Cultural Policy

To cite:
Wilkins, A. 2017. Rescaling the local: Multi-academy trusts, private monopoly and statecraft in England. Journal of Educational Administration and History, 49 (2), 171-185

For the past six years successive UK governments in England have introduced reforms intended to usher in less aggregated, top-down, bureaucratically overloaded models of service delivery as well as secure conditions for greater school autonomy.  Yet the ‘hollowing out’ of local government has not resulted in less bureaucracy on the ground or less regulation from above, nor has it diminished hierarchy as an organising principle of education governance.  In some cases, monopolies and monopolistic practices dominated by powerful bureaucracies and professional groups persist, albeit realised through the involvement of new actors and organisations from business and philanthropy.  In this paper I adopt a governmentality perspective to explore the political significance of large multi-academy trusts (MATs) – private sponsors contracted by central government to run publicly funded schools – to the generation of new scalar hierarchies and accountability infrastructures that assist in bringing the gaze of government to bear upon the actions of schools that are otherwise less visible under local government management.  On this account, it is argued, MATs are integral to statecraft and the invention and assemblage of particular apparatuses for intervening upon specific organisations, spaces and peoples.

Το βιβλίο εξετάζει, από θεωρητική και πρακτική άποψη, το αντικείμενο της Πολιτιστικής Διαχείρισης, την εμφάνιση και εξέλιξή της, καθώς και τις προοπτικές, τη δυναμική και τις εκπαιδευτικές απαιτήσεις, που προκύπτουν για τον συγκεκριμένο τομέα μέσα και από τις διαστάσεις που λαμβάνει σε ευρωπαϊκό, αλλά και διεθνές επίπεδο στο πλαίσιο της Διά βίου Μάθησης. Ο πολιτιστικός τομέας διαδραμάτισε και εξακολουθεί να διαδραματίζει, ιδιαίτερα στη σημερινή δύσκολη οικονομική συγκυρία, ένα σημαντικό ρόλο στην οικονομία της Ευρώπης δίνοντας το παρόν όλο και περισσότερο σε σχέδια συνεργασίας, που εμπλέκουν φορείς, άτομα και οργανισμούς, όχι μόνον σε εθνικό, αλλά κυρίως σε διακρατικό επίπεδο. Δυστυχώς τα προγράμματα εκπαίδευσης και κατάρτισης δεν ανταποκρίνονται με τους ίδιους ρυθμούς στην ενδυνάμωση των επαγγελματιών, που αναλαμβάνουν την υλοποίησή τους, με αποτέλεσμα να ελλοχεύει ο κίνδυνος να υπάρξει έλλειψη ικανών στελεχών, που να μπορούν να υλοποιήσουν αποτελεσματικά έργα με διακρατική ή/και διεθνή εμβέλεια. Το βιβλίο εκτός από τις έννοιες, που πραγματεύεται και που συνδέονται με την Πολιτιστική Διαχείριση και την πολιτιστική συνεργασία, έχει ως απώτερο στόχο να διατυπώσει μια διαδικασία πιστοποίησης, με ευρωπαϊκή διάσταση, που θα συνδέεται με προγράμματα κατάρτισης βασισμένων στις δεξιότητες,  για την αναγνώριση των επαγγελματικών προσόντων και την ανάπτυξη του ανθρώπινου κεφαλαίου, που συμμετέχει σε έργα διακρατικής πολιτιστικής συνεργασίας

