Cultural fingerprints – the legacy of cultural values in the current cultural policy agenda in Germany

This paper explores the historical roots of cultural values as a prerequisite for German cultural policy. With reference to current investigations of the social impact of the arts, the analysis is based within the framework of the history of ideas and focuses on three concepts: the common base of culture, nation of culture and culture as a state aim. The author argues that the transformative positive powers of culture are linked in a complex system of historically grown intellectual alliances while directing current policy thinking. As a consequence the positive impact of culture in society is strengthened over time and remains unquestioned by actors in the cultural sector.     

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.     

New perspectives on instrumentalism: an empirical study of cultural diplomacy

Museums are increasingly recognised as having a role to play within international relations, to facilitate cultural exchange, assert national identity and foster mutual understanding. Whilst international work is perceived to be politically motivated and diplomatically advantageous, it can be highly beneficial to cultural institutions. In this paper, ‘cultural diplomacy' is shown to be a strategy used by museums to enable organisational development and economic growth. This paper demonstrates how national museums adopted a political rhetoric and used strategic lobbying to formulate a new cultural policy, which expanded the scale and scope of their international work. By defining the parameters and principles of this policy, the institutions wield power, thus challenging the conventional perceptions of policy-making and contradicting commentators who accuse museums of political subservience. Throwing the notion of instrumentalism into disarray, this paper calls for a theoretical and conceptual rethinking, to revamp understanding and bring it in line with practice.     

The governance of national cultural organisations: comparative study of performance contracts with the main cultural organisations in England,France and Catalonia (Spain)

In some European countries, performance contracts have become an instrument for the governance and control of major cultural organisations by the public administration. The negotiation and signing of a performance contract are mainly aimed at developing the goals of cultural policies by means of large organisations in order to achieve the traditional objectives of cultural democratisation and other instrumental objectives (economic development, urban regeneration or social inclusion). Nevertheless, the development level of performance contracts varies when we compare England, France and Catalonia (Spain). Each particular level of development is conditioned by the overall administrative and institutional context and the development level of results-based management and an accountability culture. The level of public funding and the degree of autonomy of management within each organisation can also explain why in some cases governance has been contractualised whereas in other cases either progress is more rhetorical than real.     

European Capitals of Culture: elitism or inclusion? The case of Stavanger2008

Who participates in the European Capital of Culture? This article analyses participation in Stavanger, European Capital of Culture (ECOC) in 2008, drawing on data from a survey conducted among a cross-section of the population of the city and its closest surrounds. It examines whether there is systematic variation in the number and type of events attended across key social background characteristics such as gender, age, education and income, as well as interest in culture. It finds systematic, but small differences between the genders, age groups and people of different educational attainment, and no differences between people with high and low income. Participation levels are high in all social strata. However, interest in culture is an important predictor of participation. Differences in social background and cultural interest matter more for participation in high-brow events. The authors conclude that the ECOC event was fairly inclusive of different population segments.     

QUESTIONING A NEOLIBERAL URBAN REGENERATION POLICY

The present study traces recent trends in cultural policy concerning “cities of culture” in South Korea. The paper is a case study of the city of Gwangju, known as the birthplace of modern democracy in Korea. Currently, public input from below into the urban regeneration project for Gwangju is almost nonexistent, while most urban regeneration policies have been implemented from the top by elites who enjoy exhibiting their performances through constructing massive edifices rather than encouraging the preservation of such intangibles as historical significance through cultural participation from below. The government’s policy of promoting Gwangju as the “city of culture” in order to make it a hub of Asian cultural industry and tourism in the global economy is closely allied to its policy of economic reductionism of culture. The study suggests that Gwangju and its unique heritage would instead benefit from an urban regeneration policy aimed at establishing it as the city of art and culture for human rights and democracy and as part of a collaborative network with the heritage initiatives of international bodies.     

A centralized decentralization: outsourcing in the Turkish cultural heritage sector

Recently Turkey has experimented with reforming its highly centralized cultural heritage sector by outsourcing commercial activities at museums and archeological sites. We examine three outsourcing contracts executed in 2009–2010 and their implications for understanding New Public Management in Turkey’s cultural sector. The initial project at the Istanbul Archaeological Museum was soon superseded by a ‘monopoly’ model that outsourced gift shop and ticket collection services at over 50 museums and sites to single companies. All three projects have significantly increased visitor numbers and revenues for the revolving fund that controls commercial operations within the Ministry of Culture and Tourism. Yet unlike countries such as Italy, where outsourcing has led to decentralization, increased private sector involvement in Turkey has increased the control of the central government. This ‘centralized decentralization’ is a distinctly Turkish approach that allows for modernization without disturbing a highly centralized administrative tradition.     

