Introduction: How to implement and integrate cultural aspects in strategy making and planning in order for cities and regions to reap both social and economic benefits has been widely discussed in recent years. This method of working with culture, both as an economic, as well as an identity strengthening tool has come to be labeled as cultural planning. But in order for these ideas about cultural projects and institutions to become a reality, something has to be done. This is where the entrepreneur enters.The Glass Factory, a newly opened cultural establishment in the heart of the Glass Kingdom in Småland, Sweden, became the subject of empirical investigation for this paper. As this originally was an initiative from Emmaboda municipality the planning and start-up procedure could be viewed as a cultural planning process. Although the plans were made, someone, or a group of people, realized the vision of creating a cultural meeting place where local cultural heritage could meet the cultural needs of modern day tourists and local citizens alike.Purpose: The purpose of this paper is to create an understanding as to how theories on the subject of entrepreneurship, social entrepreneurship, cultural planning and identities relate to each other in the process of creating a cultural meeting place where cultural and commercial interests meet.Methodology: We approached our purpose with from a hermeneutic viewpoint and a deductive research approach. The empirical data was collected through qualitative interviews with people that could contribute with relevant and valuable information for the study.Conclusion: Entrepreneurship, social entrepreneurship, cultural planning and identity are strongly interdependent in the process of creating a cultural meeting place. All aspect of these theories are significant, although at different stages of the creation process. They are therefore in a necessary co-existence with each other.

The practice of cultural planning proceeds largely in the absence of discussion regarding its purpose, norms and goals, either in academic literature or among its practitioners. This paper seeks to uncover the norms and goals of cultural planning, as understood by cultural planners working in Austin, TX, through a series of interviews with these individuals. Interviews also brought to light cultural planners’ understandings of the function of art in communities. Ultimately, little connection was found between cultural planners’ understandings of the function of art in communities and the norms and goals of cultural planning. It is argued herein that these two conversations must be closely linked and that cultural planner’s understandings of what art can and should do in communities must form the basis for the goals and norms of cultural planning practice. / text

Urban theorists and policy makers have begun to re-evaluate the importance of culture in urban development models. Culture is now widely viewed as a critical factor in the economic and social health of cities. Notions of creativity and the growing recognition of the role that culture-rich environments can play in attracting the “creative class,” are being partly expressed in the widespread adoption of urban cultural planning strategies. Cultural planning is commonly defined as the identification (mapping) and leveraging of cultural assets to support local community and economic development. It is also often explained as a “cultural approach” to municipal planning, an approach that entails effective cross-departmental and cross-sectoral collaboration in the implementation of strategic goals outlined within the cultural plan. A literature has been written on the potential of cultural planning by leading experts in the cultural policy field, especially from Australia and Britain. However, there has been a noticeable lack of critical research on this cultural development approach by scholars in Canada, where cultural planning is a relatively new and emerging municipal activity. This dissertation examines the policy and planning scope of the increasingly popular yet under-explored “municipal cultural planning” movement in Ontario, Canada. Research began with a thorough review of the cultural planning literature. Cultural planning deficiencies and research gaps identified in the international literature were subsequently addressed through an analysis of all ten existing cultural plans in Ontario’s mid-size cities. The analysis of plans was complemented by thirteen in-depth interviews with municipal staff responsible for overseeing the development and implementation of cultural plans. Aside from addressing the interpretations of and rationales for municipal cultural planning, the information derived from document analysis and interviews was used to address four important issues that have been either ignored or only addressed in a cursory way in the literature: the nature and actual extent of community consultation and cultural mapping in the cultural plan development stage; the accuracy of the growing arts policy labelling of cultural planning abroad as it applies to municipal cultural planning; the relationship between cultural planning and its conceptual roots in urban planning; and the outcomes of the cultural planning strategy. It was found that the development of cultural plans involved substantial community input, albeit not through the participatory “cultural mapping” process that is often claimed to be the preliminary step of cultural planning. In addition, it was observed that the increasingly common charge, particularly from Australia, that cultural plans are overly focussed on traditional arts sector concerns was not found to be the case with most cultural planning initiatives in Ontario. Further, while a strong urban development and planning-oriented basis has been used to differentiate cultural planning from traditional arts policy, the scope of cultural planning concerns in the sphere of urban planning practice was observed to be, with some noticeable exceptions, fairly superficial. However, this research also found that the strategic objectives outlined within cultural plans, which address a broad range of policy and planning activities related to cultural and community development, were generally being implemented and were effecting change.

