本文回顧香港政府治理戲劇活動的歷史，分析三個歷史時期的治理策略，從而探討調節戲劇活動與殖民管治兩者的關條。香港政府在三個時期以不同方式介入戲劇領域，從戰後至六十年代的戲劇審查，後至六十年代後期至七十年代的文化服務，直到八十年代至九七年提倡戲劇的私營部門增長，三者並不連貫。三個時期的治理特色共同之處在於，政府僅僅為了排除危害社會穩定的麻煩，特別是制衡現代中國政權對香港(戲劇)的影響，並不志在正面地建立成果;因此，本文提出香港政府的文化治理是一種否定式治理策略。 / I examine the history of Hong Kong government governing theatrical activities and then analyze the governing strategy in three historical periods; thus, I investigate the relation between regulations of theatrical activities and colonial governance. Hong Kong government employed different ways of intervention in three periods, including censorship from 1945 to 1960s, providing cultural service from late 1960s to 1970s and advocating growth of private sector of theatre from 1980s to 1997. These three strategies are not consistent in terms of achieving goals. Rather, the common character of governing strategies is to get rid of dangerous factor which may harm stability of Hong Kong society, especially the undesirable impact of modern China politics on Hong Kong (theatre ). / Detailed summary in vernacular field only. / 張翠瑜. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 111-118). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Cuiyu. / 中文摘要 --- p.ii / 英文摘要 --- p.iii / 致謝 --- p.iv / Chapter 第一章 --- 香港戲劇與文化治理 --- p.1 / Chapter 第二章 --- 文化冷戰與戲劇審查 --- p.25 / Chapter 第三章 --- 青年問題與文化服務 --- p.48 / Chapter 第四章 --- 積極不干預、自由市場與創作 --- p.76 / Chapter 第五章 --- 結語 --- p.103 / 參考書目 --- p.111

Made available in DSpace on 2016-04-26T18:12:21Z (GMT). No. of bitstreams: 1 Shirlei Torres Perez.pdf: 2304579 bytes, checksum: 5c24ab37b2c396049d0e5edcc0fa4421 (MD5) Previous issue date: 2012-10-11 / This MA dissertation aims to provide a new meaning to the concept of mediation as applied to cultural policies. This new meaning stems from Jesús Martin-Barbero s ideas in the field of communication. In arts and drama in particular the word mediation refers to an action whereby one intermediates a dialogue between the audience and artists, or between curators and spectators. Some professionals from cultural centers are commonly referred to as cultural mediators. However, as we provide a new meaning to mediation by defining it as sign mediation, these relationships are no longer placed in opposite extremes as suggested by such phrases as passive/active, wise/ignorant, genial artist/common man. As we set some strategies to approach theatrical experience to communication, we will face some issues that provide visibility to a complex information network. This network does not refer solely to creative processes, but also encompasses production, media, and product and process flowing. The research corpus is comprised by experiences reported by the groups El Periférico de Objetos (Argentina), Compagnie Dakar (the Netherlands) and Théâtre du Soleil (France), as well as the play Caramelo de Limón (Argentina). In addition to Martin-Barnero (2003), the theoretical grounds of this paper lie on the works by Lucrecia D Alessio Ferrara (2008), Boaventura de Souza Santos (2010), Lipovetsky (2010), and Greiner (2010). These authors made it possible to design a new critical vision on creating new arrangements, the ecology of knowledge and the notion of world-culture among other corelated issues. As a result, we open the pathway to redefining some possible action plans in the field of art and culture, thus providing an effective proposal for one s education and political activation. Current action plans require extreme changes in their review parameters not only in large cities such as São Paulo, but also in decentralized circuits which are still regarded within a peripheral framework of knowledge / O objetivo desta dissertação de mestrado é ressignificar o conceito de mediação do modo como tem sido trabalhado nas experiências de política cultural, a partir da formulação proposta por Jesús Martin-Barbero