ethnic tradition of the Khmou, the largest ethnic minority in Laos. The article demonstrates that this implementation has consequentially implied the adoption of a grammar of national ethnicity; that this official framework paradoxically allows the Khmou to articulate demands for better recognition of their group; and that this process does not mute expressions of “cultural intimacy” at variance with this matrix. The official frame of ethnicity has been eventually adopted by the Khmou, but this state effect has multiplied the layers of expressed ethnicity: it cannot be equated with a unilateral regimentation that would deprive the Khmou of their agency.     

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.     

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.     

Protection of underwater cultural heritage in China: new developments

As a crucial part of the Maritime Silk Road, underwater cultural heritage plays a role in promoting development of One Belt and One Road in China due to its historical, archaeological and cultural value. The Chinese government has taken effective and reasonable measures to safeguard underwater cultural heritage, with numerous achievements. This paper addresses recent developments in the preservation of underwater cultural heritage with regard to legislation and policy.     

Intellectuals,nationalism, and the arts

In this article we argue that the role of intellectuals was essential (1) in the formation of Finnish cultural policy and (2) for the development of national cultural administration and public arts subsidy system in the country in the period leading up to the Second World War. The actions of the intellectuals can be considered as political choices in a contingent socio‐political realm, and arts as an essential part of the signifying system. In Finland, intellectuals remained active in the intertwining areas between the state and civil society. We highlight the impact of their actions especially through a study of archival materials obtained from the State Arts Boards. At these Boards, the intellectuals served as representatives of their own fields of arts in general, and of certain professional and civic associations and societies in particular. These intellectuals acted in various roles depending on the subject matter at hand, and as a result the decisions made by the boards reflected predominantly the interests of some groups over those of others.