Urban theorists and policy makers have begun to re-evaluate the importance of culture in urban development models. Culture is now widely viewed as a critical factor in the economic and social health of cities. Notions of creativity and the growing recognition of the role that culture-rich environments can play in attracting the “creative class,” are being partly expressed in the widespread adoption of urban cultural planning strategies. Cultural planning is commonly defined as the identification (mapping) and leveraging of cultural assets to support local community and economic development. It is also often explained as a “cultural approach” to municipal planning, an approach that entails effective cross-departmental and cross-sectoral collaboration in the implementation of strategic goals outlined within the cultural plan. A literature has been written on the potential of cultural planning by leading experts in the cultural policy field, especially from Australia and Britain. However, there has been a noticeable lack of critical research on this cultural development approach by scholars in Canada, where cultural planning is a relatively new and emerging municipal activity. This dissertation examines the policy and planning scope of the increasingly popular yet under-explored “municipal cultural planning” movement in Ontario, Canada. Research began with a thorough review of the cultural planning literature. Cultural planning deficiencies and research gaps identified in the international literature were subsequently addressed through an analysis of all ten existing cultural plans in Ontario’s mid-size cities. The analysis of plans was complemented by thirteen in-depth interviews with municipal staff responsible for overseeing the development and implementation of cultural plans. Aside from addressing the interpretations of and rationales for municipal cultural planning, the information derived from document analysis and interviews was used to address four important issues that have been either ignored or only addressed in a cursory way in the literature: the nature and actual extent of community consultation and cultural mapping in the cultural plan development stage; the accuracy of the growing arts policy labelling of cultural planning abroad as it applies to municipal cultural planning; the relationship between cultural planning and its conceptual roots in urban planning; and the outcomes of the cultural planning strategy. It was found that the development of cultural plans involved substantial community input, albeit not through the participatory “cultural mapping” process that is often claimed to be the preliminary step of cultural planning. In addition, it was observed that the increasingly common charge, particularly from Australia, that cultural plans are overly focussed on traditional arts sector concerns was not found to be the case with most cultural planning initiatives in Ontario. Further, while a strong urban development and planning-oriented basis has been used to differentiate cultural planning from traditional arts policy, the scope of cultural planning concerns in the sphere of urban planning practice was observed to be, with some noticeable exceptions, fairly superficial. However, this research also found that the strategic objectives outlined within cultural plans, which address a broad range of policy and planning activities related to cultural and community development, were generally being implemented and were effecting change.

