Why get involved? Finding reasons for municipal interventions in the Canadian music industry

This article investigates the role of Canadian municipal governments in relation to the development of music industry policy. It examines two attempts by Canadian cities (Calgary and Toronto) to develop municipally based music policies. Both cases are examined in context of the policies of other levels of government in Canada, where municipalities have not generally played a significant role in addressing the music industry. Historically, music industry policy has been a concern of federal government policies. The article addresses how this creates a particular conception of the industry and the extent to which municipal policies need to challenge this in order to be effective. Further, the article examines some of the other factors that constrain and shape the ability of Canadian municipalities to intervene in this field.     

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.     

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.     

Doing a Florida thing: the creative class thesis and cultural policy

In this paper, we discuss the screen media businesses and production milieu that has developed in the predominantly rural region of the Northern Rivers, Australia, over the past 20 years. Spread across a number of towns and small cities each at some distance from each other, this screen milieu would seem to go against the prevailing logic for screen media to concentrate in globally connected cities. Taking up Allen J. Scott’s suggestion that the new capitalism of the twenty-first century is producing restructuring effects in many of the interstitial spaces between large cities, this article examines the spatial assemblages of the screen media and related creative industries sectors in one such space. We demonstrate how screen media actors in this rural region are participating in the wider cultural economy and explore its cultural policy implications.     

A quota for the outsourcing of television programmes: an economic analysis of its effectiveness

A European Directive stipulates that at least 10% of programmes broadcast by each European broadcaster must be produced by an independent producer. By stimulating independent productions the European Union and the Dutch government aim to improve the quality of television programmes. In 1997, the Netherlands increased this requirement to 25%. This paper evaluates the policy, using a unique Dutch dataset that includes all independent productions appearing on public television from 1996 until 2000. We show that: (i) the producers are highly specialised; (ii) programming is volatile; (iii) entry of new firms is substantially reducing average rates of turnover; (iv) the producers who lobbied for the higher quota were losing market share and were relatively well‐organised. Therefore, the outsourcing requirement does not lead to the desired levels of stable production by individual producers and it is unlikely to be an effective instrument.     

‘Artists are a tool for gentrification’: maintaining artists and creative production in arts districts

This study investigates the relationship between arts-themed development and the strategies used by neighborhood stakeholders, including artists and other marginalized populations, to maintain their place in gentrifying arts and cultural districts. Using a case study of a state-sanctioned Arts & Entertainment District in Baltimore, MD (U.S.A.), I find that the organizations that are ‘thoughtful’ in their development actively seek to maintain the production of arts and the residency of artists in the neighborhood into perpetuity. At the same time, the influx of arts-themed development helps raise property values and spurs re-colonization of the neighborhood’s large industrial buildings, making it difficult for artists to find legal, affordable live/work spaces in the district. As illegal DIY artists’ spaces are increasingly scrutinized by city inspectors, artists and other marginalized populations lose territory in the district and feel that they are being used for capital interests. This paper evaluates arts-themed development and public–private partnerships as a strategy for maintaining artists in revitalizing neighborhoods and considers the possibilities for a more inclusive arts district through political and community engagement.     

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.     

The political subjectivization of Korean creative workers: working and living as urban precariat in creative city Seoul

This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Seoul, South Korea. By locating creative workers’ experiences in Korea within the growing scholarship on the precariat, this research not only attempts to fully understand the complexity of labor subjectivities of creative workers but further explores how creative workers can actually become political subjects who can resist their given precarious working and living conditions. By using Jacques Rancière’s concept of ‘political subjectivation’, it attempts to show how creative workers can empower themselves as ‘political subjects’ who strategically disavow their given self-identities as ‘individualized creators’, and through this language they are able to recall the often neglected subjectivity of ‘solidified labor’. In doing so, this research contributes to theoretical insights so that we can better understand what leads to political formation of creative workers.     

Culture for competitiveness: valuing diversity in EU-Europe and the ‘creative city’ of Berlin

The European Union (EU) has in recent years propagated an approach to ‘culture’ that pulls together support for the creative and cultural industries with diversity-sensitive immigration and integration strategies, drawing on popular policy visions of the ‘creative’ and ‘intercultural’ city. This approach emphasizes the role that the diversity of culture, as personal resource, can play in enhancing economic competitiveness. The article examines its logic and possible effects through an analysis of EU documents and policy in Berlin. Berlin intersects with the EU’s agenda, using EU structural funds and participating in the European program ‘Intercultural Cities’. It is shown that the attempt to use ‘culture for competitiveness’ equates support-worthy ‘diversity’ with forms of culture that conform to (neo)liberal values and priorities. The attempt to shape a cosmopolitan place attractive for investment and the high-skilled feeds into gentrification processes that create ‘diverse’ neighborhoods where ‘difference’ has no place.     

Science,industry and the colonial state: a shift from a German- to a Dutch-controlled cinchona and quinine cartel (1880–1920)

This study shows how control over delicately balanced supply chains from raw material to the final product shifted from one national industry to another. By 1920, Dutch cinchona producers and quinine manufacturers dominated the international cartel that controlled the worldwide production and distribution of quinine (an antimalarial), quinine sulphate (a semi-finished product) and cinchona (the raw material). Twenty years earlier, however, this cartel had been controlled by the German pharmaceutical industry. How can we understand the shift of power in the world’s first pharmaceutical cartel? We argue that the internal shift of power was largely the result of the following three factors: a global industrial laboratory revolution; the vertical integration of a transoceanic network of cinchona producers, quinine manufacturers, (colonial) scientists and state officials across the Dutch Empire; and Germany’s economic isolation during the First World War.