Cultural management as a teaching / research discipline: an act of resistance or an act of adaptation The academic realm usually has difficulties to accept new academic disciplines, especially those that are crossing boundaries of several branches of scientific research areas as it is the case with cultural management. Cultural management started to be developed as an applied academic discipline in order to educate competent, skilled professionals for a wide area of cultural sector, from theatre, museum, film and other sectorially oriented operators to cultural development activists. Diversity of titles and names of professions indicates diversity of social needs: theatre producers, stage managers, drama agents, impresarios, art presenters, art administrators, art officers, socio-cultural animators, cultural mediators, organizers of cultural activities, cultural development professionals (UNESCO), etc. The introduction of cultural policies as part of public policies had raised demand for such professionals and this demand was backed by numerous projects of UNESCO, Council of Europe and EU Commission. Thus, slowly, high education area had accepted cultural management teaching, first at art schools and business academies, to encompass later bachelor and master programs even at diversified university programs, from political sciences to sociology and economy departments. At the beginning most of the teachers had come from the practical realm, transferring their knowledge and skills that they gained with long life experience in managing festivals, theatre institutions, museums, etc. The Bologna process that introduced systemic accreditations and three levels of education (bachelor, master, and doctoral studies) demanded from all curricula links to the research. Thus, new type of cultural / art management education was developed that balanced academic achievements with practical competence of the teaching staff. Those changes are visible in both schools that have started cultural management programs in Europe and those that have opened such courses in the last ten to twenty years. The Faculty of Dramatic Arts in Belgrade (that opened program in 1961) and the City University in London (opened a program in 1967) use to have only few professors with PhD (mostly gained at law schools or in humanities) while other teachers had been selected among respected professionals with high level of expertise. In that time they have not even thought about creating doctoral programs in cultural management but to concentrate on teaching students to become excellent practitioners. Those 1

This article examines attempts to negotiate a perceived residual dominance of settler populations in South Africa and Zimbabwe by means of developmental and cultural policies deemed necessary to restore sovereignty to Africans. Indigenisation has become a preferred strategy for reconstructing post-colonial states in Africa: indigenisation of the economy as part of a Third Chimurenga in Zimbabwe and Black Economic Empowerment in the sociocultural context of Ubuntu in South Africa. These are issues arising from the regional legacy of contested and uneven transitions to majority rule. Identifying how governments frame the "settler problem", and politicise space in doing so, is crucial for understanding post-colonial politics. Indigenisation in Zimbabwe allows the government to maintain a network of patronage and official rhetoric, and is highly divisive and exclusivist although couched in terms of reclaiming African values and sovereignty. Revival of Ubuntu as a cultural value system in South Africa facilitates a more positive approach to indigenisation, although Black Economic Empowerment displays elitist tendencies and cultural transformation remains controversial and elusive. The perceived need to anchor policy in socially acceptable (i.e., ostensibly indigenous/traditional) contexts has become a prominent feature of post-colonial politics and is indicative of an indigenous turn in Southern African politics.

Glocal Spirituality:  Consumerism and Heritage in Puerto Rican Brujería
With the recent intensification of the circulation of ritual experts and commodities, folk religions such as Puerto Rican brujería (witch-healing) have entered a transnational arena of ritual experimentation and eclecticism. Concomitantly, the politics of identity, operating at local-political and global-commercial stages, propel the search for origins and the production of essential identities, leading to the revitalization and orthodoxy of folk religions as well as their folklorization, following a local—though globally pervasive—heritage discourse.  Why glocal spirituality? My main argument is that both these forces—the actual insertion into global circulations that promote a high degree of ritual eclecticism and the local demand for an essential Puerto Rican national identity that promote orthodoxy—work in tandem creating a complex set of conditions for ritual practice and meaning.
How can these apparently contradictory processes be theorized within folklore studies? From a historic-pragmatic perspective to ritual and through an intimate ethnographic account that traces the encounters between practitioners, clients and suppliers of ritual goods, I will show how these two processes work in tandem. That is, without an a-priori public recognition of brujos (witch-healers) as repositories of Puerto Rican wisdom (in the context of the unresolved neocolonial political status of the island), the fame and celebrity that enabled the open incorporation of African based rituals, of bureaucratic gestures and interventions, and transnational religious commodities could not have been viable. Critics of the culture industry and consumerism tend to suggest that commercial forces inherently taint the authenticity of culture, and in this case would taint the spiritual effectiveness of brujería. For practitioners and clients, however, material and spiritual progress not only are not at odds but also are intimately connected. Indeed, practitioners are driven by the attainment of “blessings”—defined by material success as well as spiritual power—which presume the spirituality of commodities and the thinghood of spirituality. Especially in a world guided by capitalist modes of production and the sensuous insatiable consumption of life styles and self-images, brujos and their clients take advantage of the opportunities opened up by multiculturalism and identity politics. They openly expand the pantheon of spirits as well as their ritual expertise, protected by the idiom of heritage—yet outside of its constraints, showing that more than endangered species they are active participants in these glocal forces, speaking to them in their own particular modern yet spiritual idiom.

