Дисертації з теми "Arts and cultural policy"
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1
Gray, Clive. "The politics of arts and cultural policy." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4234.
Повний текст джерелаАнотація:
The Thesisd rawso n the argumentst,h emesa nd issuest hat haveb eend evelopedth rough a number of publications concerning the politics of arts and cultural policy. The Thesis contains a development of the commodification thesis and the policy attachmenat rgument Thesen ew approachetso the analysiso f public policy haveb een specifically applied to arts and cultural policy. The major focus of this application has beeno n Britain over the last 50 years,a nd has incorporatedn ational,r egionala nd local levelso f analysis.I n additiond evelopmentisn Europeh aveb eenc onsidered. A major theme concerns the necessity for methodological pragmatism in undertaking research within these policy areas. Such an approach allows for the development of appropriate analytical tools for complex policy systems. The validity and utility of the commodificationth esisa ndp olicy attachmenat rgumenat s tools for policy analysis are discussed. December 2003
2
Groves, Leroy. "The politics of cultural policy." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3504/.
Повний текст джерелаАнотація:
Over the past twenty years the arts and culture have become a popular vehicle through which local economic development can be pursued. Whilst this relatively new local economic development tool has generated much interest amongst academics, many have been content to simply provide descriptive accounts of its development. Where theoretical frameworks for analysis have been applied, they have failed to adequately examine and assess those local factors which have contributed to the development of these strategies. Interestingly, the evolution of arts policy as a vehicle through which to pursue economic development, has been mirrored by proliferation In coalitions as preferred vehicles through which governing decisions, at the local level are effected. Current debates surrounding the New Urban Politics have focused on the degree to which current modes of governance reflect: widened representation; increased community empowerment; and increased local autonomy. By employing regime theory as a framework for analysis, this thesis will examine how those local political factors in two cities have influenced the development of cultural strategy. Such an exercise will enable a comment to be made on the degree to which cultural strategies reflect more co - operative forms of decision making, increased access to new forms of expertise and community empowerment.
3
Fazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.
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4
Bjørnsen, Egil. "Norwegian cultural policy : a civilising mission?" Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2740/.
Повний текст джерелаАнотація:
This dissertation aims to explore the extent to which what has been termed „the civilising mission‟ has been a central rationale behind Norwegian cultural policy. In order to contextualise the research the German term Bildung, which refers to human growth processes, is used as a conceptual framework. Bildung can be achieved in two different, albeit related, ways: firstly, through an object approach, which takes great works of arts as its point of departure and where personal growth can be achieved through exposure to these and which endorses clear cultural hierarchies, and secondly, through a subject approach, which emphasises each individual‟s own preferences and desires and where a much greater range of cultural activities can facilitate personal growth. In addition to an historical analysis of the ideas that have informed Norwegian cultural policies dating back to 1814, this project draws upon „green papers‟ published by the Norwegian government through its Ministry of Culture. This is supplemented by a more detailed analysis of a key cultural policy initiative of the 2000s: den kulturelle skolesekken (DKS)1, which is a major programme initiated to enable children in primary school to be exposed to art-works produced by professional artists. The project concludes that although a subject and an object approach to Bildung have co-existed throughout the period charted here there has since the 90s been an increased focus on the object oriented approach. This appears evident both in the general cultural policy discourse but articularly through the disciplining aspect of DKS and its strong focus on, what is being referred to as, the „professional arts‟ as a vehicle for Bildung.
5
Chun-Ying, Wei. "Taiwan's cultural diplomacy and cultural policy : a case study focusing on performing arts (1990-2014)." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22358/.
Повний текст джерелаАнотація:
This thesis examines the implementation of cultural diplomacy through the perspective of cultural policy in Taiwan (Republic of China). It elaborates how the policy-making and practice have progressed in response to the changes of Taiwan’s domestic cultural politics and foreign affairs, including its relations with China (People’s Republic of China). As an empirical study, the research focuses on Taiwan’s cultural policy in the timeframe of 1990-2014 and more specifically on the promotion of the performing arts. The research identifies three crucial elements of Taiwan’s cultural diplomacy. It complements traditional diplomacy, acts as an outlet in the process of cultural identity formation, and showcases cultural and creative industries. Each element is prioritised at different phases of policy practice. However, a long-term and continuous strategy is absent. The research reveals that Taiwan’s cultural diplomacy emphasises more on its self-presentation than creating mutuality. The unsettled issues of cultural identity have its profound influence on cultural diplomacy. Meanwhile, the projection of soft power is not necessarily reinforced by the market-driven policy orientation and the quantifiable policy objectives. The research also illustrates the interaction among the government, artists, and other actors from the private sector. The key finding indicates that the government is constrained by bureaucracy and its own contested political status. Civil society at the individual level participates in cultural diplomacy with a sense of enthusiasm, while corporations in general are less motivated. The research provides empirical evidence on communicating soft power through cultural diplomacy without much hard power. In this case, the promotion of soft power is limited and does not necessarily compensate for the deficiency of hard power.
6
Woddis, Jane. "Spear-carriers or speaking parts? : arts practitioners in the cultural policy process." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/2591/.
Повний текст джерелаАнотація:
This thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers. Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence. Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century.
7
Lee, Da Hyun. "Relational Approaches to US International Cultural Engagement: Promoting National Good and Mutual Understanding through Cooperative Cultural Exchange." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385737907.
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8
Coy, Joshua A. "Making Places or Making Waves: Cultural District Policy Making Considerations for the Public Good." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440356497.
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9
Heidelberg, Brea M. "The Language of Cultural Policy Advocacy: Leadership, Message, and Rhetorical Style." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1355929499.
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10
Dewey, Patricia Marie. "Training arts administrators to manage systemic change." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1085002604.
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11
Smith, Rachel May. "Evaluating the Cultural Plan of Austin, Texas." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407737/.