para a área da comunicação. Nas artes, especialmente no teatro, emprega-se o termo mediação como a ação de intermediar um diálogo entre público e artistas, ou entre curadores e espectadores. Há profissionais que trabalham em centros culturais que chegam a ser chamados de mediadores culturais. No entanto, ao pensarmos a mediação como mediação sígnica, as relações de mediação e interação deixam de ser polaridades, constituindo-se como uma rede que não reconhece os binômios ativo-passivo, sábio-ignorante, gênio artista-homem comum. Ao estabelecer estratégias para aproximar a experiência teatral da comunicação, emergem questões que conferem visibilidade a uma rede complexa que não se refere apenas aos processos criativos, mas envolve: produção, mídias e circulação de produtos e processos. Na prática, esta aproximação já vem sendo testada por algumas experiências, entre as quais selecionei quatro para compor o corpus da pesquisa. São elas: El Periférico de Objetos e o espetáculo Caramelo de Limon da Argentina, a Compagnie Dakar da Holanda e o Théâtre du Soleil da França. A grade teórica da pesquisa é composta por Martin-Barbero (2003), Lucrecia D Alessio Ferrara (2008), Boaventura de Souza Santos (2010), Jacques Rancière (2010) e Christine Greiner (2010), entre outros. Estes autores viabilizaram a reflexão sobre modos de comunicação que engendram novas espacialidades, ecologias de saberes e políticas de compartilhamento. O resultado foi uma abertura de caminhos para repensar possibilidades de ação em arte e cultura, visando uma proposta não convencional de educação e ativação política do indivíduo. São sugeridas mudanças radicais de parâmetros de análise, tendo em vista incluir circuitos descentralizados ainda considerados em grande medida como periferia dos saberes

Orientador: Dorotéa Machado Kerr / Banca: Dilma de Melo Silva / Banca: Alberto T. Ikeda / Banca: Carlos E. Kater / Banca: Herom Vargas Silva / Resumo: Neste trabalho aborda-se o contexto de algumas políticas para cultura no Brasil sob o ângulo dos circuitos culturais, locus privilegiado para sua realização, contemplando suas interações com as práticas do Canto Coral em São Paulo. Tem como principal objetivo caracterizar as diversas práticas do Canto Coral como um circuito cultural híbrido resultante de processos de construção e desconstrução de sentidos sócio-culturais ao longo do século XX. A partir do retrospecto histórico apresentado, e baseando-se em conceitos de Brunner (1987), Canclini (1997), Teixeira Coelho (2004), Hall (2004), Vargas (2009) e Furtado (2012) reflete-se sobre os cenários de realização cultural híbrida e suas características na pós-modernidade. Esse processo permitiu enquadrar o objeto de estudo nessa categoria, e assim apresentar algumas considerações sobre possíveis mecanismos de apoio e incentivo a seu desenvolvimento / Abstract: This work covers the context of government policies for Culture in Brazil under the views of "Cultural Circuits", privileged locations for these events, covering the interactions with Chorale practices in São Paulo. Its main objective is to characterize the different Chorale practices as a hybrid circuit resulting from socio-cultural construction and deconstruction processes along the 20th Century. From the presented historical retrospect and based on concepts from Brunner (1987), Canclini (1997), Teixeira Coelho (2004), Hall (2004), Vargas (2009), and Furtado (2012), the work examines scenarios for the hybrid cultural realization and its characteristics in post modernity. This process allowed the object under analysis to be clarified and led to conclusions on mechanisms for support and incentives aiming its development / Mestre