"The Piracy Crusade examines the music industry’s overreaction to the threat of digital piracy, and the resulting damage done to our economy, culture and society. It challenges the commonly-accepted myth that piracy is killing the music industry, exploring the unheralded benefits of digital sharing, and the “perfect storm” of economic factors – many of them self-inflicted – that burst the industry’s bubble.

The book critiques the premise of digital piracy itself, arguing that today’s file sharers, music bloggers and mashup artists are simply making use of new technologies to recuperate music from its 20th Century status as an entertainment commodity, and returning it to its original role as a medium for interpersonal and group communication.

Finally, The Piracy Crusade reveals how a flood of new laws and policies enacted in the name of combating piracy have undermined free speech, privacy and cultural innovation – all for the sake of protecting an outmoded media cartel."

Creativity is a powerful catch phrase. In Western societies it epitomises success, the modern, trends for novelty and excitement. Whether linked to individuals, enterprises, cities or regions creativity establishes immediate empathy, and conveys an image of dynamism. Creativity is a positive word in a society constantly aspiring to innovation and "progress".

Der vorliegende Beitrag befasst sich mit der Minderheitenpolitik in Estland unter besonderer Berücksichtigung der Kultur. Dabei wird der Nationale Aktionsplan ausgewertet und der Einfluss der Kulturpolitik auf die Inklusion ethnischer Minderheiten untersucht. Die Studie legt einen Schwerpunkt auf die Bereiche Bildung, Medien und Partizipation. Die Studie kommt zu dem Ergebnis, dass ethnische Minderheiten in weiten Bereichen unterrepräsentiert sind, und gibt Handlungsoptionen zur Verbesserung der Situation. (ICD

The purpose of this article is to share some reflections on the long research experience I have developed with circus artists in the City of Buenos Aires, Argentina. These reflections revolve around the question of the contributions of social sciences, particularly anthropology, through research practices conducted in collaboration with artists. I am interested in rethinking the role of the researcher by understanding science from a conception in which commitment, collaboration, and participatory knowledge-building can potentiate research practices and, at the same time, create dilemmas and challenges. What are the theoretical-methodological implications of the roles we can play throughout a long research process? What are the tools we can use when conducting research on the fields we also participate in, socially and politically? How can we reconcile the time it takes to conduct academic work with the short amount of time it takes for events to unfold in real-time?

Policy makers have often touted the value of culture and creativity in producing desirable social and economic outcomes (Campbell, 2018). From the 1970s onward, cultural policy shifted from the needs of artists to the consumer (Reinelt, 2014). Public subsidy should serve the political and economic betterment of the public as a whole, rather than a narrow section of society. Increasingly, social benefit was measured in terms of the economic contribution of the arts and, particularly under New Labour, this also meant ensuring equality of access as a means of maximising art's capacity to contribute to the 'regeneration' of deprived communities. On the surface, this seemed a worthy attempt to unpick those notions of taste that served to entrench the social power of the bourgeoise (Bourdieu, 1996). No longer was access to culture to be based on social status and freedom from economic necessity; no longer would notions of high culture be used to entrench the power of elite groups. In order to combat such a situation, hierarchies of taste were replaced with supposedly impersonal metrics (economic impact, the generation of employment, the broadening of participation) that could easily be quantified and compared. This solution sidestepped aesthetic questions in favour of a regime of targets that rendered cultural production both predictable and comparable (Hewison, 2014). In order to be funded, projects would have to meet the targets set by funders and, once complete, practitioners would be expected to provide evidence of their various social impacts. However, as we explore in our project, the expansion of this model of cultural policy into the field of peace building has produced several areas of tension between funders and artists, tensions that obscure and inhibit the unique contribution of art to reconciliation.

Theatre performances that make use of new and interactive technologies have been getting more and

more common. At the same time, funding possibilities (especially European funding possibilities) are

also encouraging creators and cultural actors to incorporate into their works new technology tools as they

stress the importance of using these tools. However, this process has not been natural, and created a gap

between productions, those that can coherently use new and online technological tools and those that

cannot. Often, these creations make use of a particular expensive technology tool but lack reflection

from creators, merely signaling the use of the new technologies. On long term these productions neither

contribute to the development of the new theatre productions nor enhance their use of interactivity

enabled by technology. In the long term, this can also have an effect on the ways of engaging with new

audiences.

