National Cultural Policy Research Articles

After the War

Some of the history of the post-Second World War period remains to be written. It is in the throes of being prepared. While the people involved in that period are gradually disappearing, while archives are being opened up, and while the context of the Cold War and national cultural policies are being clarified, in particular where Germany and the United States are concerned (through the role of the CIA in particular, and a “de-Nazification” programme which is even more ambiguous today than it...

Culture without “world”: Australian cultural policy in the age of stupid

ABSTRACTIn March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.

Effects of Cultural and Tourism Policies on Local Development: the Case of Food Trails in Medellín (Colombia)

The emergence of Food Tourism worldwide has encouraged the rise of numerous food tourism strategies and initiatives everywhere, including Colombia. These are flourishing thanks to the tourism and cultural policies that recognise Colombian food processes and practices as intangible cultural heritage. One of the most representative strategies nowadays is the case of Medellin Si Sabe (Medellin has a taste). The programme has been led by the local authorities and has been backed by different local organisations. This paper outlines an exploratory approach based on literature review, public documents, policies and the information obtained through nine semi-structured interviews applied to key stakeholders responsible for the implementation of this initiative in Medellin. The information provides some insights into how this strategy has had relevant effects on the local economic revitalisation by linking small and medium-sized food enterprises, which base their activity mainly on traditional dishes and products of the region. Firstly, it analyses the strategy’s structure and its link to national tourism and cultural policies based on the main concepts of territorial development: knowledge, learning and innovation. By analysing Medellin (Colombia) as case study, it recognises the role played by local authorities in the promotion of food tourism.

National policy of Ukraine in culture in the evaluation intellectual elites and civil society experts (1999-2015)

Euromaidan and dignity revolution, which further continues, clearly show that without change in the national policy of culture change the country will be very difficult. It's tactics and strategy formation space of life for the citizens of Ukraine, information about Ukrainian and country in the world, formed throughout history and established in today's harmful and humiliating stereotypes, myths. Obviously the official state culture has long been not satisfied an active, creative part of society. Outside the official data analysis of cultural policy meet in publications, cultural in content, authored by writers, critics, scholars and public figures.Balance cultural processes, that attitude to culture as an important tool strengthening state sovereignty on the political, spiritual, economic and other levels and other levels within Ukraine and abroad ensured civil society. They monitor cultural processes. Among the most notable, sharp and accurate assessments of cultural policy is advisable to allocate positions L. Kostenko, I. Dziuba, O. Zabuzhko, M. Riabchuk and other lesser-known experts. These persons is difficult to accuse of bias.In the article was put goal disclose the relationship to the national cultural policy of the Ukrainian intelligentsia and civil society experts, that are recognized in Ukraine and the world.

The Transformation of the Intangible Cultural Heritage of Dance through State Education and Politics in the Ritual of a Rural Greek Community

Abstract In many cases, dance, as an embodied practice reflects habits, views, relations and juxtaposition and thus constitutes a “vessel” of meanings, is used by the ruling class as a means of enforcement or manipulation, whereas by the people, as a means to resist or express opposition to the policies of the respective ruling class. In such cases, dance stands as a symbol that carries values and meanings, embodies cultural classifications, reflects social relations and diversifications, and defines integration and exclusion. Dance, as “an inalienable structural component” of the “Gaitanaki” ritual in a community of Central Greece, i.e. Skala in the Nafpaktia province, is one of such cases. Thus, the aim of this paper is to study the transformation of dance during the “Gaitanaki” ritual as a result of the manipulation by the ruling class through the Greek formal education in the 20th century. More specifically, the paper investigates the way in which the respective ruling class influenced, manipulated and guided the dance during the ritual and how this contributed to the transformation of its dancing form from the middle of the 20th century until now. For this purpose, ethnographic research was carried out as it applies to the dance research. Data analysis was based on “thick description”, whereas its interpretation on Wright’s (2004) notion of political and politicised culture as this derives from Bourdieu’s (1990) “habitus”. It is proved that national cultural policy promoted through formal education transformed aspects of dance during the ritual as well as its symbolism.