Esta dissertação analisa limites, possibilidades e riscos do processo participativo de criação do Sistema Municipal de Cultura de Três Corações, com base na visão de nove lideranças da comunidade que se envolveram no movimento pedindo a implantação de tal política pública. A partir da releitura de teorias sobre a participação e da análise de conteúdo de entrevistas semiestruturadas, gerou-se o entendimento de que o processo, liderado pela sociedade civil, busca a autopromoção de agentes culturais e a implementação de regras democráticas de jogo, mas enfrenta como limitações e obstáculos as transferências de rensponsabilidades do poder público, o ônus da participação, a falta de efetividade e os assistencialismos. Apresenta-se, ainda, o risco da criação de mecanismos de participação gerencial, reduzindo o papel político do Sistema. Diante dos resultados, apresenta-se uma breve reflexão acerca da necessidade da interlocução entre movimentos participativos que cobram a implantação de políticas públicas. / This dissertation analyses limits, possibilities ans risks of the participatory process of creation of the Culture Municipal System of Três Corações city, based on the vision of nine leaderships citizens of the comunity who got envolved with the movement that asks this public policy. From the rereading of participation theories and the content analysis of nine half-structured interviews, it was generated the understanding that the proccess, owned by civil society, looks for cultural agents self-promotion and the implementation of democratic rules, but faces as limits and obstacles the responsability transfers by public power, the custs of participation, the lack of effectiveness and assistencialism. There is, yet, the risk of creating mechanisms of managerial participation, reducing the culture system political rule. The results allows a reflection around the need of interlocution between participatory moviments that ask for public policies implementation.

A Discoteca Pública Municipal de São Paulo, criada em 1935 com a institucionalização do Departamento de Cultura, tem sido alvo de pesquisas nos últimos anos. Oneyda Alvarenga, ex-aluna e principal herdeira de Mário de Andrade no que se refere aos estudos folclórico-musicais, conduziu inúmeros trabalhos enquanto esteve na direção da Discoteca. Constituindo um conjunto documental inédito, o Concurso Mário de Andrade de Monografias sobre o Folclore Nacional (1946-1975) contou com a participação de trabalhos de intelectuais do campo das ciências sociais de São Paulo. Por outro lado, considerando a necessidade de \"conhecer\" as manifestações populares no Brasil, Oneyda soube tirar proveito da mobilização criada pelo Movimento Folclórico Brasileiro, sob a batuta de Renato Almeida e Edison Carneiro. Deste modo, inúmeros autores polígrafos, filiados às Comissões Estaduais de Folclore, figuraram nas 30 edições do Concurso. / The Discoteca Pública Municipal de São Paulo (DPM) - Public Record Collection of São Paulo - created in 1935 along with the institutionalization of the Departamento de Cultura - Department of Culture, has been subject of research in recent years. Oneyda Alvarenga, Mário de Andrade\'s former student and main heiress in relation to folk-music studies, conducted numerous works while she was in the direction of the DPM. Constituting an unprecedented set of documents, the Concurso Mário de Andrade de Monografias sobre o Folclore Nacional (1946-1975) - Folkloric monographs contest - counted the participation from intellectuals of the fields of social sciences in São Paulo. On the other side, considering the need to \"know\" the popular culture in Brazil, Oneyda took advantage of the mobilization created by the Movimento Folclórico Brasileiro - Brazilian Folkloric Movement, by the baton of Renato Almeida and Edison Carneiro. Thus, several writers affiliated to the Comissões Estaduais de Folclore - States Commissions of Folklore - figured in the 30 editions of the competition.