I will present the outcome of my research regarding an overview of the funding system of Western and

Central European countries, whether they are concerned to fund, and if they are, in what way these funds

support new type of theatre productions. As I conduct research interviews with creators from Central and

Western Europe, I also explore new ways of funding of productions that require new and expensive

technology tools for the realization of the productions, and I will map what kind of collaboration forms

enable the artists to create their work. I will also point out successful examples, where research or

educational institutions collaborated with performing art collectives (such as Blast Theory's cooperation

with Mixed Reality Lab from the University of Nottingham). Based on these examples, I develop a

possible general model of successful collaboration between these institutions and the funding bodies.

In 2005 Porto Alegre City Hall introduced a New Management Model, emphasizing transversal actions and outcome monitoring. In this model, the Management Portal1 is the tool that allows the standardized data recording and sharing on the Internet. It gathers more than 500 actions in 13 strategic programs, which are grouped into four strategic axes of priority. The Municipal Culture Office (SMC) is in charge of 24 actions, monitored through 47 quantitative indicators, created by the action managers (‘leaders’), also in charge of collecting and updating data. Based on literature available, this study analyzes these indicators so as to provide elements for a discussion with the leaders on their effectiveness to evaluate results in terms of public policy. It is the initial phase of a process whose final purpose is to strengthen an internal ‘culture’ of evaluation and to create a system of cultural indicators.
Keywords: local cultural policy, cultural policy evaluation, cultural indicators system.

Purpose

Public libraries in the UK are increasingly expected to provide arts activities and events as part of their usual operations. The purpose of this paper is to summarise recent policy trends in this direction from both the perspective of libraries’ and the arts sector. A touring theatre project aimed at children and families is discussed in further detail to examine some of the outcomes of these policies.
Design/methodology/approach

The paper will present a brief history of policy developments and debate in this area. Mixed method findings from the research element of “Among Ideal Friends” will be discussed, having used surveys and interviews with audiences and librarians, geodemographic profiling, box office records and library card data.
Findings

Public funding across both libraries and the arts has decreased at a national and local level, though both sectors are encouraged to work together to share expertise and community knowledge.
Research limitations/implications

The primary funding for the project was an arts funding body. While a holistic approach to evaluation was taken, this limited any specific focus that might have been given to educational outcomes or cost-benefit analysis compared to other interventions.
Practical implications

Public libraries can see the results and challenges of a successful regional touring theatre project for consideration in their own activity planning, especially those related to families and younger users.
Social implications

Libraries and Arts organisations have different priorities in regards to these areas. Though co-operative, the situation is not without tension. The topic is illustrative of some wider debates around cultural value, everyday participation and cultural democracy.
Originality/value

This paper offers a timely discussion of cultural policy in relation to libraries, e.g. The Society of Chief Librarians “Universal Cultural Offer” (October 2017).

Objectives: to examine the research evidence for the contribution of cultural participation to individual quality of life; to discuss the utility of different types of QOL conceptualisation and measurement for cultural policy making. Methods: a literature review of English language publications over the decade from 1995. Results: there are few extant QOL studies, and very little empirical evidence to support the claims made by policymakers about culture and individual QOL. Conclusions: The article suggests that a multi-dimensional, rather than a global, conceptualisation of QOL is best suited to the cultural policymaking context. Securing findings generalisable across all cultural forms, project types and all individuals or populations is not an achievable goal. Methodologies need to be developed and tested to understand how and why cultural participation affects individual QOL domains and these need to take into account differences in types of cultural participation, the quality of the experience, and between individuals in different social circumstances and in different life stages. 3 INTRODUCTION: CULTURAL POLICY AND QUALITY OF LIFE Improving quality of life (QOL) and well-being now heads the government agenda of many Western economies, with these terms often used interchangeably. The improvement of QOL-specifically of older people, children, young people and families at risk-is one of the seven 'shared priorities' of England's central and local government, ii while in Scotland it is one of the government's overarching objectives (Local Government Association, 2001a; Scottish Executive, 2004). The policy and funding framework of UK government is such that state funded cultural provision, like all other services funded by central government, is not only expected but required to contribute to this policy aim (Selwood, 2003). Thus the mission statement of the UK Department for Culture, Media and Sport (DCMS) is: 'to improve the quality of life for all through cultural and sporting activities, to support the pursuit of excellence and to champion the tourism, creative and leisure industries.' iii Based on the rationale that culture can help deliver improved QOL and local well-being-described recently as the emerging 'therapeutic ethos' within cultural policy (Mirza, 2005)-culture is being integrated into community planning processes across the UK (Creative Cultures, 2004:3). iv Consequently, cultural policymakers, in common with their counterparts in most areas and at all levels of government, have become interested in securing evidence of the contribution made to QOL. With its 'cross cutting' connections, QOL is, for them, a potentially valuable tool with which to assert the place of culture as a policy 'player' and to advocate for a greater share of public funding (Local Government Association, 2001b). Hence culture as a contributor to quality of life has emerged as part of the language of cultural policy discourse partly due to a top down process, but also as a result of pressure from below to help make the case for what in England is a discretionary rather than a statutory area of expenditure. Thus the Improvement and Development Agency for English local government, in the introduction to a collection of case studies, talks

