This is to certify that the thesis comprises only my original work except where indicated in the preface; due acknowledgment has been made in the text to all other material used; the thesis is 30,000 words in length, inclusive of footnotes, but exclusive of tables, maps, appendices & bibliography.This thesis explores the area of Community Cultural Development (CCD) through a longitudinal Case Study. It postulates that the potential long-term outcomes of a successful CCD process, including the creation of communities and networks, as well as continuing cultural development for the participants, are frustrated by arts policy and funding. The analysis of the Case Study is contextualised by an examination of the history of CCD in Australia and the cultural policy framework for the funding of CCD projects.This thesis addresses the following question: Do the long-term outcomes - of creating networks, creation of communities and continued cultural development - succeed? It is hypothesised that CCD can achieve social change through two types of long term outcomes. The two types of long-term outcomes are - personal level outcomes and community level outcomes. Both levels of outcomes are examined in relation to the Case Study.However, the cultural policy framework for CCD does not support long-term CCD. It is problematic on many levels - funding, evaluation, and the infrastructure support of CCD. It is asserted that there is urgent need for a re-assessment on the way in which CCD is supported in Australia. And that this assessment examines whether the sector is in fact supportive of the aim of CCD - to effect social change.CCD is a process and an artform underpinned by a social change agenda. This research aims to further develop the academic body of work in the field of CCD, to create new questions, ideas and problems for further research to build upon.

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This study presents a descriptive account and an analysis of the development and practices of marketing communications in Thailand between 1987 to 1991, the period of the Sixth National Economic and Social Development Plan. By using a theoretical approach which combines features of both the &quotedeterminist&quote views of the relation between marketing and economic development (Joy and Ross, 1989), and the cultural dependency models (Reeves, 1993), the study takes a contextual and qualitative cultural approach to understanding Thai marketing communications practices. The development of Thai marketing communications between 1987 to 1991 was marked by the rapid growth of the influence of transnational advertising agencies (TNAAs) in Thailand, together with some substantial, but constrained, development of local advertising agencies and other ancillary marketing communications services. Advertising expenditure for the whole industry increased by some 200 per cent in the period, whereas some 38 new agencies were established as well, of which 34 were locally owned. The relative lack of capital of local agencies and professionals, however, together with the dominant influence of TNAAs on local marketing communications practices, meant that the growth of the marketing communications industry took place within the parameters determined by the TNAAs. This theme of the interplay between the local and the global development of marketing communications in Thailand is examined at different levels. The first chapter analyzes aspects of the national economy with reference to the effect of the National Economic and Social Development Plans and features of Thai culture and society which were the framework of the marketing communications. The second chapter then considers relevant Western and Thai literature to review earlier and current theories about the relationship between marketing communications and national development. The bulk of the analysis is then made in Chapters Four to Six. Chapter Four analyzes the Thai communication infrastructure and reviews the growth of transnational media advertising within the context of mass communications, public communications and communication for specific purposes. Mixed evidence emerges here of both an improvement in parts of the mass media, and continuing deficiencies in the telecommunication infrastructure. Chapters Five and Six then analyze the development and changes in Thai marketing communications in the period and the impact of globalization respectively. This is done through a qualitative content analysis of two monthly business magazines, Khoo Kaeng and Phoo Jad Karn, and two business newspapers, Thansetthakit and Prachachart Thurakit. The analysis here shows the dominance of a &quoteMadison Avenue&quote style of marketing communications among TNAAs, as well as growing use of sales promotion, public relations, and direct marketing by local marketers. It is concluded that the industry practices of Thai marketing communications were mainly shaped by the actions of the TNAAs operating within the policy framework set by the Thai government.

The problem of this thesis is to determine just what part the museum is playing in the cultural development of Texas. This study presents a detailed investigation of the exhibitions offered by four of Texas' major art museums for the period from 1940-1950. Each of the museums will be discussed separately and then compared so that an over-all picture can be achieved.