Esta dissertação circunscreve os mecanismos de organização e criação de três grupos teatrais radicados no distrito de Barão Geraldo, Campinas, SP. Os dados são coletados a partir de observações, anotações de campo e entrevistas. Como forma narrativa, procuramos colocar em relevo a subjetividade entredita nos discursos e práticas. Retraçamos o percurso histórico do lugar e dos três grupos eleitos para a análise: o Lume Núcleo Interdisciplinar de Pesquisas Teatrais, a Boa Companhia de Teatro e o Barracão Teatro. A partir dessas trajetórias, descortinamos um panorama bastante peculiar do fazer artístico em território de reminiscências rurais, outrora ocupado por fazendas de café e de cana-de-açúcar, entre os séculos XIX e XX, e convertido à modernidade com a chegada do campus da Universidade Estadual de Campinas (UNICAMP), na década de 1960. A maioria dos atores-criadores estuda ou ministra aula no Departamento de Artes Cênicas do Instituto de Artes. Primeiro como laboratório de movimentos corporais, depois como núcleo, o Lume é vinculado à instituição e, após anos de reivindicação, obtém infraestrutura razoável para manter-se. Boa Companhia e Barracão Teatro seguem caminhos independentes, mas seus profissionais também têm a universidade como referência. Os artistas fundam e sistematizam uma rigorosa pesquisa voltada à arte de ator contemplada em diferentes linhagens, como a máscara, o clown e a mimese corpórea. Seus processos transparecem uma deontologia para o ofício que abraçam. Os três grupos possuem sedes em Vila Santa Isabel. Atualmente, somando outros bairros de Barão Geraldo, existem pelo menos mais 12 coletivos em atividade. Eles sintonizam a crescente produção do Teatro de Grupo no Brasil, a partir dos anos 1990, cuja tônica são os chamados espetáculos experimentais gerados em modo colaborativo e fomentados por políticas culturais que valorizam a cidadania. A contradição evidente dessa cultura de grupo, no distrito, é a extrema dificuldade em cativar o espectador vizinho, os ditos nativos, que também se autoexcluem por associar o teatro à UNICAMP, herança do choque socioeconômico de sua implantação. Isso relativiza a vitória artística e chama aos desafios da vida artística em comunidade. / This work describes the mechanism of organization and creation of three theater groups from a small town called Barão Geraldo located in the city of Campinas, São Paulo, Brazil. The data were collected through observation and interviews. In a narration form we aimed to detach the subjectivity in the discourses and practices of those groups. We traced the historical background of the town and of the groups: Lume - Núcleo Interdisciplinar de Pesquisas Teatrais, Boa Companhia de Teatro e Barracão Teatro. From a historical perspective we exposed a broad and peculiar view of making art in an area where coffee and sugar cane farms existed between XIX and XX centuries and which was occupied by Campinas State University in the 1960\'s bringing some modernity to the space, but also some social and economical shock. Most of the actors-creators study or teach at Departamento de Artes Cênicas do Instituto de Artes (Institute of Art). Lume became part of the University first as a lab for studying and training the body movements, then as an interdisciplinary center of theatrical research and after some struggle it has some institutional support to keep their work. Boa Companhia and Barracão follow independents paths, but their workers have the university as a reference. The artists found and systematize a meticulous research towards the art of the actor, through the study of masks, the clown art and the body mimesis. Their processes display a deontoly to their work. The three groups have their offices in Santa Isabel Village. Nowadays, there are at least 12 collectives working in the surroundings of Barão Geraldo. They harmonize with the increasing theater group production in Brazil since the 1990\'s, which are called experimental spectacle\' created collectively and motivated by cultural policies which focus on citizenship. The evident contradiction of a group culture is the difficulty in captivating the local public, who exclude themselves because of the impact the University had on them in the past. This exhilarates an artistic victory and challenges the life of art in the community.

