ABSTRACT In this article, we explore how China mobilised its unique whole-nation system (juguo tizhi) to become a global cultural power, focusing on the encounter between Chinese and global heritage discourses. This article is based on field ethnography of three World Heritage sites in Hangzhou, China: The West Lake Cultural Landscape, the Grand Canal of China, and the Archaeological Ruins of Liangzhu City. The juguo tizhi is a hierarchical system mobilised to achieve national goals. In the process of China’s ‘successful’ inscribing of cultural heritage sites based on juguo tizhi, we suggest that Chinese heritage discourses are compromised, and grassroots discourses are overshadowed. The juguo tizhi reinforces statist narratives more than it protects Chinese culture, which, we argue, is linked to the tensions between cultural and national nationalism. Furthermore, we suggest that China is now moving beyond the compromising Chinese heritage discourse phase to align with global heritage discourse, and has begun to present the Chinese discourse internationally, where the juguo tizhi is mobilised. It will be noteworthy to observe how this occurrence will affect China and the global heritage landscape in the future.

ABSTRACT The restitution of colonial cultural property, which is currently the subject of much debate in Europe, raises several challenges. At first glance, it requires recognizing the injustices associated with coloniality itself and determining how restitution can occur. This requires an in-depth understanding of certain aspects that are particularly challenging, for example, the complexities related to the ways in which provenance research is conceived and conducted or the role that human rights play in postcolonial contexts. At the heart of such debates seems to be the need for legal reforms and greater respect for the interests and rights of the communities of origin. Taking into account the Latin American context, this paper critically examines how colonial cultural property restitution policies in some European countries have attempted to address some fundamental aspects underlying the consideration of the Indigenous peoples involved but, at the same time, have overlooked other aspects.

ABSTRACT While the impacts of the COVID-19 pandemic on the live music industry have received much attention, little consideration has been given to regional music production clusters more broadly. Evaluating the impacts of the pandemic on the music economy of North West England, this paper identifies key areas of support required as music businesses transition into a digitally-orientated post-COVID period. Findings demonstrate the ways in which the pandemic encouraged or forced music businesses to innovate with new digital ways of showcasing, promoting and distributing music. Yet, while digitalisation offers many opportunities, these are often difficult for businesses to capitalise upon. The paper argues the need to place business support at the heart of local cultural policy. More specifically, the paper makes the case for a soft institutionalist approach whereby local policymakers, the market and civil society work together to generate and distribute crucial resources of human, financial and social capital.

ABSTRACT Established in 1951, the Children’s Film Foundation (CFF) contributed to the growth of children’s film culture in Britain. This paper aims to show how the CFF’s active involvement of public authorities, film industry organisations and educationalists resulted in partnerships between them and in the growing production of children’s films in Britain. Drawing on under-investigated archival materials, this paper argues that the Advisory Council of the Children’s Film Department and Children’s Entertainment Films, precursors of the CFF, offered significant platforms for mediation between public authorities, industry organisations and educationalists, and for shaping new beliefs about child audiences and children’s cinema, which resulted in both the film industry’s and educationalists’ support for, and commitment to, producing films with entertaining and educational values. The case study demonstrates how the CFF overcame a commerce – culture dichotomy. It therefore offers a more nuanced understanding of state–market–civic relations in British cultural policy.

ABSTRACT The extent to which Cultural and Creative Industries (CCIs), as policy concepts, are globalized, has been a matter of debate. This paper engages with the debate while seeking to move beyond the binary division of global and local scales of analysis. Empirically, it examines the emergence and politics of CCIs in Vietnam, with a focus on its connection with the implementation of the UNESCO 2005 Convention. The paper explores the complexity of the policy translation process, which shows the degrees to which neoliberal ideas can be translated in a post-socialist context. It also examines the role of UNESCO and questions the consistency of its position against the commodification of culture. Conceptually, it brings together different approaches to policy translation from language studies, Science and Technology Studies (STS), and postcolonial studies. The paper suggests that this interdisciplinary framework can further the understanding of both paradigmatic and pragmatic dimensions of policy travel.

ABSTRACT In this paper, we examine the use of intangible cultural heritage as a vehicle for soft power in the service of geostrategic competitions between Iran and Turkey, two regional powers in West Asia. We focus on two significant trans-regional instances of intangible cultural heritage relevant to both countries: the mystic poet Rumi and the New Year’s celebration of Nowruz. We draw on theories in political science and cultrual heritage as well as a host of sources in Persian, Turkish, and Azerbaijani, to demonstrate how heritage is mobilised concurrently as a nation-building device and a tool for soft power in international relations. We conclude by suggesting that, despite strong grounds for its claims, Iran’s response in this competition has been reactive rather than proactive. Overall, the paper contributes to the scholarship on soft power and heritage diplomacy by presenting the first comparative analysis of cases of shared intangible heritage in West Asia.

ABSTRACT The field of cultural policy has seen a shift towards considerations of diversity, with government bodies increasingly leveraging funding to combat inequality within organisations. A barrier to this aim is a lack of quantitative data, which would provide a means to evaluate the impact of specific policies in practice. This article investigates the relationship between gender inequality at an organisational level and cultural policy at a sectoral level through a case study of Australia’s state-funded opera companies. Drawing on production data from 2005 to 2020, we consider women’s representation as conductors, directors, and designers at the state companies through the lens of Australia’s policy legacy. We find that women experience gender-based disadvantage across the key creative roles of opera production and are further negatively impacted by Australia’s existing policy landscape, which, reflecting the drivers of cultural and economic value, indirectly enables gender inequality in the field.