Inom ramen för den översiktliga planeringen är samråd och utställning de främsta, lagstadgade tillfällena i plan-och bygglagen där medborgarna kan lämna synpunkter på ett förslag till översiktsplan (Boverket 2014). En av de positiva effekterna av medborgardialog är att de som bor och använder ett område dagligen har en god lokalkännedom om platsen och på så sätt kan bidra med en unik kunskap till planerarna (Khakee 2000). Medborgardialog anses däremot ofta medföra ett ökat behov av resurser i form av tid och pengar (Khakee 2006: 19). Det har även visat sig att mest inflytande över den fysiska planeringen har medelålders, vita män medan kvinnor och barn är grupper som inte har lika stora möjligheter att påverka (Henecke & Khan, 2002: 23).  Idag förekommer även svårigheter med att integrera kulturella resurser i samhälls-planeringen. Eftersom samhällsplanering innebär sektoröverskridande samarbeten och behov av en helhetssyn behövs det nya metoder för att säkerställa medborgarinflytande och de kulturella resursernas plats i samhällsplaneringen (Lundberg & Hjort 2011:6-7).  Cultural planning är en samhällsutvecklingsmetod vilken syftar till att inkludera kulturella perspektiv i samhällsplaneringen. Centralt i metoden är även fokus på människan och kommunikation mellan människor. Intresset för metoden har ökat de senaste åren i Sverige (Lundberg & Hjort 2011:6-9,3). Studien har genom en fallstudie av Tjörns kommun studerat om cultural planning kan vara en användbar metod för att förbättra medborgarnas deltagande och inflytande i den översiktliga planeringen.  Studien visar att Tjörns kommun har nått fler människor genom tillämpningen av cultural planningmetoden vid en jämförelse mellan antalet medborgare som lämnade synpunkter vid samråd och utställning och de som medverkade genom övriga dialogaktiviteter som kommunen genomförde. Tillämpningen av cultural planning har bidragit till att de frågor som varit viktigast för medborgarna fått en betydande påverkan på översiktsplanen. Översiktsplaneprocessen har haft många inslag av kommunikativ planering även om den representativa demokratin utgjort ramen. Studien visar att i det studerade fallet har cultural planningmetoden bidragit till att medborgarnas deltagande och inflytande i översiktsplaneprocessen förbättrats i jämförelse med om endast de enligt plan-och bygglagen lagstadgade formerna av medborgardeltagande ägt rum.

This study explores the stories of Executive Directors of Delegated Aboriginal Child Welfare Agencies in regards to cultural planning for Aboriginal children being adopted into non-Aboriginal homes in British Columbia. This qualitative study used an Indigenous methodology to describe and interpret the elements of cultural planning for adopted Aboriginal children by interviewing Executive Directors of Aboriginal child welfare agencies in the province of British Columbia. The purpose is to provide knowledge about cultural planning and safety agreements in conjunction with Aboriginal agencies and to also gain an understanding of how Aboriginal agencies are able to meet their commitment to retain their adopted children’s’ Aboriginal identity and maintain their connections to culture, community and or family. Semi-structured interviews were conducted with six Executive Directors who volunteered for this study. Their stories were audio taped and analysed utilizing a thematic analysis. Two main themes emerged from the analysis were 1). Funding and 2), Legalizing Cultural Agreements. Ceremony was stressed throughout the interviews and is an integral part of Indigenous people and adequate funding needs to be re-addressed to support Aboriginal children in their best interests. Training continues to be a factor for adoptive parents to learn about the history of Aboriginal people and learning ways to best support the children they are adopting by learning about the rich cultures they belong to and how they will be able to make those connections. Funding of operational dollars for Aboriginal agencies appears to be at the fore front in every aspect of the cultural planning process. / Graduate

Ringsberg-Kristineberg is an area that contains a great cultural history dating back to the 18th century. In this area the city of Växjö is hoping to develop a “cultural and creative centre”. To achieve this they have used a planning method called cultural planning, this method uses for example a place’s culture and heritage as a guide in the search for what makes a certain place unique. The project in Ringsberg-Kristineberg made me interested in finding out which cultural heritages that were included and excluded in the future “cultural and creative centre”. I found three documents that contained the planning process of the project in Ringsberg-Kristineberg which I used as a material for a quantitative content analysis and qualitative textual analysis. The aim in this study is to examine which cultural heritage has been included and excluded in the accompanying documentation of the cultural planning-process in Ringsberg-Kristineberg. This was done by answering the following questions: (1) What does the inclusion / exclusion of cultural heritage look like in the accompanying documentation of the cultural planning method? (2) Seen from a timeline perspective; does it differ what has been included / excluded if one compares the accompanying documentation?The result shows that the first and the third of three documents show the exact same result regarding what has been included and excluded. The second document differs, it includes less heritages compared to the other two documents. Some of the included heritages are cultivation and planting, the brewery industry, the old prison and the old school town.