Résumé de la thèse Il semble qu’ujourd’hui, il soit indispensable d’illustrer dans quel état se trouvent-ils les biens culturels sauvegardés malgré huit ans de guerre Iran - Irak, et tout autant des exactions des extrémistes au début de la révolution islamique en 1979. Le patrimoine culturel iranien qui souffre d’une perte d’identité accrue aux yeux des autorités, évolue sous les effets d’une politique largement dominée par la vision extrémiste religieuse d'une part et une série de problèmes organisationnels et administratifs d'autre part. L’idée que l’humanité puisse avoir un patrimoine commun pose un grand problème qu’illustrent les débats actuels dans cette société autour de la notion de «patrimoine mondial» prônée par l’UUNESCO. L'Iran à travers son histoire récente, a connu des traumatismes forts, qui ont des conséquences directes sur la perception du patrimoine culturel. En dépit de la reconnaissance dont bénéficie l’Iran, de la part de l'UNESCO, en matière de préservation de son patrimoine culturel mondial, ce pays connaît toujours une détérioration de son héritage ancestral, à cause de la conjugaison de nombreux facteurs sociopolitiques et humains. Ce travail s’inscrit dans les champs de la géographie sociale et culturelle et de l’aménagement du territoire. Il a pour objectif de mettre en valeur les nombreux avantages que le classement au patrimoine mondial pourraient apporter aux citoyens des territoires dotés des ressources patrimoniales très riches comme l’Iran. Il aborde aussi les obstacles rencontrés pour l’adaptation et la mise en œuvre des stratégies de patrimonialisation et de valorisation patrimoniales recommandées par les organisations et les ONG internationaux dans ce pays. Aujourd’hui, après trente huit ans de la révolution islamique la croissance des conflits autour des espaces patrimoniaux est toujours présente sur ce territoire. Ce sujet se veut à la fois un essai de diagnostic du conflit d'une part entre l’Etat et la revendication de la société iranienne au terme du son patrimoine national voire mondial qui n’a cessé de s’amplifier, et d'autre part entre les acteurs publics et privés autour du patrimoine mondial aux trois échelles internationale, nationale et locale. Nous essayons aussi d'identifier les défis auxquels sont confrontés les acteurs internationaux et locaux pour leur intervention sur ce territoire. Partant d’une analyse à la fois historique et sociopolitique, cette étude traite des usages sociaux du patrimoine culturel dans leurs dimensions politiques et économiques. / Abstract It seems that nowadays, it is essential to demonstrate what is the condition of iranian cultural heritage which are saved during the eight-year Iran – Iraq war and also by the madness of the extremists at the beginning of the Islamic Revolution in 1979. The iranien cultural heritage that suffering of loss of increased identity in the eyes of the authorities, on the one hand is evolving under the influence of political vision dominated by religious extremist and a series of organizational et administrative problems on the other hand. The idea that humanity can have a common heritage poses the huge problem that illustrated by the current debates in this society around the notion of "world heritage" promoted by the UUNESCO. Trough its recent history, Iran has experienced the strong traumatism which have direct consequences on the perception of its cultural heritage. Despite the recognition which Iran benefits from the UNESCO, in preserving its world cultural heritage, this country continues to experience the deterioration of its ancient cultural heritage due to the numerous combinations of socio-political and human factors. This work is a study in social and cultural geography and spatial planning. It will aim to showcase the many benefits that the World Heritage designation could bring to the citizens of a territory with the very rich heritage resources such as Iran. It also covers the obstacles encountered for adaptation and the implementation of the patrimonialization strategies and heritage promotion recommended by international organizations and NGOs in this country. Today, after thirty six years of the Islamic revolution, the growth of conflicts around the heritage sites and areas is always present on the territory. This topic seeks simultaneously, a trial diagnosis of conflict, firstly, between the Government and the claim of Iranian society for its national and global heritage that it is growing expeditiously and secondly between the public and private stakeholders around the World Heritage in three international, national and local levels. We also try to identify the challenges facing the international and local actors for their intervention in this territory. Starting from an analysis both historical and sociopolitical, this study will look the social use of cultural heritage in their political and economic dimensions.

Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the summer of 1941, provide conclusive evidence that the Reich government compromised its ideological position for financial gain. The sale of "degenerate art" conducted by order of the Reich at the Galerie Fischer auction in Lucerne in 1939, provides further evidence that the practice of confiscation was economically driven.