Повний текст джерелаАнотація:
This is a concurrent, mixed methods study of the impacts of Austin, Texas’s cultural plan, CreateAustin. In the study, trend analysis and a t-test were used to examine variables before and after the cultural plan was in place. At the same time, interviews with cultural planners were used to uncover other effects. My research addresses a gap in the literature between understanding the desired and actual outcomes of a cultural plan. Cultural plans are being developed by many communities in an effort to attract creative workers but they are rarely evaluated. Evaluation using a mixed methods approach is necessary to capture all the outcomes of a cultural plan, rather than the limited scope of impacts that are captured by qualitative or quantitative analyses alone. My analysis of the quantitative variables showed some significant differences between when the plan was in place and the years prior to its creation. Interviews with key stakeholders revealed the formation of new networks as a powerful outcome of the planning process. The results allowed me to gauge the overall impact of CreateAustin and make some observations about the cultural planning process in general, as well as uncover new directions for future research.
12
Lewis, Tiffany Emma. "Exercises in Soft Power and Cultural Diplomacy: The Cultural Programming of the Los Angeles and London Olympic Games." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430946430.
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13
Hewitt, Andy. "Art and counter-publics in Third Way cultural policy." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5679/.
Повний текст джерелаАнотація:
In the UK, over the past decade, the rhetoric of ‘Third Way’ governance informed cultural policy. The research sets out how the agenda for cultural policy converged with priorities for economic and social policy, in policies implemented by Arts Council England, in the commissioning of publicly funded visual art and within culture-led regeneration. Hence visual art production was further instrumentalized for the purposes of marketization and privatization. The practice-based research examines the problems issues and contingencies for visual art production in this context. Public sphere theory is used to examine ideas of publics and publicness in Third Way cultural policy context, in state cultural institutions and programming. Using Jürgen Habermas’ conception of the public sphere, the research proposes that cultural policy functioned as ‘steering media’, as publicity for the state to produce social cohesion and affirmative conceptions of the social order, i.e. the management of publics. In contrast, public sphere theory is concerned with societal processes of opinion formation, of selfforming, deliberating and rival publics. The research also applies theories of the public sphere to the theories of art and participation associated with socially-engaged art practice - theories that articulate art in relation to its publics. While socially-engaged artists have produced new modes of art practice that have shifted arts ontology, the research points to how Third Way cultural policy was quick to seize upon socially-engaged art for its own agenda. Public sphere theory informed the strategies and tactics of the Freee art collective (Dave Beech, Andy Hewitt, Mel Jordan) in the production of publicly-funded artworks. The artworks were a means to test the hypothesis and to find evidence by intervening in Third Way cultural policy with alternative ideas. Freee’s public spherian art proposes new modes of participative art to counter Third Way cultural policy - a ‘counter-public art’.
14
Khakimova, Elvira. "Cultural policy in Central Asia: comparative analysis of legislations and public policies." Thesis, IMT Alti Studi Lucca, 2014. http://e-theses.imtlucca.it/159/1/Khakimova_phdthesis.pdf.
Повний текст джерелаАнотація:
This thesis provides an innovative and original contribution to the field of cultural policy research, critically assessing the public cultural policies enforced in three Central Asian countries: Kazakhstan, Kyrgyzstan and Uzbekistan. Moving from the conceptual framework of
system and lifeworld, this dissertation studies how the Central Asian governments tend to colonize the cultural sphere intervening through legislative, financial and institutional measures. The first chapter looks at the concept of cultural policy and related to it theories. The cultural policy refers to policies of diverse stakeholders that are directed to regulate or affect production and
distribution of cultural goods and services. This chapter considers first, the framework of Deulund P., based on the interplay of Habermasian concepts system and lifeworld and second, the types of governmental approach toward the cultural sphere proposed by Hillman-Chartrand and McCaughey.
The second chapter introduces the legislations of Kazakhstan, Kyrgyzstan and Uzbekistan in the cultural sphere. Identifying the main similarities and differences this thesis argues that the main reason of similarities are Soviet legislation and regional integration processes.
One of the sections argues that the presidents of Kazakhstan and Uzbekistan possess central position in shaping the cultural policy. The third chapter after assessing the legal terms related to the cultural property, studies the balance of the divergent interests (international, national, private) regarding the cultural property in the legislations of analyzed countries. The study is performed through the analysis of two hypothetical cases (national vs. private) and dualism between cultural nationalism and cultural internationalism. The fourth chapter investigates the cultural decentralization
process, applying two analytical tools: the Type Function Framework and the Administrative Design Framework. There are two main conclusions emerged after collected data analysis. First, Kazakhstan has embraced the most decentralized system, while the management of the cultural
sphere in Uzbekistan is still largely based on a centralized decisionmaking. Second, all three analyzed countries have adopted a strategy of Distributed Institutional Monopoly. Concluding, this thesis draws up a historical reconstruction of the administrative cultural policy-making in independent Kazakhstan. The goal is to highlight how the structure of the ministry of culture, the
public finance in the cultural sector, and the landscape of cultural organizations has changed over the years. In this way, it has been possible to identify the trends of the cultural policy development in Kazakhstan as well as to critically evaluate the practical efficacy of the governmental strategy.
15
McLennan, Lesley. "Competition policy and its impact on the performing arts in Queensland." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36342/1/36342_McLennan_2000.pdf.
Повний текст джерелаАнотація:
National Competition Policy as a cornerstone in the commercialisation and
corporatisation of the public services signalled government moving away from an
interventionist position by adopting private enterprise and market driven decision
making as the preferred model. The impact of this movement on the interface
between government and the traditionally subsidised perforrning art..s companies in
Queensland is the subject of this research.
When the public sector begins to imitate the private sector and government departments
call to accountability their agencies, these non-profit service agencies then have a
chameleon like image of public provider in private enterprise clothing. So arts
organisations, statutory authorities, arts service networks take on a new role in response to
the changing guise of the provider.
Selected Queensland performing arts companies were surveyed to investigate key
changes in company administration and policy over the last five years, and to create a
snapshot of contemporary company structures of both subsidised and non-subsidised
companies. Key Queensland arts industry figures were interviewed to further identify
issues regarding subsidy and government interface in an environment of changing
public administration attitudes and foci with particular reference to competition
policy issues.
A synthesis of the research results, literature review and analysis concludes in a table
of comparative subsidy models. The object of this table is to understand how the
structure of subsidy reflects, supports or contradicts the wider policies of current
public administrations.
16
Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
Повний текст джерелаАнотація:
The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
17
Chang, Woong Jo. "Small Arts Organizations: Supporting their Creative Vitality." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316377062.