Public policies, diversity and national cinemas in the Spanish context: Catalonia, Basque Country and Galicia

The 2005 Unesco Diversity Convention was an inflexion point regarding protection and promotion of the diversity of cultural expressions. In the current global context, developing cultural policies and measures to nurture such creativity becomes key issue. Moreover, in the case of small communities in a minority situation where the cultural and language situation cannot produce the means to sustain autonomously, it is crucial to drive national supporting mechanisms to reduce the brutal imbalance in flows and transnational culture exchanges, and guarantee its survival. As part of the cultural production, the audiovisual sector is of double importance; besides its positive impact on the economic sphere it plays a core role in the social construction. In fact, they are both mutually reinforcing aspects. Cinema in particular, it should not be well considered only for a local giving; it is also beneficial in terms of brining commonly held values, particular circumstances and knowledge all over the world. Films do contribute to reflect the global cultural diversity. This paper aims to explain how public cultural bodies currently interpret and translate national cultural policy into film schemes in the Spanish context. Particularly, it will look into how Catalan, Basque and Galician institutions set out to plan, develop, implement and evaluate their film policies in order to establish a national film industry with their cultural and identity specificities (nation and language).

Аксиологическое и практическое значение преподавания дисциплины «Основы национальной культурной политики» в гуманитарных вузах

Аксиологическое и практическое значение преподавания дисциплины «Основы национальной культурной политики» в гуманитарных вузах

The "French Model" and its "Crisis": Ambitions, Ambiguities and Challenges of a Cultural Policy

French cultural policy is often regarded as a model. However, in France, the crisis of national cultural policy has been endlessly discussed since the 1980s. This disillusionment is partly due to over-estimation of the model’s consistency from the outset. This paper looks at the foundations of French cultural policy, showing that the present difficulties stem from the model’s foundational ambiguities and contradictions. We thus offer a critical view of the legacy of a policy that has been vigorously pursued over the last fifty years and analyse the difficulties it currently faces and their roots. The paper concludes with proposals for new ways of approaching these issue

Writing Myself Home: Migrant Well-being and Expressive Writing

This article argues that increased national and local cultural policy measures need to be taken to improve migrant well-being. As part of a larger research project, it suggests the implementation of expressive writing workshops, following an adapted version of Pennebaker’s methodology (Pennebaker and Evans 2014; Sexton and Pennebaker 2009), as an effective and economically viable local cultural policy intervention. The issue is addressed with particular reference to León, Guanajuato (with the specific case study of two workshops conducted) where migration is rapidly increasing yet under-researched. Furthermore, emphasis is placed on migrant women, as a group of double vulnerability. It will be shown that, albeit far from presenting a miracle cure, expressive writing workshops can contribute significantly towards the increased well-being, integration and thus overall development of some migrant women. Moreover, they can effectively expand our knowledge about the struggles and benefits of the (psychological) process of migration.

SOUTH KOREA CULTURAL HISTORY BETWEEN 1960S AND 2012

This paper examines the development of South Korean cultural policy from the 1970s to the present. It contextualises South Korean state, culture and its cultural policy within the framework of state developmentalism, so as to understand their dynamics and relationships. A detailed analysis of how the national cultural policy is interpreted and implemented through institutional practices, historically and in its contemporary context shall be made.

Assets in the age of tourism: the development of heritage planning in Ghanaian policy

ABSTRACTHeritage planning in Ghana is mainly governed by the idea of sustainable pro-poor tourism, but is only marginally integrated with general planning programmes and fragmentally addressed by policy-makers. Motivated by the general lack of research on heritage policy in Ghana, this paper examines the role of heritage planning in national socio-economic, cultural and tourism policy and highlights various ambiguities in terms of concepts, objectives and approaches. The major findings show gaps between rational and communicative planning ideals, between informal management systems and wider democratic concerns, and between delimited and comprehensive planning perspectives. The central argument is that the lack of coherence among different development planning perspectives is an issue that future heritage policy-making needs to consider in order to balance tourism development with concerns such as social stability, community development and local pride of place.