Poster presentation based on the Ph.D. study "Folkelige og distingverte fellesskap: Gentrifisering av countrykultur i Norge – en festivalstudie" [Popular and distinguished communities: Gentrification of country music culture in Norway – a festival study] (Vestby, 2017).

This paper compares the contrasting performances among audio streaming service providers, Melon from Korea and Spotify from Sweden. Due to the larger market size and the emergence of the Korean pop songs or K-pop, it would be expected that Melon has demonstrated a better performance. In contrast to such expectations, the overall performances for these two providers are the reverse. To address this puzzle, this paper analyzes how digitization has changed the business environment of each country’s music industry. The prevalence of copyright infringement and the sudden emergence of digital technologies have limited the function of Melon as a streaming service provider. As a result, Melon endured as a promotional unit for the telecommunication operator that owned it and coverage was thus limited to Korea. By contrast, Spotify was initially intended to link the international music industry to local demand and has functioned as a traditional concept of distributor despite its technological advancement. Consequently, it has been able to gain international appeal. However, the digital evolution in the music industry has not finished and there are many challenges that these streaming service providers need to take into account for further take-off.

Cultural policy often focuses on the formation of identity through arts and heritage activities. Typically the identity targeted by governments is that of the general public or, sometimes more specifically, the marginalised citizen whom is thought to better understand herself and others in society through creative expression and symbolic representation. The contributions in this edited collection suggest that one of the more significant transformations of cultural policy takes place on the identity of those who work within the arts, media and heritage sectors and who are effectively charged with implementing the abstract goals of state or municipal policy. The book's attention to municipal policy, so often overlooked within cultural policy literature, should be of particular interest to readers.

[Co-authored with Faye Brands] Attention to the role of art within healthcare is on the rise. Dutch hospitals are increasingly embracing the concept of the ‘healing environment’, which aims to create agreeable hospital surroundings for the well-being of employees and patients. The concept is being interpreted in diverse ways; irrespective of the specific outcome of this interpretation, the healing environment does have consequences for the healthcare facilities’ policies related to art. Research at a few Dutch hospitals has revealed that the more stringently the guidelines on the healing environment are followed, the more emphasis is placed on the medical-functional approach to art and the lesser attention is paid to the intrinsic value of art. Hospitals that reject the concept of the healing environment, however, also clearly demonstrate defining art in terms of making the surroundings agreeable to the patient. The healing environment therefore cannot serve as a new legitimation of autonomous artworks in existing hospital collections, but it is congruent with the recent attention given to the societal role of art.

It should be obvious that culture matters to sustainable development. Yet almost 30 years after the Brundtland report ‘Our Common Future’ the incorporation of culture into sustainability debates seems to remain a great challenge, both scientifically and politically. There have been some recent attempts to bring culture into sustainability, by trans- and inter-national organisations and by cross/trans-disciplinary scientific endeavours, but they continue to swim against the prevailing current of conventional sustainability discourses rooted in environmental and economic perspectives. Culture, sustainability and sustainable development are complicated concepts that are not always easy for scientists, policy makers or practitioners to grasp or apply. In the course of our four-year (2011-15) COST Action, IS1007 Investigating Cultural Sustainability, we explored all three concepts and learnt to embrace their multiple meanings and connotations. In this final report from the Action we pres...