This research explores the experiences of young people, youth leaders, villager elders/ leaders, parents of teenagers, and government workers in Goroka, Papua New Guinea (PNG), to facilitate further understanding of youth development approaches and strategies. The study in particular investigates the possibility of establishing a link between relevant traditional youth upbringing methods and the positive youth development approaches emerging from the Western world. Positive youth development approaches are those strength-based approaches that promote young people’s capabilities to learn and strive in the diverse settings they live, in contrast to the conventional youth development approaches which addresses immediate youth problems. The National Youth Policy of PNG focuses on involving young men and women in meaningful activities in social, spiritual, political, and cultural development through participation in the affairs of their families and communities. The results of the research indicated that the Youth Policy’s objectives were never fully implemented in Goroka. This may have contributed to the numerous problems encountered by young people that include: confusion between traditional and modern cultures, poverty and hardship, drug and alcohol abuse, prostitution, theft, and unemployment. The enormous efforts by schools, churches, government departments, donors, and youth-oriented organisations to deal with youth issues seemed inadequate in relation to the contemporary youth population. It is evident that conventional youth development approaches have failed to educate young people that it is a viable option to return home and become productive citizens. Thus alternative youth development approaches have to be found to assist these youth. This finding points to a need to establish a link between traditional culture, whereby the whole community takes responsibility for guiding young men and women through the transition to adulthood, and positive youth development. It suggests further research should be conducted to determine how this might be achieved by building upon the existing youth development approaches and strategies.

Syftet med denna rapport är att utreda hur kultur värdesätts i samhället. Tanken är att strukturera upp den kulturpolitiska debatten och sammanföra olika begrepp och perspektiv i en överskådlig modell. Rapporten fokuserar på de kulturverksamheter som är mål för den svenska kulturpolitiken, nämligen konstarterna, medierna, bildningsarbetet och kulturarven. Till grund för min analys ligger särskilt Anders Frenanders forskning kring den svenska kulturpolitiska historien. När det gäller att värdera kultur finns två dominerande synsätt genom historien. Med ett ”kulturkonservativt” synsätt uttalar man sig om vad som är bra och värdefull kultur i allmängiltig bemärkelse. Det ”kulturrelativistiska” synsättet innebär dock att det inte går att säga generellt vad som är bra kultur i och med att kulturella värden är relativa eller subjektiva. I min framtagna modell sätter jag denna värdering av kultur i förbindelse med kulturens finansieringskällor. De är också uppdelade i två kategorier, nämligen politik och kommersiell marknad. Politiken bedömer värdet för samhället i stort och den kommersiella marknaden bedömer det ekonomiska värdet baserat på utbud och efterfrågan. Med dessa perspektiv på kulturell värdering har jag analyserat och kategoriserat olika argument kring kulturens värden som lagts fram i debattboken ”Att vara eller inte vara – visioner om en annan kulturpolitik”, som kom i maj 2010. De slutsatser jag kunnat dra av detta är att det blir en stor utmaning för svensk kulturpolitik i framtiden att hitta utvecklade metoder för att sätta värde på kultur och att hitta nya former för dess finansiering. / The aim of the report is to examine how culture is being valued in society. The idea is to structure the Swedish cultural policy debate around certain terminologies and to bring different perspectives together in a clear and simple model. The report focuses on culture expressions covered within Swedish cultural policy, namely the visual arts, the media, the “learning-movement” and the cultural heritage. In terms of valuing culture, there are two principal perspectives dominating the debate through history, namely a “conservative” perspective that is highly normative in terms of what is good and bad culture, and a “relativistic” perspective, that is more individualistic and relative in nature. Additionally, cultural values are linked to sources of finance and support, which are also divided in two categories – the political sphere and the commercial marketplace. The political sphere measures the value for the society at large and the commercial marketplace works out the economic value based on the preferences of buyers and sellers. I have developed a model on cultural values based on these perspectives. This model lays the framework for analysing and categorising different arguments on cultural values found in 14 written documents in a contemporary debate book on cultural policy from a coalition of cultural organisations in Sweden. The conclusions I have drawn from this analysis is that it will pose a big challenge for cultural policy makers to find appropriate and elaborate measures to assess and finance culture in the future.