During the past several decades, globalization forces in general and mechanization of coal mining jobs more specifically have sharply changed the economic and social conditions of many of the coal towns in the Central Appalachian region of the United States. Efforts to identify and seek alternatives to replace the ongoing decline of their traditional way of life are deeply entangled with community identity and culture due to the historical hegemonic role and power of coal mining and other extractive industries and their critical role in forming residents' identities. Many of the small communities in this region are pursuing initiatives to highlight their natural and cultural assets in efforts to develop tourism as a new foundation for their economies. However, to avoid tourism simply becoming another extractive industry, researchers and practitioners have suggested that these communities must develop capacity to participate in and take ownership of tourism-related decision-making processes. In an effort to examine the dynamics of one such effort in detail this study drew on Community Capacity theory as interpreted by Chaskin (2001a) to explore the relationships between Community Cultural Development (CCD) and the sustainability of tourism in a small town located in Central Appalachia seeking to transition to a visitor-based economy. This dissertation explored whether and in what ways engaging in CCD projects and community capacity are related and identified ways such interactions influence the sustainability of tourism. Along with personal observation and a review of relevant archival data, I conducted 10 semi-structured interviews with a sample of individuals from a community cultural development organization regarding their efforts to build possibilities for sustainable tourism in their rural jurisdiction. This study's findings contribute to the existing literature by suggesting Chaskin's framework of community capacity as an apt model for charting progress towards sustainable community-based tourism. Moreover, this research found that employing CCD methods can enhance community capacity by encouraging a sense of shared identity among the group's members and through them among a broader cross-section of residents. Lastly, this inquiry suggested that CCD contributed to the sustainability of tourism in the case study community by increasing residents' effective participation in decision-making processes concerning such efforts, encouraging locals' partnership and ownership of tourism development projects and providing space for negotiating the tourist gaze in guest-host relationships. / Doctor of Philosophy / Since at least the late 1960s and the advent of the ongoing decline of mining, the populations of many small coal-dependent towns in Central Appalachia have fallen into economic hardship (e.g., high rates of poverty, too few and/or inadequate jobs and public services), now confront a range of social issues arising from that harsh reality (e.g., youth out-migration, rapidly aging populations, the current opioid epidemic). In response to those conditions, many affected communities are investing in their wealth of natural resources and unique cultural assets to promote tourism as a palliative, if not replacement, for their previous economies. Tourism has the potential to reduce poverty and to boost shared prosperity among host communities, but it also, if poorly managed, could become another extractive industry. This study focused on the ways that residents in one Central Appalachian community have individually and as groups sought to assume ownership of their area's tourism-related efforts. I specifically analyzed participation in that jurisdiction's cultural activities (e.g., community theatre and story circles) to understand whether and how involvement in them affected participants' awareness of their capability to address the conditions in their community. My interviews with 10 active participants in my sample community's collective cultural projects revealed that residents did come to perceive themselves as possessing capacity as individuals and as groups to address the challenges that have arisen in their community as its traditional economy has declined. This study also found that participants in culture-based group activities were better prepared to participate effectively in tourism-related decision-making processes in their community. Indeed, many of those I interviewed have become owners and/or partners in tourism development projects because of the information and networks they developed during their participation in cultural activities. Finally, this analysis found that community cultural activities created a space for residents to interact regardless of their socio-economic status, ideological predisposition or other characteristics; an outcome that interviewees indicated they had come to cherish.