Culture funding problems in Ukraine in the context of the country's international commitments: the administrative and legal aspects

Considered problematic issues of financing culture in Ukraine. The negative impact of insufficient funding of culture in its development. Recalls that, in adopting the Basic Laws of Ukraine on Culture (void of 01.01.2011) was an attempt to ensure adequate funding and logistical support for culture by introducing legislative standard method – at least 8 % of the national income of Ukraine. However, this ratio never followed, and sometimes these rules stop other laws. After the abolition of the Basic Laws of Ukraine about the culture of this standard no longer recovered. Expenditures on culture in the state budget 1991-2004 years. Not exceed 0.33 % of the national income of Ukraine, amounting to 1 % of the consolidated budget expenditures. In the 2005-2013 biennium. Expenditures on culture did not exceed 0.6 % of GDP, amounting to 1.7 % of the total expenditures of the consolidated budget of Ukraine. In an official document – the Law of Ukraine «On the Concept of National Cultural Policy for 2005-2007» (2005) – acknowledged that become a chronic problem of inadequate financial support for the industry of culture. Insufficient funding of culture and/or direct reduction entails reducing the number of social and cultural facilities. It should be noted that the requirements of Ukrainian culture increased funding from the state budget is not a budget support on an exotic culture in Europe. Budgetary funding of culture of European countries is one of the main forms of support to the sector. Expenditures for these needs in the budget range from 0.5 to 4.8 %, which in many cases more than in Ukraine, but with the much larger budgets of these countries in absolute amounts of financing culture in Europe is much more than a Ukrainian realities. Even in Britain, where it is believed there is the smallest state support for culture, state participation in the activities of this culture is from 30 % to 80 %, and the average – 40-50 % of the annual budget organizations culture. It should also be noted that the principles of the cultural policy of the EU and provide guarantees public funding of culture. Thus, the EU resolution Meeting of Ministers of Culture within the framework of the Council of 02.04.1998 on the use of cultural policies for development provides for the need to maintain and increase investment in cultural development at the national level and to provide, where possible, a certain percentage of the government budget for this purpose in accordance with the overall objectives, priorities and programs. It should also be emphasized that if Ukraine, recognizing national culture part of the world (Convention on the Protection of the World Cultural and Natural Heritage, 1972) and European (European Cultural Convention, 1954) Culture and committing to take care of it, does not do so, it is and violation of international obligations of the country. This is not to recognize the justified position of authority about the lack of money in Ukraine shows that Ukraine is actually in public procurement 8 stolen budgets culture. The money for culture is not planned, because on this article cost them more difficult to steal than on public procurement. We conclude that the Europeanization of public administration and administrative law in culture means, in particular, respect for national culture and ensuring proper funding which in Ukraine is not guaranteed.

Creativity in the ‘Torrid’ zone: policy, creative industries and the vision for Northern Australia

Creative industries are recognised as a key driver of economic growth in both developed and developing nations. In addition to recognising the importance of creative industries, the Australian government has recently renewed a focus on the vast northern tropical area of this island nation as key to future economic and population growth, via the release of a white paper focussed on development options for the north. However, the white paper contains virtually no references to creative industries. In addition, Australia’s most recent national cultural policy, Creative Australia, has after only a few years slipped into obscurity and despite major resources being invested towards its development. Drawing on the almost 100 years of policy documentation relevant to Northern Australia, this paper highlights the limited attention paid to arts, culture and creative industries, and considers this relative policy vacuum in the context of global developments in creative industries.

Embracing Remoteness: Is Capacity Building and Valuing the Arts at the Local Government Level a Sign of Connectedness or Remoteness from a National Cultural Policy?