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18
Au-Yeung, Shing, and 歐陽檉. "Cultural policy in action: a comparative study of community arts endeavours in Hong Kong and Sydney." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45155173.
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19
Illien, Gildas. "Les fonctions politiques du centre culturel : la Place des Arts et la Révolution tranquille." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23336.
Повний текст джерелаАнотація:
Cette these propose une interpretation de l'histoire du centre culturel montrealais, la Place des Arts, depuis les origines du projet en 1954 jusqu'a la nationalisation de l'institution en 1964. L'analyse qui en est offerte privilegie l'etude des fonctions politiques attribuees au centre culturel pendant cette periode. Elle montre comment cette institution culturelle a servi de catalyseur et de symbole pour nombre d'acteurs sociaux implique dans les changements radicaux qui caracterisent la Revolution Tranquille. Elle dresse ainsi un tableau des grandes forces ideologiques, sociales et politiques presentes au debut des annees Soixante en s'appuyant sur l'etude de cas de la Place des Arts dont l'histoire particuliere est mise en perspective avec des tendances plus structurelles de la societe quebecoise.L'etude de ces differentes dimensions de l'histoire de la Place des Arts confirme le caractere profondement politique que peuvent revetir des institutions dont les fonctions originales se limitent en apparence a des activites artistiques. (Abstract shortened by UMI.)
20
Small, Jarred David. "Discovering Chile: Addressing International Reputation Through the Arts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1428959484.
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21
Williams, Germaine Shaw. "(Re)Culturing the City: Race, Urban Development, and Arts Policy in Chicago, 1935-1987." Research Showcase @ CMU, 2015. http://repository.cmu.edu/dissertations/473.
Повний текст джерелаАнотація:
This dissertation examines the intersection of race, urban development, and arts policy in Chicago between 1935 and 1987. Maintaining a focus at the city level, it considers how activists, politicians, civic leaders, and bureaucrats operated within three policy environments presented by the Works Progress Administration’s Federal Art Project (1935-‐1943), an interregnum period of dispersed domestic cultural policymaking (1944-‐1963), and the early years of the National Endowments for the Arts and Humanities (1965-‐1985). In the interplay between cultural activism, federal policy implementation, and the arc of urban development in Chicago, recognition of the arts as a key component of the local economy deepened, an extensive infrastructure formed, and refinements of the meaning of cultural democracy advanced. Chapters focus on the development of Work Progress Administration community art centers as a component of the relief policy framework; the implications for municipal arts policy of Mayor Richard J. Daley’s concern for stimulating the local economy and attracting affluent whites to the city; the extension of a state-‐wide system of support for the arts in Illinois; and the Harold Washington administration’s efforts to institutionalize the arts as a part of city government via a vision of cultural democracy that emphasized multiculturalism, access, and free exchange. The dissertation considers the role of government in supporting the arts sector’s orientation towards cultural democracy, defined by valued diversity, open participation, and the right to be heard regardless of race and class background.
22
Kim, Min Kyung. "Governance Matters in Policy Design Process for Urban Cultural Redevelopment: A Comparative Case Study of Gordon Square Arts District and Uptown District in Cleveland, Ohio." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu154654842562896.
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23
Chang, Bi-yu. "Cultural change and identity shift in relation to cultural policy in post war Taiwan, with particular reference to theatre." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7619/.
Повний текст джерелаАнотація:
The issue of identity has become increasingly important in the 21't century. Facing the dilemma of being tom between globalisation and indigenisation, our sense of identity is constantly changing and in turmoil. This dissertation engages with several questions: How does our sense of belonging come about? In what ways and to what extent can the state construct culture, regulate our behaviour, and formulate a sense of belonging through cultural policy? And, why cultural policy might fail? Because the politics of cultural policy has either been overlooked or considered only in general terms without thorough examination on a long-term basis, this thesis examinest he relationshipb etweenc ulturalp olicy and culturali dentityb y exploring the case of post-war Taiwan. The development and dramatic change of cultural identity in post-war Taiwan provides a good testing ground to examine the relationship between cultural policy and identity construction, especially during the volatile identity crisis in the 1990s. There are two parts in this dissertation. Part I focuses on textual research of a half-century of Taiwanese cultural policy, alongside the island's historical development; Part 11 records and analyses the fieldwork I carried out on Taiwanese theatre to substantiate the textual analysis in Part 1. This thesis deals with issues in two areas that no other research has explored before and tries to indicate the universal implications of the analysis of Taiwanese identity construction and cultural policy. Firstly, through the analysis of the politics of culture in Taiwan, this research demonstrates how a stable and deeply rooted China-centric identity was overturned within only two years. Furthermore, it highlights the politics of culture by displaying how an authoritarian regime was challenged, and how cultural hegemony could be won in order to grasp political power. Secondly, the case study provides evidence manifesting the changing nature of contemporary cultural policy, and its hidden politics. Under the name of 'supporting the arts', the state uses cultural policy to maintain its cultural hegemony. Although Taiwan has carried out a process of democratisation since the 1980s, the state has not loosened its control on culture, but has rather changed its strategy of how to control. A new alliance between regulation and market forces has formed, and becomes the nexus of modem cultural policy.
24
Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.
Повний текст джерелаАнотація:
This thesis adopts a Cultural Industries framework to examine how Queensland's arts
council network has, through the provision of arts products and services, contributed
to the vitality, health and sustainability of Queensland's regional communities. It
charts the history of the network, its configuration and impact since 1961, with
particular focus on the years 2001 - 2004, envisages future trends, and provides an
analysis of key issues which may be used to guide future policies and programs.
Analysis is guided by a Cultural Industries understanding of the arts embedded in
everyday life, and views the arts as a range of activities which, by virtue of their
aesthetic and symbolic dimensions, enhance human existence through their impact
on both the quality and style of human life. Benefits include enhanced leisure and
entertainment options, and educational, social, health, personal growth, and
economic outcomes, and other indirect benefits which enrich environment and
lifestyle.
Queensland Arts Council (QAC) and its network of branches has been a dominant
factor in the evolution of Queensland's cultural environment since the middle of the
20th century. Across the state, branches became the public face of the arts, drove
cultural agendas, initiated and managed activities, advised governments, wrote
cultural policies, lobbied, raised funds and laboured to realise cultural facilities and
infrastructure.