This research draws on New Institutionalist theory as interpreted by Fligstein and McAdam (2012) to explore the relationship between structure and agency within one nonprofit organization, Appalshop, located in Central Appalachia. Since 1969, Appalshop has worked with peer institutions to form a larger community cultural development (CCD) field, characterized by actors that value the potential of art and cultural activities to create space for individual and collective imagining and reimagining of communities. Through an exploration of archival documents and interviews with 18 current and former Appalshop staff, I analyzed the organization's 50-year evolution. I identified ways in which Appalshop has operated in the midst of different enabling and inhibiting structural forces, how its staff has sought to assert agency by contesting or circumventing those extant forces, and how the ensuing tensions have shaped the organization's approach to social change. During its evolution, Appalshop can be seen as having gone through four different stages characterized by changing national policy and culture as well as the actions of different generations of Appalshop staff. In order to withstand the growth of neoliberalism, changing technology and regional socioeconomic circumstance, Appalshop staff have had to adapt the organization's modus operandi to one that is more region facing and service based. / Doctor of Philosophy / Appalshop is a community cultural development organization located in central Appalachia. Community cultural development (CCD) is characterized by actors that value the potential of art and cultural activities to create space for individual and collective reimagining of communities. Founded in 1969, Appalshop and its staff have approached CCD in many ways, including through media production, youth education, theater and community organizing and, more recently, through community economic development. I explored Appalshop's evolution and sought to assess the ways in which this arts nonprofit has reacted to changing circumstances nationally and within its region, how those external forces have influenced the organization, and how its staff members have worked to contest forces that inhibited their organization's avowed mission and preferred activities. I used New Institutionalist theory, an analytic framework that emphasizes the need to explore the different fields of influence on any organization as well as the individual actors within that entity who, through their drive to create and perpetuate shared social meaning, may adopt or contest the narratives of external fields. I employed new institutionalism to make sense of the factors that have shaped Appalshop's trajectory as an institution to date. During its evolution, Appalshop has experienced four different stages characterized by changing national policy and culture as well as the actions of different generations of Appalshop staff. To withstand the growth of neoliberalism, changing technology and regional socioeconomic circumstances, Appalshop staff have had to adapt the organization's established modus operandi to one that is more region facing and service based.

The purpose of this ethnographic case study was to explore the construction and alteration of Roanoke Virginia's cultural imaginary, as well as the engagement of marginal groups and their concerns in those processes. This research examined these issues through the experiences of key actors involved with the creation of Roanoke's first city-wide arts and cultural plan and the creation and growth of the Roanoke-based Marginal Arts Festival (MAF). Cities around the globe are increasingly engaged in transnational projects of place identification, reconfiguration, and attraction: attracting capital, residents, workers, tourists and attention (Cronin & Hetherington, 2008; Hague, 2005; Jensen, 2005, 2007; Pine & Gilmore, 1999; Zukin 1995). Moreover, cities undertake various kinds of identity projects: on-going, dynamic processes through which spaces are produced and reproduced by conscious strategies of place making and identity building (Nyseth & Viken, 2009). Such initiatives are concerted efforts to establish or extend a particular idea, or imaginary, of a city. This study focused on one kind of urban identity endeavor that has become widespread during the past two decades: the effort to shape and market a creative, culture-rich place, to project a specific urban cultural imaginary. This analysis also responded to a straightforward problem, that of the manner through which people, in places pursuing arts and culture as a primary focus for development, come to terms with differing understandings of art and its role in development. This study identified four principal future paths for the analysis of cultural imaginaries and the practice of cultural development: studying and supporting civic tinkering activities, recognizing the relevance of localized imaginaries and urban identity projects, valuing full participation in the project of the city, and conducting place-specific and critical analyses. / Ph. D.

This study aims to identify how cultural development and the European cultural capital event applies within the context of city development in Umeå. Furthermore, the study aims to examine how the European cultural capital event affects the local cultural actors. The analysis is a case study based upon how local and municipal cultural actors use culture to develop the municipality of Umeå and how the European cultural capital event has affected their work. To answer the aim of the thesis six semi-structured interviews was performed with cultural actors both within the municipality and private sector. This was to get wide-ranging information about cultural development in Umeå. The method to extract information was through thematic analysis of the preformed interviews, this allowed me as researcher to fully analyze the extracted material.   The results of the study reveal that culture permeates city development in Umeå. Primarily the municipality makes great effort to make the city development rich with culture. Despite the effort culture is not a certainty in urban development and it is a constant political struggle to maintain and emphasize the importance of culture in city development. The study revealed that some actors feel that culture has become too commercialized in the municipality’s effort to generate urban growth, especially in the wake of the European capital event. All interviewed actors indicate that the European cultural capital event has had a great impact on their work and working methods. Primarily internal collaborations between the municipality and private cultural actors have been identified as meaningful, due to the many possibilities it brought, for all actors and the lack of collaboration in the post cultural capital Umeå is missed. There is an underlying understanding that all actors want to collaborate again but the lack of resources and common goals interferes.