ABSTRACTThis article asks whether capacity building and valuing the arts at ground level is a sign of connectedness to or remoteness from national cultural policy—theoretically, geographically, and politically—between government-directed cultural policy and community cultural activity. Two case studies, one involving multimedia in remote communities in the Barkly region of Australia's Northern Territory, and one involving an international sculptural trail in South Australia's Adelaide Hills, are examined to see who is making a difference, and does it matter? It is argued that cultural sustainability is acquired through community capacity-building and value-adding arts activity, a role particularly suited to local government.

As artes visuais, as universidades e o Regime Militar Brasileiro: o caso do Núcleo de Arte Contemporânea da Universidade Federal da Paraíba (1978-1985)

This article proposes a reflection upon the complex relationship established between visual arts, federal universities, and the Brazilian military regime from 1975 to 1985. Taking as starting point the process that lead to the establishment of the Center of Contemporary Art (Nucleo de Arte Contemporânea, NAC) at The Federal University of Paraiba (Universidade Federal da Paraiba, UFPB) in 1979, the author analyzes the impact of the National Culture Policy implemented by Funarte in the establishment of centers for the arts, the inclusion of representatives of the artistic field, and in the promotion of visual arts inside Brazilian universities at the end of the military dictatorship.

REGIONALIZMO RAIŠKA ŠIUOLAIKINĖJE LIETUVOS KNYGŲ LEIDYBOJE: TARMINĖS KNYGOS

The development of publishing activities, focused not only on the Lithuanian liter­ary language but also on Lithuanian dialects, testifies to the spread of values of liberal pluralism in our society, dynamics of regional information needs and spontaneously expanding self-expression fields of ethnographic communities. Modern Lithuanian dialectal publishing is an extremely fragile and poorly commercialized phenomenon of culture. So far, neither the authors nor publishers and developers of bibliographic resources have fully understood the exclusivity of a dialectal book. As a result, accounting of dialectal books has not yet been formalized; the addressee of such books has not yet been well identified; linguistic features not always established in the publication titles. A suc­cessful life of a dialectal book is closely related to the national and regional cultural policy. The matu­rity of regional self-awareness of communities established on the ethnographic regional level and a positive attitude of a community toward its dialect is the main driving force of dialectal publishing. The tradition of publishing dialectal books is consistently continued by the Žemaiciai (Samogitians, or Lowland Lithuanian). Their quantitative and qualitative achievements can be illustrated by the fact that in 1990–2014, 77 book titles were published in the Samogitian dialect. New traditions of publishing are being developed by the Aukstaiciai (Highland Lithuanian) – 34 titles, and the Dzūkai (12 titles), whereas the Suvalkieciai, due to a great influence of the standard Lithuanian lan­guage, do not feel inclined to develop dialectal publishing. The ethnographic region of the so-called Mažlietuviai (from Lithuania Minor) is not numerous enough to have the capacity of developing dialectal publishing. The success of projects aimed at developing dialectal publishing can only be ensured by public organizations which act in accordance with the model of normative communities and thus engage community members into the processes of creating, publishing and disseminating the book content. Self-publishing authors usually use the services of cheap printing houses rather than show interest in developing local poligraphic industry or support local publish­ing companies. There are cases of successful dialectal publishing projects. However, these are more happy exceptions to the common practice. Given the situation, it is difficult to anticipate the involve­ment of big commercial houses in dialectal publishing. Due to the prevalence of network-based book­stores, the current system of distribution is not favourable to the dissemination of dialectal books.