In the early years of the 21st century, QAC operates within a complex, competitive
and rapidly changing environment in which orthodox views of development,
oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking
down, and new convergent models emerge. These new models recognise synergies
between artistic, social, economic and political agendas, and unite and energise them
in the realm of civil society. QAC is responding by refocusing policies and programs
to embrace these new models and by developing new modes of community
engagement and arts facilitation.
In 1999, a major restructure of the arts council network saw suffragan branches
become autonomous Local Arts Councils (LACs), analogous to local Cultural
Industry support organisations. The resulting network of affiliated LACs provides a
potentially highly effective mechanism for the delivery of arts related products and
services, the decentralisation of cultural production, and the nurturing across the state
of Creative Community Cultures which equip communities, more than any other
single asset, to survive and prosper through an era of unsettling and relentless
change.
Historical, demographic, behavioural (participation), and attitudinal data are
combined to provide a picture of arts councils in seven case study sites, and across
the network. Typical arts council members are characterised as omnivorous cultural
consumers and members of a knowledge class, and the leadership of dedicated
community minded people is identified as the single most critical factor determining
the extent of an LAC's activities and its impact on community.
Analysis of key issues leads to formulation of eight observations, discussed with
reference to QAC and LACs, which might guide navigation in the regional arts field.
These observations are then reformulated as Eight Principles Of Effective Regional
Arts Facilitation, which provide a framework against which we might evaluate arts
policy and practice.
25
Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.
Повний текст джерелаАнотація:
This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.
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Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
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Bianchini, Franco. "Cultural policy and political strategy : the British Labour Party's approach to arts policy with particular reference to the 1981-86 GLC experiment." Thesis, University of Manchester, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658063.
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Cruz, Kymberly M. "School-Musuem Partnerships: Examining an Art Musuem's Partnering Relationship with an Urban School District." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/92.
Повний текст джерелаАнотація:
Art education has faced cutbacks in school funding because of the mandates and current trends in our nation’s educational policies. The United States Department of Education states that its federal involvement in education is limited. In fact, federal legislations, regulations, and other policies dictate the structure of education in every state particularly with the No Child Left Behind Act (NCLB) and now the Race to the Top (RTTT) initiative. The arts have been unfavorably impacted under the nation’s most predominant policy, NCLB, and run the risk of further adverse impacts with RTTT, regardless of the public’s support of the arts and its educational benefits. By linking federal funding to the school's yearly progress in reading and mathematics, NCLB created an environment in which art is viewed as nonessential and secondary to the academic mission of the school.
Policymakers have underestimated the critical role the non-profit cultural sector can offer to arts learning for academic support. Collaboration of the arts community with local schools expands access to the arts for America’s schools. Some schools have already adopted this strategy to tap the expertise of local community arts organizations to address the issues surrounding arts education, like the lack of funding and resources. The future of our educational system must create innovative ways for students, teachers, parents, and the community to work together in partnerships to ensure all American children is provided a high-quality education. An example of this promising practice would be to connect schools with the arts community, particularly schools and museum partnerships. School and museum partnerships have a long-standing history of collaborating with one another and therefore share a commitment to some of the same educational goals (Osterman & Sheppard, 2010).
The purpose of this study investigated features and operational logistics of successful partnerships between museums and schools. The study explored an existing partnership with an art museum and an urban public school district. To understand the elements of these partnerships, the study investigated art education and cultural governing policies, program goals and long-term goals, operation and funding. It is my hope that through this study a discourse about policy recommendations or policy-making eventually develops that could aid in the creation of successful partnering relationships to sustain art education in the state of Georgia.
In this qualitative case study, the research design utilized several methods of data collection, including semi-structured interviews, documents, and visual methods, specifically image elicited exercises as positioned by Harper (2002). Participants in the study included school administrators, principals, art teachers, and museum educators.
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Lai, Wai-tin Belinda. "A study of the policy on the performing arts in Hong Kong is the West Kowloon Cultural District project a solution? /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36554492.
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Lee, Ra Won. "Interorganizational Relationships and Mergers of Nonprofit Arts Organizations: Two Case Studies of Mergers of Nonprofit Arts Organizations." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1451948476.
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Twaalfhoven, Lotte. "The Cultural Preservation of the Navajo Nation. A multicultural and assimilation policy analysis on the Navajo Nation and cultural preservation." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22853.
Повний текст джерелаАнотація:
In this thesis the cultural preservation of the Navajo Nation is analyzed through a multicultural and assimilation framework. The Navajo Nation is a case study in this research. A policy analysis is used in this thesis and analyses policies in three proxy categories of culture: education, land ownership, and self-governance. The main policies analyzed in this thesis are the current (federal) policies regarding education, land ownership, and self-governance. Current means the policies that are in place and in effect today. This thesis also analyses past policies in order to create a foundation. It further analyzes these policies to examine the outcomes and implications of the policies on the cultural preservation of the Navajo Nation. Gerd Baumann’s theories on culture, Kymlicka’s liberal multiculturalism, Margalit and Halbertal’s communitarian multiculturalism, and assimilation are used as the theoretical framework of this thesis. The findings cannot be generalized. Some policies have the outcome that was intended whereas other policies have the opposite outcomes of what was intended in the policy. Thus, multicultural policies do not necessarily have a multicultural outcome, sometimes the outcomes of the policy can have an opposite outcome of what the nature of the policy is.
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Kuzin, James. "Creative City and Fields of Cultural Production: Ethnographic Perspectives of “The Arts” in Tampa." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002469.
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Smith, Amanda Jane, and n/a. "Making cultural heritage policy in New Zealand." University of Otago. Department of Political Studies, 1996. http://adt.otago.ac.nz./public/adt-NZDU20070530.152110.
Повний текст джерелаАнотація:
This thesis examines how cultural heritage policies are developed in New Zealand. Cultural heritage symbolises the development of a society, illustrating past events and changing customs and values. Because of its significance, the government has accepted responsibility for protecting cultural heritage, and has developed a number of institutions and a variety of policies to address this responsibility. It is important to understand how the goverment uses these mechanisms to protect cultural heritage, and the subsequent relationships that have developed between actors in the cultural heritage area. These will have an impact on the effectiveness of the policy which is developed.