Cette thèse se propose d’analyser la politique culturelle chilienne à partir des programmes proposés par le Conseil National de la Culture et des Arts (CNCA) destinés à favoriser l’accès des citoyens à la culture et le développement des pratiques culturelles de ceux-ci. L’accent est mis sur le rôle de la médiation culturelle dans ce processus, principalement dans les zones d’habitat les plus défavorisées du pays.Le thème de l’accès constitue, dès lors, le coeur de la problématique. Il permet d’étudier deux stratégies complémentaires du CNCA, d’une part, la volonté d’imposer un type d’art spécifique aux citoyens et, d’autre part, l’objectif de permettre le développement optimal de chaque communauté en diversifiant l’offre pour favoriser l’intensité des pratiques artistiques. Ainsi, le CNCA propose des outils mais les agents de médiation s’en emparent et leurs orientations politiques et idéologiques apparaissent telles des éléments déterminants.Cette recherche qualitative repose principalement sur des entretiens réalisés auprès d’agents de médiation, de spécialistes du domaine de la culture et des responsables des programmes du CNCA. Elle cherche à contribuer à une meilleure compréhension des processus de médiation, qu’il s’agisse des enjeux pour la communauté, en particulier du type de liens qui s’établissent avec les habitants des quartiers où ils sont mis en oeuvre, que des dispositifs sur lesquels l’Etat s’appuie. La recherche vise également à mettre en évidence le rôle que peut jouer la médiation dans la réduction des inégalités d’accès. Notre analyse se focalise ainsi plus particulièrement sur les agents de médiation et leur rôle dans l’identification et la résolution des tensions qui apparaissant entre les objectifs de ces programmes et les attentes de leurs participants en matière de pratiques culturelles et artistiques. Nous étudions aussi les formes de subjectivisation que ces derniers expérimentent.Les transformations que les programmes sont susceptibles de générer au sein des communautés font également l’objet d’une attention particulière afin d’identifier les principaux problèmes que soulève l’action de l’Etat lorsque celle-ci vise à générer des voies d’accès diversifiées à la culture afin de promouvoir une identité culturelle respectueuse de la culture spécifique de chaque groupe de population. / This thesis aims to analyze the Chilean cultural policy through the programs offered by the National Council of Culture and Arts (CNCA) to promote access for the citizens to culture and the development of cultural practices. The focus is put on the role that the cultural mediation has in this process, mainly in underprivileged sectors of society.The issue of access is, therefore, the heart of the problem in this area. It addresses two complementary strategies of the CNCA, on one hand, the intention to impose a specific type of art (high culture) toward citizenship, and on the other, the culture development of each community by means of diversifying culture offer and supporting artistic practices. Thus, the CNCA provides tools, but the success in these implementation by mediation agents depend of their political and ideological orientations not always in line with CNCA guidelines.This qualitative research is based mainly on interviews with mediation agents, subject experts and programs managers of CNCA. It seeks to contribute to a better understanding of the mediation process and especially the links established in the community where they are immersed. The research also aims to highlight the potential role of mediation in reducing inequalities of access. Our analysis has revealed the role of mediation agents in identifying and resolving tensions arising between the objectives of these programs and the expectations of their participants in cultural and artistic practices. We also study forms of subjectivation that they are experimenting.The transformations that the programs may achieve on the communities, are also a point of special attention to identify the main problems raised by the performance of the State when it seeks to generate diverse routes of access to culture to promote a respectful cultural identity about the specific culture of each population group.

This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.