This essay attempts to assess through the case-study of the Atatürk Centre the importance of considering the intertwining of the governmental neo-liberal agenda, authoritarianism, the promotion of the new national identity which includes neo-ottomanism, as fundamental factors to understand the evolution of the cultural policy in Turkey.
The understanding of recent tendencies in Turkish cultural policy is not favored by the absence of official governmental written documents. During the past decades, the Turkish government has implemented an extreme neo-liberal agenda, together with authoritarian measures and the promotion of a new national identity that has deepened existing social cleavages. Cultural studies, economics, sociology, international relations tend to use their classical approaches to explain it, failing to get a more nuanced understanding of how the combination of different factors affects and shapes instrumental, ad hoc measures. A more holistic approach is required to get a deeper understanding.

Setting aside the fact that the lack of a policy is also some kind of policy, while analyzing the events of the last 25 years in cultural policy, from the perspective of the year 2014, can we really say that there is no cultural policy in Poland? The author describes and analyzes the changes in culture management and cultural policy in Poland from the last quarter of a century. The responsibility for cultural policy rests not only with the central authorities, the Ministry of Culture, but also with local governments, which more and more frequently include citizens in the decision-making process. The citizens themselves are becoming more and more aware of their rights. Apart from cultural institutions , non-governmental organizations more and more often become the contractors of public tasks. They co-create and enrich the cultural offer of cities and regions significantly. Not only the number of non-governmental organizations but also their creativity and the professional level of their actions are increasing. Cultural activity is more and more often undertaken by private economic operators (not only art galleries, but also artistic agencies and impresarios). They cannot count on subsidies from local governments any more, but they can become contractors of services at their request under the Public Procurement Law, which, thanks to the last amendment (raising the threshold for public procurement to more than 30,000 EUR), will become a bit easier from the procedural point of view. The role of public cultural institutions is changing. Many of them have redefined their mission and have been successively building new relations with the audience, taking into consideration the changing needs of the consumers and new economic conditions. Despite the underdeveloped sponsorship in Poland, many of them use the conceptions of CSR and CCR, while others diversify their offer, in terms of both the merits and the price, often introducing a commercial offer as a complementary one. The new infrastructure in Poland, in case of many cultural institutions , contributed to a substantial change and improvement of their conditions. After many years of a total investment stagnation in this sphere, together with Poland's accession to EU, the Polish state and local governments started to undertake tasks in this area more bravely. New infrastructure naturally generates the need for innovation. Cultural institutions more willingly and effectively make use of the new media today (communication with the audience, mailing, FB, promotion, marketing, crowdfunding, crowdsourcing). They more often see the importance of spending money on marketing activities, which they used to economize on in case of a shortfall of funds for substantive activities. SŁOWA KLUCZE: polityka kulturalna, zarządzanie kulturą w Polsce, festiwalizacja kultury, infrastruktura kultury a innowacje, społeczeństwo obywatelskie, NGO

In the wide geopolitical context encompassing local as well as regional and international dimensions, what the research does is provide a modest yet novel and required contribution to the analysis of the dynamic between cultural influence and cultural relations
across the South Mediterranean. It focuses on the impact of primarily British and French influence on cultural relations in four cities and their respective countries, namely Algiers in Algeria, Beirut in Lebanon, Casablanca as well as Rabat in Morocco and Valletta as the cultural capital of Malta. The research focuses on Britain and France because of the dominant imperial roles they held in the Mediterranean as well as beyond and the influence they still yield in cultural affairs on the basis of this past.

This paper asks if China can develop a truly creative economy and follow the lead of South Korea, Japan, Hong Kong, Taiwan, and Singapore. If the benefits flowing from the creative economy (and creative industries) are so strategic to government, we need to ask what impact this reevaluation of creativity will have on a country often identified as having an overly regulated cultural sector. While there is ample evidence to support the idea of a dormant and often parasitic cultural sector, the paper points to some areas where creativity is emerging as inputs into production, distribution and consumption.