Cultural heritage is treasured by society for a number of reasons, but as social attitudes change, so does the treatment of cultural heritage. It is re-defined, re-interpreted and used to promote a sense of pride in the commmunity. This manipulation extends to policy making. Since the 1980s, the government has influenced, and been influenced by, two major social changes. There has been an introduction of free market principles such as rationalisation, competition and fiscal responsibility into the New Zealand economy and political structure. These principles have been applied to cultural heritage and consequently cultural heritage is treated as a commodity. As the result of changing attitudes towards the treatment of the Maori and Maori resources, there has been a movement towards implementing biculturalism. This has meant a re-evaluation of how Maori taonga is treated, particularly of the ways Maori cultural heritage has been used to promote a sense of New Zealandness.
There are several major actors involved in cultural heritage policy making - government, policy units, cultural heritage organisations and local authorities. Central government is the dominant force in the political process, with control over the distribution of resources and the responsibilities assigned to other actors. Because the use of market principles and movement towards biculturalism have been embraced at the central government level, other actors in the policy making process are also expected to adopt them. Policy units develop options to fit with the government�s general economic and political agenda. The structures adopted for the public service are designed to encompass market principles, particularly the efficient use of resources and competitiveness. While cultural heritage organisations may influence the government�s agenda through lobbying and information-sharing, they are limited by issues such as funding and statutory requirements. Government has shifted many responsibilities to the regions, but while territorial authorities are influenced by the concerns of their communities, they are also subject to directions from the government.
The process and structures which have been outlined do not contribute to an effective policy making system. The use of market principles to direct cultural heritage protection tends to encourage uneven and inconsistent policies, both at national and local levels. The range of cultural heritage definitions used by government agencies also promotes inconsistency. Cultural heritage is encompassed in a large number of government departments and ministries, which makes the co-ordination funding by meeting required �outputs� and the government�s requirement of fiscal responsibility. This is not appropriate language for cultural heritage, which should not have to be rationalised as an economic good. Although the government has devolved a number of responsibilities and territorial authorities have a variety of mechanisms available to protect cultural heritage, there is no nation-wide criteria for territorial involvement. Because of regional differences there is an uneven treatment of cultural heritage. Those policies developed by territorial authorities will also be influenced by the government�s economic direction. Organisations supported by the Dunedin City Council, for example, must also provide budgets and strategic plans which fit with Council�s fiscal objectives.
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Mitchell, DeAvin Anthony. "A Collection of 20 Poems: Using Poetic Inquiry in Response to Literature on Race, Work Policy, and Social and Cultural Theory." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu16186200315852.
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Grabowski, Camille. "L'éducation artistique dans le système scolaire français de 1968 à 2000." Thesis, Paris, Institut d'études politiques, 2013. http://www.theses.fr/2013IEPP0059/document.
Повний текст джерелаАнотація:
Dans les années d’après-guerre entrent en ligne de compte des données démographiques et économiques nouvelles qui font évoluer la société française et lui imposent d’adapter son système éducatif, de décloisonner les disciplines et de favoriser l’interdisciplinarité. Seule l’école peut vaincre le déterminisme social lié à la naissance. C’est le colloque d’Amiens (1968) qui pose les bases d’une réflexion qui a nourri toutes les avancées sur l’éducation artistique depuis. Les années 70 sont celles de la réforme pour l’Education nationale et celles de la réflexion et des premières expérimentations pour la Culture. Les années 80 marquent une réelle ouverture de l’école, que ce soit vers les établissements culturels, à l’intervention de partenaires extérieurs au milieu scolaire ou à de nouvelles matières. Ouverture, mais aussi compromis entre les acteurs. Le protocole d’accord d’avril 1983 signé entre le ministère de la Culture et celui de l’Education nationale et la loi sur les enseignements artistiques de 1988 ont cédé aux compromis. Dans les années 90, penser l’éducation artistique de manière globale et à l’échelle d’un territoire apparaît comme le meilleur moyen de faire travailler ensemble les écoles et les équipements culturels à l’échelle d’une ville, d’un département ou d’une région, de garantir un maillage parfait du territoire et donc d’atteindre à la démocratisation culturelle. Mais finalement s’impose surtout le constat d’un empilement quelque peu désordonné des dispositifs. Le plan Lang/Tasca qui doit se réaliser sur cinq ans à partir du 14 décembre 2000 ouvre un nouveau chapitre. Mais l’exécution de ce nouveau plan n’est pas garantie par sa décisionAfter the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens’ symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d’accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision
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Yoon, AhYoung. "Aging and Arts Policy: Interrogating Perceptions of Older People in South Korea." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503016550067467.
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Kim, HwiJung. "Making creative connections: A study on the relationship evolution and developing the Arts and Business Relationship Model in a changing cultural policy." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253543181.
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Webb, Aleksandra. ""We need arts as much as we need food. Our responsibility is for that to be possible" : insights from Scottish cultural leaders on the changing landscape of their work." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21478.
Повний текст джерелаАнотація:
The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices of particular groups of creative workers in the different national (country-specific) contexts to support this criticism. There has been a significant lack of studies that aim to understand how creative workers experience and cope with the changing policy context in their work. In particular, the voice of non-artists has rarely been considered when seeking a better understanding of the sector’s dynamics. This thesis explored the Scottish cultural sector through the eyes of cultural leaders. The study was carried out during a time of significant transformation to the funding structure, processes and relationships in the sector, catalysed by the establishment of a new funding agency (the funder). It focuses on cultural leaders’ understandings of an increasingly politicised cultural landscape that constitutes the context of their work. The thesis also looks at the influence of these understandings on the leaders’ role responsibilities, as well as the essence and the sustainability of the cultural sector. The empirical work for the thesis followed a qualitative research approach and focused on 21 semi-structured interviews with cultural leaders and industry experts based in Scotland. These individuals were purposefully chosen as a group of stakeholders who are able to engage in discussions about the cultural sector in the context of recent changes in the governance and financial subsidy of Scottish (publically funded) arts. The research findings illustrated the importance of leaders’ values and beliefs, which reflect the purpose of their work and shape their enactments in the sector. In particular, the intrinsic motivation, artistic ambitions, social and civic responsibilities of leaders emerged as crucial qualities of their work roles. The findings revealed a discrepancy between these artistic and civic concerns of cultural leaders and the socio-economic expectations of the funder, which contributed to a great deal of unproductive ('inorganic') tensions for which leaders had to find coping mechanisms. Bourdieu’s (1977, 1992) theoretical concepts were used as a starting point in understanding the cultural sector as a cultural field, and cultural leaders as actors enacting their work-related practices in the evolving socio-political and economic system of cultural production. However, upon further analysis of the data, the notions of a ‘worldview’ and ‘stewardship’ emerged and were used to better explain the greater complexity of work in today’s cultural sector. This thesis thus builds upon Bourdieu’s concept of ‘field’ and ‘artistic logic’ and explains the changing cultural sector as a holistic cultural field where cultural leaders enact their stewardship-like work responsibilities from within a strong and dynamic artistic worldview.