Researchers explore various aspects related to art and urban life using terms such as cultural economy, the 'creative class', cultural clustering; and there are many more. Public art is one strategy, employed for any number of broader agendas spanning from economic aims to community identity. This study examines public art at the intersection of cultural planning strategy and community participation. A midsize New England city Pittsfield, Massachusetts, with a significant industrial mill heritage, provides a location from which to study public art within a specific context over a period of time spanning from 1970 to the present. Qualitative methods such as interviews, document review and survey of specific public art initiatives, both temporary and permanent, will help to uncover motivations and expectations that drive the development of public art projects. More knowledge about these purposes can lead to informative lines of questioning that may help planners and designers better understand the best application of public art in the landscape within a given community

La culture se retrouve au coeur de stratégies de villes comme ressource mobilisée et articulée au sein de projets urbains, économiques et sociaux. Ainsi de nouveaux modèles et concepts apparaissent-ils, véhiculant un discours sur ses vertus territoriales : le cultural planning, la ville créative, la métropole culturelle, le quartier artistique, etc. La culture est alors considérée comme une dimension du développement territorial, faisant perdre au « secteur culturel » une partie de son autonomie. Ces recompositions de l'action publique culturelle sont directement liées à la formation de modes de gouvernance fondés sur une logique politique du territoire. Les principes conventionnels qu'ils génèrent mettent à l'épreuve les acteurs locaux et les équilibres préexistants. Du gouvernement de la culture à la gouvernance culturelle des villes, ce sont les mécanismes d'émergence et d'institutionnalisation de mondes de coopération spécifiques à Lille, Lyon, Saint-Étienne et Montréal qui sont ici observés. Cette thèse entend contribuer au débat sur la constitution des villes en acteurs collectifs, tel qu'il se configure à partir de l'action culturelle / Culture is at the heart of the stategies of cities : it is an articulated resource of their urban, economical and social projects. This is how new models and concepts appear, promoting a position about its territorial virtues : cultural planning, the creative city, the cultural metropolis, the artistic district, etc. Culture is thus considered as an aspect of territorial development, which contributes to the "cultural sector" losing part of its autonomy. The changes in public cultural action are directly linked to the creation of governance modes that are based on a political logic of the territory. The conventional principles thus generated put the local actors and the former balance to the test. From the government of culture to the cultural governance of cities, we observe the process of emergence and institutionalisation of specific worlds of cooperation in Lille, Lyon, Saint-Etienne and Montreal. The point of this thesis is to contribute to the debate on the constitution of cities as collective actors

The aim of this study is to explore local cultural policy documents in the municipality of Gothenburg Sweden, and, more specifically, to investigate the concepts of cultural planning and instrumental cultural policy. Cultural planning is in this thesis seen as a result of an instrumental view of cultural policy. The theoretical framework consists of the theories of Danish cultural policy researcher Dorte Skot-Hansen. She describes cultural policy in urban areas as founded in motives such as economy, social issues, entertaining and enlightenment. A qualitative text analysis is performed in order to see if the purpose of the cultural policies is to focus on cultural planning as formulated in the document Kulturpolitisk strategi – version 1.0, adopted by the city council in 1998. The chosen city district committees are Centrum, Högsbo, Härlanda, Backa, Askim and Bergsjön. The result indicates that cultural planning in these districts only partly states the goals set by the city council. The city district committee of Bergsjön is an exception. This shows a lack of co-operation between the city district committees and the city council concerning cultural policy. The study shows that the major motive of cultural policy in the city district committees is, following the labels provided by Skot-Hansen, the social motive. In addition to the emphasis the social motive puts on democracy, integration and participation, the study points to the health issue as an essential motive in the cultural policies. / Uppsatsnivå: C