After her termination as a Friends writers’ assistant, Amaani Lyle filed suit for harassment and discrimination. In response, writers defended their professional authority over the writing process, facing two related tensions. First, Lyle v. Warner Bros. emphasized frictions between artistic freedom and social responsibility, amid concerns about a lack of diversity among writers. Second, the case also spotlighted the ambivalence of writers’ artistic status, within a collaborative and vertically integrated system of production. Focusing on problems of organization and profession, this article explores writers’ negotiations of these tensions as negotiations of their role in a complex industry.

I am humbled to be working, as Principal Investigator and author, on a recently awarded Social Sciences and Humanities Research Council of Canada (SSHRC) 2013-2016 grant ($230,000) to study how, where, when, and what youth are learning in alternative music programs, with and without digital media.

This project was conceptualized in Summer 2011, and submitted in October 2011. Scott Goble, Rita Irwin, and Martin Guhn are my principal Co-Investigators, and Karen Lee a collaborator, at UBC.

Those of you you who have been reading my written work of the past 24 years (and who know my work with teachers and children in schools) can see how it has all come together. We can all discuss ways to secure more funding around the same topic and collaborations in other countries if you have legitimate funding sources. The time is right for this topic to be explored in this manner.

VAT reduction/exemption on media and culture is a curious political instrument, located at the intersection between finance, culture, technology, innovation and other social and economic considerations. This paper is concerned with reduction of or exemption from VAT as a policy instrument and with the uses and consequences of this instrument in a digital media age. More specifically, it relates this overall thematic orientation to the case of VAT on ebooks in Europe. Section 1 of the paper looks at how VAT reduction/exemption can be conceptualized as a media and cultural policy tool within national and supranational policy frameworks. Section 2 gives a comprehensive overview of the application of VAT on print books and ebooks in Europe and examines the main consequences of the concrete taxation practices and issues regarding the role of global media companies vis-à-vis policy makers. Section 3 reports and discusses initiatives to alter the European VAT policies on digital media and cultural products and services. The focus is on Norwegian and European Union policies as examples of national and transnational book markets and policy areas, but the paper makes references to several European nations' digital VAT policies. Broadly speaking, the paper argues that VAT reduction/exemption as a media and cultural policy tool is somewhat unrecognized and largely underanalyzed. VAT issues are not only placed outside of the control of cultural and media policy makers, but are also largely uncoordinated on supranational levels. The widely varying VAT practices across Europe have ramifications for innovation and competition in an increasingly internationalized marketplaces; nonetheless, the paper identifies important measures taken both at national and supranational levels.

In light of the need to start clearing the methodological confusion in the field of arts management, this article provides a critical overview of the teaching curricula in the field. Distinction is made between programs that copy directly from business management; programs that focus on the technological process of producing an artwork (usually run by practitioners); those that interlink cultural management and cultural policy (highlighting the role of public governance as a higher principle); and programs that focus on an entrepreneurial approach to arts management, connecting it to issues of creativity and innovation. The author calls for clear goals to educate administrators and arts or cultural managers. The suggestion is made to follow what I call the Janus syndrome: looking toward managerial and economic realities but primarily focusing on the arts-the aesthetic and the social aspects of the field. A question is raised about the position of art in arts management curricula, as well as the organization of undergraduate and postgraduate studies in the field. Any work of art "quoted" by publicity serves two purposes. Art is a sign of affluence; it belongs to the good life; it is part of the furnishing which the world gives to the rich and beautiful. But a work of art also suggests a cultural authority, a form of dignity, even of wisdom, which is superior to any vulgar material interest; an oil painting belongs to a cultural heritage.-John Berger (1972, 135) In academic programs in the field of arts management in Europe, it is common to begin with an overview of the history of management using a list that many lecturers know by heart: Taylor, Fayol, Follet, Mayo, and Maslow. After that, some "spices" are added, such as Adorno, Horkheimer, and Bourdieu. But is the subject of the arts anywhere on the list? And have we ever really decided what the core essence of arts management is? Or did we simply lose it somewhere along the way? Practicing-and at the same time teaching-arts management has resulted in a great deal of methodological confusion in Europe (Şuteu 2006), which could be defined as preparadigmatic (Mercer 2006). Of course, the origins of the confusion are closely linked to confusion in the field, which is not yet properly constituted (Evrard and Colbert 2000) or, perhaps, does not even exist as such, hiding under the veil of multidisciplinarity (Chong 2002) or posing a dilemma that flirts with sociology and etymology. Is arts or cultural management (as an academic discipline or practice) as narrow as the arts or does it encompass a wider concern with ways of life (Matarasso and Landry 1999)? Do the terms include the creative activities of intellectuals-especially artistic activity (Williams 1983)-as well? Apart from these questions, we must admit that the knowledge base of the field is still unclear. Accomplishments within the field's history of research are not valued enough, and, most important, arts management is still trying to position itself between theory and practice. There have always been tensions among the many actors in the field. Professionals sometimes lack practical knowledge, academics fight for a stronger scientific approach, "raw managers" treat cultural management as just one area of concentration derived from general management, and administrators insist on procedure over substance. Rarely does anyone in the field take an approach that deals primarily with the social contextualization of art or the processes of creation and innovation. The goal of this article is to map the paths taken by researchers trying to define the field/discipline of arts management, while also raising the question of the position of art and artistic, creative, and innovative processes in research and teaching practices.