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Crocitti, Olivier. "Feux d'artifices de bons sentiments : transformer l'incoercible confrontation entre démocratisation de la culture et démocratie culturelle afin de définir des complexes artistiques : mais... qu'est ce que l'art ?" Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC011/document.
Повний текст джерелаАнотація:
Après avoir partagé les politiques culturelles majoritairement actives en trois modèles et modes afin dedéfinir ce qu'est La Culture, je travaille à une catégorisation de l'objet de vulgarisation de cette Culture, à savoir l'Art, et à une cartographie de son ou ses sujets, à savoir le spectateur et sa place, pour finalement essayer de proposer un mode d'action culturelle nommé non plus politique culturelle mais politique artistique. De La Critique à La Critique de la Critique de la Critique, en passant par La Critique de la Critique, je cherche à sortir de la confortable définition polysémique régnant sur le territoire culturel et à la Tour des Arts, et ce dans le projet utopique de transfiguration de leurs architecturesThe Great Culture and the Great Public as mythical as Alexander or From the art of taking distance. What is art ? Verfremdung → to make stranger. While cultural exhibition tends to be events that are most often apprehended through their relation to the Great Public – sometimes legitimating, sometimes repulsive,sometimes motive and often simultaneously recipient, adjuvant, opponent, expected, persona non grata andalmost always juge-baromètre arpenteur, supposedly outside of concern of that event – we will try to bringout from these different policies (that pay close attention to numerical parameters) the complicities and contradictions between artistic/cultural practices and democratic practice. Can we still bet on subvertissant power of cultural production as ideological enhancer and democratical antioxidant whereas the culturallandscape seems to be shaped by a festivisation oxymoronique, a nivellement-exacerbant ?
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Arguello, Vargas Tatiana. "Culture and Arts in Post Revolutionary Nicaragua: The Chamorro Years (1990-1996)." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1281638909.
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Lai, Wai-tin Belinda, and 黎慧沺. "A study of the policy on the performing arts in Hong Kong: is the West Kowloon Cultural District project a solution?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36554492.
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Johnson, Bernard T. (Terry). "Towards Understanding Water Conservation Behavior in Southwest Florida: The Role of Cultural Models." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3656.
Повний текст джерелаАнотація:
This applied anthropology dissertation aims to enhance public policy and best
practices for conserving potable water resources, using the Tampa Bay region of
southwest Florida as a case study. It addresses not how humans conserve, but why
they may or may not choose to do so. To date, a limited anthropological focus on water
conservation behavior in western, urban settings has created a gap in the role culture
plays in understanding why people conserve.
The research problem is to identify how water conservation behavior in Tampa,
Florida can be enhanced through a better understanding of beliefs and values reflected
in individual mental models of water users, and subsequent cultural models that emerge.
Applied anthropologists are paying increasing attention to "cultural models," those
shared, simplified, formal representations of explicit and implicit knowledge, interests,
beliefs, and values that help individuals understand the world and their behavior in it.
Environmental anthropologists, especially, have recognized the power of this analytic
tool to find solutions to complex environmental problems by incorporating cultural and
political contexts.
Though Florida’s water resources appear abundant, they are highly variable in
time and space with a well documented flood and drought recurrence, 90% of the 2007
population of 18.7 million living in coastal areas and most fresh ground water, which
93% of the population relies on for drinking supplies, situated inland. By 2020, Florida’s
projected total water use will grow from 7.2 to 9.1 billion gallons per day, with public
significant water “source” by overcoming public apathy and better understanding
conserving behavior.
The research methodology emphasizes a qualitative approach to address beliefs
and values most related to water conservation, and identify cultural models. Key
methods employed were: a comprehensive contextual analysis of Florida’s history,
environment and water law; use of recent results of a Tampa Bay Water Conservation
Public Opinion Survey; and semi-structured interviews with twenty City of Tampa
households (half high water users and half low water users) and seven water resource
experts. All twenty-seven interviews were recorded and transcribed for textual analysis
to reveal mental and cultural models, and let informants speak for themselves to share
their beliefs and values. Direct quotations were coded and used to illustrate key points,
including the three cultural domains that emerged: 1) Why conserve water?; 2) Sources
of conservation values; and 3) Lack of water conservation awareness and involvement.
The primary beliefs and values identified by informants included: 1) the need to
avoid waste and greed
protect existing water supply sources
perception of fairness among water users
. Both the archival
research (past opinion surveys, media coverage) and semi-structured interviews indicate
people feel conservation is not being shared fairly among water users. This view is
closely linked to waste and greed values, and applies to watering lawns excessively as
well as use by other sectors (agriculture, golf courses, businesses, etc.). Informants felt
strongly rules are not being enforced equitably. The clear danger is this perception may
serve as rationale for non-conserving behavior.
, both for current benefits and generations to
come; and 3) the
perception of fairness among water users
. Both the archival
research (past opinion surveys, media coverage) and semi-structured interviews indicate
people feel conservation is not being shared fairly among water users. This view is
closely linked to waste and greed values, and applies to watering lawns excessively as
well as use by other sectors (agriculture, golf courses, businesses, etc.). Informants felt
strongly rules are not being enforced equitably. The clear danger is this perception may
serve as rationale for non-conserving behavior.
Two other shared beliefs and values were put forward by informants. A
significant majority believe existing policy areas of
education, regulation and
incentives should be used to achieve water conservation
. Finally, the predominant
role of
family as the source of conservation values was strongly supported.