Коллизии «визуальности — духовности» в межкультурной коммуникации

<p>В статье анализируется одна из острых проблем современной межкультурной коммуникации — противостояние между двумя видами культур — экранной и книжной. Западная экранная культура оказывает сейчас огромное влияние на духовное пространство России, которое традиционно было книжным.</p><p>Импорт «чужих» киноартефактов в периметр российского духовного пространства превышает экспорт «своих» аналогов, кроме того, происходит последовательная «голливудизация» отечественного производства кинофильмов, а именно сценаристики, режиссуры, актерского и операторского мастерства, теряющих наши именные черты — патриотическую историчность, масштабную эпичность, глубокую проблемность, изящную лиричность, тонкую психологичность. Это, по убеждению автора, может обернуться тотальным укоренением в общественной атмосфере полностью перевернутого понимания добра и зла. Безжалостная тирания массовой культуры методично разрушает в россиянах архетип человеческой нравственности сильнодействующими токсинами духовно-практической психотропии.</p><p>На повестке дня стоит вопрос о духовном спасении. В рамках государственной культурной политики существуют все возможности преодоления устоявшегося в публичной сфере России визуально-культурного дисбаланса с целью сбережения национального менталитета. Надо вернуть из прошлого диктат культурной бесконечности, разумного, доброго, который распространялся на литературу, театр, живопись, музыку, скульптуру, кинематограф.</p>

Exposure diversity as a new cultural policy objective in the digital age

Diversity has been conceptualized as a key objective of national and international cultural policies. The 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions is a clear proof of this. The UNESCO Convention is a culmination of the efforts of the international community to secure regulatory space for domestic policy-makers in the field of culture, on the one hand. On the other hand, it goes beyond this and the inherent trade versus culture, international versus culture contestations and tries to promote diversity as a matter of global law and policy. One flaw of the Convention that has been rarely thematized is that in this endeavour, the primary focus has been placed upon analogue means of communication. This flaw of the Convention is natural rather than triggered by political economy contexts, and has to do with the conventional evolution of law and its tendency to lag behind technological advances. Indeed, this ‘error’ flows from the similar ‘errors’ made at the national level in formulating and implementing cultural policy tool kits for the protection and promotion of diversity. This chapter argues that a peculiar characteristic of all these policies has been the almost concentration on the diversity of supply – that is, on the availability of diverse formats, outlets, media owners, etc. The chapter casts some doubt upon the both the viability as well as the efficiency of such policies in the digital age. It will on the one hand question the underlying presumption for a causal link between source diversity, diversity of content, and the actual consumed diverse content. On the other hand, it should be underscored that the chapter is not intended to criticize past and existing policies. Learning from past mistakes, it is rather meant to serve as a forward-looking analysis of the possibilities offered by digital technologies and how these can be best utilized to ensure exposure diversity – that is, a palette of diverse contents, as actually consumed by users. The chapter argue that although the balance between state intervention and non-intervention in the digital media certainly is precarious and individual rights are to be safeguarded, there may be subtle ways of intervening and promoting exposure diversity, such as for instance by fostering serendipity or facilitating exposure. It will explore a number of tools as potentially more efficient instruments of cultural policy aimed at diversity.

Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This examination is timely given Australia’s former Minister for the Arts George Brandis’s 2015 shock annexation of Australia Council funding: $104.7 million was originally to be transferred from the Australia Council to the newly established National Programme for Excellence in the Arts (NPEA). This body represented a move away from the ‘arms-length’, independent peer-reviewed funding decisions with the arts minister having the ultimate authority with regard to the NPEA. The NPEA has now been renamed Catalyst – Australian Arts and Culture Fund (Catalyst) as a result of consultations and feedback relating to the NPEA.

Transforming cultures? FromCreative NationtoCreative Australia

This article introduces the Special Issue, ‘Transforming Cultures? From Creative Nation to Creative Australia’. Taking its historical reference point from the 1994 national cultural policy Creative Nation, it outlines the issue’s theoretical foundation in the field theory of Pierre Bourdieu, while also signalling field theory’s limitations in relation to transnationalism, ethnic heterogeneity and Indigeneity. This introduction addresses the specific conditions that require an approach that takes full account of the endogenous and exogenous factors influencing the constitution of culture in Australia from Creative Nation to its 2013 successor national cultural policy, Creative Australia, to the present day and beyond. Finally, the issue’s articles, which cover the broadcast media, sport, music, literature, heritage, and Indigenous art fields, are outlined, as are their contributions to advancing understanding of the key social and policy issues shaping the present conditions and future possibilities of Australian cultural fields in the process of transformation.