This paper examines Korea's cultural policy in tandem with the Korean Wave. It maps out the vital role of the Korean government in the Korean Wave phenomenon in the midst of the confrontations between neoliberal globalization and developmentalism. It investigates the ways in which Korea has developed the Korean Wave by analysing whether or not neoliberal ideologies have completely altered state developmentalism. More specifically, it studies the major characteristics of each administration between 1993 and 2016 in cultural policy, leading to the theorization of the nation-state in the context of the Korean Wave. Since studies of cultural policy assume that a wide range of policy tools are available to a government in promoting its cultural industries, it examines not only major cultural policy directions driven by each president, but also governmental practices executed at the level of the executive branch, in particular, the Ministry of Culture, Sports, and Tourism.

Il potenziale critico fondamentale delle scienze storiche risiede nel poter includere nella ricerca idee e punti di vista che rischierebbero altrimenti di esserne esclusi. Nell'ambito specifico che interessa questo articolo, quello dello studio della percezione della natura selvaggia e della montagna da parte delle élites europee tra età moderna e età contemporanea, si deve constatare che l'analisi del discorso alpino si è basata perlopiù su opere redatte in contesti culturali esterni a tali regioni, sulla scia dell'influenza dei grandi classici della letteratura "alpina" (da von Haller a Rousseau). Si è invece trascurato il polo "periferico" del dialogo, e cioè la reazione, l'eco interna dell'élite locale rispetto a rappresentazioni, a immagini della montagna e dei loro abitanti, diffuse in questi scritti. Per completare questa prospettiva, occorrerebbe invece considerare il discorso sulle Alpi come il risultato di un processo dialettico, nel quale anche il polo "interno" alpino poteva giocare un ruolo 2 .

This course examines the sonic expressions of people's status, identity, rights, and duties as political subjects across multiple scales of place. We will consider the value of cultural advocacy in the public sector and social activism in the public sphere; and the importance of partnering with (non)governmental institutions, community organizations, and grassroots affiliates to advance one's musical art. While this class does not ignore the important critiques of cultural policy's hegemonic tendencies in modern states, it will take seriously the possibilities of political engagement, appeal, and protest in culture sectors that both encompass and exceed those states. Further, by taking a comparative, cross-cultural, and trans-national perspective, we will consider the myriad ways in which music (and expressive culture more generally) is (and is not) implicit to social contracts worldwide. Students will approach these issues through a range of ethnographic case studies, including ample examples of related performance practice, a broad survey of current (ethno)musicological scholarship, as well as popular commentary and critiques, and practical engagement with the politics of cultural production in Columbus, Ohio.

invites you to submit abstracts for an online colloquium on 'South African Music Abroad Since 1994: Meanings in Cultural Diplomacy, Exchange and Collaboration'. The colloquium will be hosted virtually (online) on 8-9 July 2022. The colloquium aims to document, discuss, and locate the cultural, diplomatic, economic, capacity building, skills development, and other political or public policy-related dimensions of the presence(s) of South African music, whether temporary or prolonged, in different countries from 1994.