The specific “cultural model” for water conservation in Tampa would be based in
family as a source of conservation values, emphasize avoidance of waste while
protecting existing sources and directly address widespread perceptions of inequity
among water users.
The theory and methods of anthropology, including cultural models, can
contribute to enhancing water conservation. This dissertation is an example of those
possibilities, setting the stage for ongoing research, including:
•
Refinement of methods specific to the water use culture of the Tampa region.
•
Exploring cultural models of diverse sub-cultures such as youth, Hispanics and
others to enhance water conservation.
•
Overcoming social desirability impacts as part of refining cultural models.
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Sin, Song-Chiew James. "Arts, culture and museum development in Singapore." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Повний текст джерелаАнотація:
This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
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Hannesson, Haukur F. "Symphony orchestras in Scandinavia and Britain : a comparative study of funding, cultural models and chief executive self-perception of policy and organisation." Thesis, City University London, 1998. http://openaccess.city.ac.uk/7571/.
Повний текст джерелаАнотація:
The subject of this study is arts policy in six different countries; Denmark,Finland, Iceland, Norway, Sweden and the United Kingdom and in particular how such policies affect both the operations and self-perceptions of professional symphony orchestras (and their chief executives) operating in the countries studied. Professional symphony orchestras in different countries have essentially very similar artistic approaches to their subject i.e. the performance of music, and are almost identically constructed with regards to number of players, which instruments are used as well as the role of artistic leadership (i.e. the conductor) in a performance situation. As such they represent a very uniform kind of arts organisation and art practice across the countries concerned, against which other, more variable factors such as legal structure and funding may be compared from country to country. One key objective of this research was to test the view that as the environment of the orchestras can differ, this could possibly affect the orchestras artistically and/or financially in significant ways. The management teams of the orchestras are faced with multiple tasks which can be affected by national or local government arts policy, organisational structure or levels of funding. The relationship between the management teams of professional symphony orchestras and arts policy makers at local and/or national government level is therefore a Complex one, despite the apparent homogeneity of the orchestral form, and often influenced by history and informal channels of influence as well as formal government arts policy. The study examines earlier research on the subject of orchestras within several disciplines. The cultural policies and orchestral development in the six countries are analysed as well as the results of a survey amongst Chief Executives of 83 symphony orchestras (32 in Scandinavia and 51 in the United Kingdom). The results of the survey indicate that there is little difference between the attitudes of Chief Executives in the six countries to a number of internal and external factors that influence their particular orchestra. The funding of a large number of the symphony orchestras of the sample is analysed, indicating that the major difference between the Scandinavian orchestras and the British ones is the level of government subsidy. Thedifference between the labour market between Britain and Scandinavia is examined, indicating that British orchestras have a much much flexible arrangement when it comes to hiring musicians, since there are three forms of employment, i.e. contract, freelance and self owning orchestras, in operation at the same time whereas in Scandinavia all the orchestras studied have contracted players only. The study discusses different models of cultural policy and government involvement (with a starting point in Harry Hiliman Chartrand's theories) and how this affects orchestras that operate under different models. The study concludes that the high level of government funding in Scandinavia is necessary to maintain the same level of symphony orchestra activity as the five countries have today. The reasons for this are historical as well as social and political factors in these countries. It is also a conclusion that different models of funding do not significantly influence the internal organisational structure of the orchestras studied and that a general model of good practice for running a symphony orchestra cannot be drawn up without taking into account socio-economic and historical factors in a particular country.
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Choo, YeunKyung. "Strategies for Urban Cultural Policy: The Case of the Hub City of Asian Culture Gwangju, South Korea." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420732989.
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Sin, Song-Chiew James, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Arts, culture and museum development in Singapore." THESIS_FPFAD_XXX_SinSongChiew_ J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/240.
Повний текст джерелаАнотація:
This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine artMaster of Arts (Hons)
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Piening, Simon. "The idea of audience : audience development and the creative industries in Australia's small-to-medium performing arts sector." Thesis, Federation University Australia, 2022. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/185173.
Повний текст джерелаАнотація:
In recent decades, the governance of arts and culture in Australia has been dominated by the “creative industries” model, which is a market-driven approach to cultural policy that seeks to bring together those workers who operate in the realm of creativity with those who have the knowledge and resources to monetise their creative output. The increased focus on market outcomes has resulted in the need for arts organisation to pay much greater attention to developing audiences and cultivating consumers for the arts. However, strikingly absent from much of the discussion concerning audience development in the arts has been the voices of the artists and arts workers themselves, whose work sits at the very heart of any relationship with the audience. The research study that is the subject of this thesis sought to better understand the audience relationship from the perspective of artists and arts workers operating in Melbourne’s small-to-medium performing arts sector, which is a not-for-profit niche of the performing arts industry that has been charged with creating new works and pushing creative boundaries. In light of the increasingly marketised environment for cultural production, the study asked two broad questions: How do these arts professionals conceptualise their relationship with the audience?; and What role do they envisage for the performing arts in their communities? Through individual interviews and a series of group discussions occurring over a 12-month period between 2017 and 2018, arts professionals from the small-to-medium performing arts sector in Melbourne, Australia, discussed the ways in which the rise of the market-oriented creative industries had been impacting on their understanding of, and relationship with, the audience. The study found that the growing demands of the market and the commodification of artistic work had, for many arts professionals, increased the sense of distance between the artist and the audience and had resulted in confusion over the role and value of art in contemporary society. Despite this, arts workers, through their craft, were seeking greater engagement with their communities and were contributing to a more diverse and robust public sphere. As the authors and architects of the aesthetic experience, artists, arts workers and arts organisations have a profound impact in shaping the audience’s understanding of, and relationship with, the arts (Belfiore & Bennett, 2008). Yet much audience development research and practice has focused on understanding the attitudes and motivations of audience members in relation to the arts and ignored or minimised the important contribution that artists themselves might be making to developing audiences. This study’s aim was to address a significant gap in the understanding of the needs and motivations of arts professionals with regard to their relationship with the audience, and, in so doing, argued for a re-imagining of the field and practice of audience development that considers the needs of both the producers and consumers of culture.Doctor of Philosophy
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Girard, Claire. "The internet table: how Canadian arts and culture organisations engage with telecommunication policy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119753.