Complications and Effectiveness of In Situ Preservation Methods for Underwater Cultural Heritage Sites

Abstract

Underwater Cultural Heritage (UCH) as an outstanding division of the cultural heritage of humanity appears to be crucial and complicated when more general issues regarding preservation and conservation are raised. The essence of in situ preservation should be equally discussable for any kind of archaeological remains; on land or underwater.

There is a long history of different methods and concepts of intervention in a variety of sub-aquatic archaeological sites; from shipwrecks to submerged settlements. This paper will present an introduction to different techniques and theories of preservation and conservation of underwater cultural and archaeological sites since this kind of heritage has scientifically been explored and studied. A range of different preservation methodologies, from total or partial transference inland, to preservation underwater, will be compared; the advantages and disadvantages of each option will be highlighted. Different examples of international best practices will be illustrated. Different types of in situ conservation/protection will be explained and categorized. Furthermore, there will be a focus on the UNESCO Convention of 2001 on Conservation and Preservation of UCH, where the in situ conservation option has been recommended.

Moreover, the technical issue for preservation of UCH sites, either in situ or after displacement, will be explained. The implication of relocation for different sorts of sites and materials will be argued; for example, cases where some sites, such as shipwrecks, would more easily be displaced compared with submerged settlements, villages, or ports.

Finally, by stressing that the state of ‘being underwater’ makes many sites qualified to be regarded as UCH, the in situ preservation approach will prevail that this state is maintained.     

Contemporary visual art and the construction of identity: maintenance and revision processes in older adults

This article explores how older visitors use meanings created through encounters with contemporary visual art in art galleries for identity maintenance and revision processes. The analysis is based on the results of a 28-month study of the responses of older people to contemporary visual art in art galleries in north-east England, UK. The identity processes used in this study are those defined as maintenance and revision as understood by Kroger (2002) Identity processes and contents through the years of late adulthood. Identity, 2, (1), 81-99, Kroger and Adair (2008) Symbolic meanings of valued personal objects in identity transitions of late adulthood. Identity, 8, (1), 5-24. and Marcia (2002) Identity and psychosocial development in adulthood. Identity, 2, (1), 7-28. Respondents who did not have an existing identity-defining commitment towards art and who had less ability to decode the art works used the art to make symbolic links to aspects of their identity. The meanings created were then used to help satisfy current identity needs. In contrast, those with an existing commitment to art used the experience of the visits to deepen their current knowledge. Engaging with contemporary visual art facilitated identity processes that contributed to participants’ well-being. This study contributes to studies on identity by exploring how content and identity processes interact and provides new perspectives on the role of art in identity formation for older people. It also has significance for museum, gallery and heritage policy and practice.     

Debating heritage authenticity: kastom and development at the Vanuatu Cultural Centre

In October 2003, 28 cultural expressions from around the world were proclaimed Masterpieces of the Oral and Intangible Heritage of Humanity, complementing the adoption of the Convention for the Safeguarding of the Intangible Cultural Heritage by UNESCO. This proclamation has been part of the broader remit of the international organisation to protect the world’s cultural diversity from modernity and globalisation. Inherent in this is an underlying notion of cultural authenticity, implying that certain expressions, which are considered to be endangered and therefore in need of institutional protection, constitute ‘original’ and ‘pure’ manifestations of cultural identity. Taking forward debates on the safeguarding of intangible heritage, this paper examines cultural authenticity in the context of the Vanuatu Cultural Centre, the principal cultural organisation, museum and research institution of the Melanesian archipelago. The proclamation of the practice of sandroing (sand drawing) as a masterpiece of intangible heritage, and other heritage interventions taking place in Vanuatu and recorded during fieldwork in 2007, provide an interesting perspective for examining how global cultural initiatives are negotiated by local constituencies. Here, heritage preservation is coupled with calls for development, which invites new ways for thinking about authenticity not according to predefined criteria, but with respect to local understandings.