Повний текст джерелаАнотація:
This project examines the engagement of Canadian arts and culture organizations with telecommunication policy at two Canadian Radio-television and Telecommunications Commission (CRTC) hearings held in 2009. The thesis argues that during the Broadcasting in New Media hearing arts organizations added a new set of issues to their historically content-centric advocacy concerns and began engaging with policy that regulates carriage. At the second hearing, the Review of the Internet Traffic Management Practices of Internet Service Providers, these groups in their comments and presentations to the regulator directly address the design, implementation and technical functioning of telecommunication technologies. The thesis proposes a typology of Canadian arts and culture organizations and gives an account of their history of communication and cultural policy advocacy. Using a Science and Technology Studies and Actor-Network Theory oriented definition of technology the project shows that the participation by these groups in formal policy-making forums on internet governance issues is supplemented by other productive modes of engagement with information and communication technologies (ICTs). This thesis gives examples of these organizations integrating ICTs in their work and argues that such practices effectively produce and re-define the internet. Canadian arts and culture organizations would gain from adopting an understanding of ICTs that reflects their mutually constitutive and co-productive relationship. The thesis concludes that to become more empowered in both their practices and in policy decision-making arts and culture organizations should define telecommunication infrastructure as a material agent and participant.Ce projet examine l'engagement d'organismes culturels Canadiens avec les politiques de télécommunication lors de deux audiences publiques au Conseil de la Radiodiffusion et des Télécommunications Canadiennes (CRTC) en 2009. Le mémoire argumente que durant l'audience sur La Radiodiffusion Canadienne par les Nouveaux Médias ces organismes ont ajouté de nouvelles problématiques aux intérêts, historiquement centrés sur le contenu, qu'ils défendent et ont commencé à plaidoyer les politiques qui gèrent le transport des données. Lors de la seconde audience, l'Examen des Pratiques de Gestion du Trafic Internet des Fournisseurs de Services Internet, ces organismes ont adressé directement le design, l'implémentation et le fonctionnement technique des technologies de la télécommunication dans leurs commentaires et présentations au Conseil. Le mémoire propose une typologie des organismes culturels Canadiens et résume leurs antécédents en défense des politiques culturelles et des communications. En utilisant une définition de la technologie orientée par les Études des Sciences et Technologies ainsi que de la théorie de l'acteur-réseau le projet démontre que la participation de ces groupes aux forums officiels d'élaboration des politiques de gouvernance internet est complétée par d'autres modes productifs d'interaction avec les technologies d'information et de communication (TIC). À l'aide d'exemples d'intégration des TIC par ces organismes dans leur travail le mémoire fait valoir que de telles pratiques produisent et contribuent à la redéfinition de l'internet. Les organismes culturels du Canada gagneraient à adopter une définition des TIC qui reflète leur relation mutuellement constitutive et co-productive. Le mémoire conclut que les infrastructures de télécommunication doivent être comprises comme étant des acteurs matériels et des participants afin de renforcer et responsabiliser les pratiques et la défense de politiques de ces organismes.
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Ébli, Gábor. "Museums, modern art and cultural policy in Hungary, 1896-1983." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27869.
Повний текст джерелаАнотація:
Museums in the Western world enjoy unmatched popularity in mass education, entertainment,
and in scholarly research. By contrast, public collections in Hungary have suffered for
decades from a lack of moral and financial support in cultural policy, and from sparse interest
in, and by, visitors. This thesis seeks to examine the historical and structural roots of this
dichotomy. By highlighting earlier successful museum models in Hungary, and the reasons
for their subsequent demise, the argument contributes to the social history of the country, and
to the archaeology of museums on the periphery of Europe, in the 20th century.
The thesis focuses upon collections and exhibitions of modern art, the most controversial
museum segment. The involvement of the government and of private patrons of art, and
institutions in Budapest vs. those outside the capital, are contrasted. The development of
museum architecture and interior design, visual education, and art historical study, is traced.
The years before the Great War are identified as the summit of efforts to integrate the
representation of modern art in Hungary in international patterns. Whilst the 19408 and the
1950s brought the complete opposite of this programme ~ strict isolation — this thesis also
concentrates upon the short periods of success of museums and modern art during the extreme
right—wing and (after 1948) left—wing political regimes. Just as there may occur conflicts
between charismatic museum directors and cultural politicians vs. a dogmatic political
environment, this thesis explores ambitious museum projects vs. their failure in Hungary.
The difficulties of large, central institutions are juxtaposed against the versatility of smaller,
and more autonomous institutions. The thesis professes allegiance to a pluralistic museum
landscape that incorporates private philanthropy as much as governmental commitment; and
that functions to build up the national canon, as much as to promote diverse artistic creation.
For this to come to pass in Hungary, the country’s progressive traditions need mobilising, and
selected international patterns need adopting and adapting. In order to help situate the
Hungarian issues in a wider context, this thesis has a strong comparative dimension, and
relates each epoch and feature of the Hungarian story to its international counterpart.
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O'Donnell, Thomas Vincent, and vincent odonnell@rmit edu au. "An investigation of the dynamics of cultural policy formation : the states' patronage of film production in Australia 1970-1988." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070119.110944.
Повний текст джерелаАнотація:
In Australia, the decades of the 1960s, 1970s and 1980s were times of a great nationalist revival and cultural self-discovery. In the visual arts, theatre, popular and classical music, and especially in cinema and television, a distinct Australian voice could be heard that was accepted as culturally valid and nationally relevant. The renaissance of local production for cinema and television was reliant on the patronage of the state, first the Commonwealth government with the establishment of the Australian Film Development Corporation and the Experimental Film and Television Fund in 1970 and, later, the Australian Film and Television School. Then from 1972 to 1978 each Australian state established a film support agency to extend that patronage and assure the state of a role in the burgeoning film industry. This thesis relates the stories of the creation and development-and in some cases demise-of those six state film agencies over the period 1970 to 1988. It identifies the influences that directed the creation of each state agency and proposes a qualitative model of the relationships between the influences. It then argues the applicability of the model to the formation of cultural policy in general in a pluralistic democratic society. It also argues that the state film agencies were more influential on national film industry policy than has hitherto been recognised.