In an effort to expand the scholarship dealing with the topic of civil society in Cuba, this thesis deals with the question of Cuban civil society and its relationship with socially conscious underground musicians. It is argued that these musicians have established a tradition of political and social involvement on the island throughout the revolutionary period, and that they have been particularly effective and vocal during the years 1990-2010. The main theme has been analyzed through a Post-Marxist framework with the objective of taking into account not only the political and social value of the music, but also the aesthetics of it and its popularity among the Cuban population and particularly the youth of Cuba. Some of the artists featured in this thesis include hip hop duo Los Aldeanos, trovador Carlos Varela, and the rock band Buena Fé.

This thesis is an investigation into the terms of cultural change in north central Namibia. I am primarily concerned with issues of agency in the processes which result in cultural change, and look at both historical and contemporary agents of change in order to determine who and what impacts cultural dynamism, and what implications this has for a newly independent country within a globalised world. These issues are presented through the lenses of Identity, Power and Politics and Globalisation. In this thesis, I posit that traditionally, Ovambo people have not been empowered in decisions regarding cultural change, which has resulted in a sense of cultural 'loss'. This sense exists within the context of culture being seen as strongly associated with the past - past practices, activities, traditions and customs, as well as early development theory which insisted that such things were indicative of a backward and primitive society at odds with the principles of modernisation. In order to progress, such practices were, with and without reticence, abandoned or changed. Contemporary Ovamboland, however, represents a dynamic cultural mélange of traditional and modern life, which co-exist whilst negotiating issues such as the impact of HIV/AIDS and neo-liberal style of post-independence democracy. Therefore, by investigating the cultural shortfall in traditional development theory, and using examples of different forms of cultural development, I suggest that when culture is seen as an important consideration of development, as well as supported as a field of development in its own right, cultural identity becomes clearer, and cultural futures are determined more democratically. In order to demonstrate these ideas, I am drawing from a number of case studies in which I was professionally involved, as well as through interviews conducted in the field. By presenting the differing agendas of international engagement in development work as well as different types of cultural development projects, I will highlight the complexities of development theory in practice, particularly when capital is involved, and how these relate to the wider issues of cultural preservation versus cultural change. / This thesis is an investigation into the terms of cultural change in north central Namibia. I am primarily concerned with issues of agency in the processes which result in cultural change, and look at both historical and contemporary agents of change in order to determine who and what impacts cultural dynamism, and what implications this has for a newly independent country within a globalised world. These issues are presented through the lenses of Identity, Power and Politics and Globalisation. In this thesis, I posit that traditionally, Ovambo people have not been empowered in decisions regarding cultural change, which has resulted in a sense of cultural 'loss'. This sense exists within the context of culture being seen as strongly associated with the past - past practices, activities, traditions and customs, as well as early development theory which insisted that such things were indicative of a backward and primitive society at odds with the principles of modernisation. In order to progress, such practices were, with and without reticence, abandoned or changed. Contemporary Ovamboland, however, represents a dynamic cultural mélange of traditional and modern life, which co-exist whilst negotiating issues such as the impact of HIV/AIDS and neo-liberal style of post-independence democracy. Therefore, by investigating the cultural shortfall in traditional development theory, and using examples of different forms of cultural development, I suggest that when culture is seen as an important consideration of development, as well as supported as a field of development in its own right, cultural identity becomes clearer, and cultural futures are determined more democratically. In order to demonstrate these ideas, I am drawing from a number of case studies in which I was professionally involved, as well as through interviews conducted in the field. By presenting the differing agendas of international engagement in development work as well as different types of cultural development projects, I will highlight the complexities of development theory in practice, particularly when capital is involved, and how these relate to the wider issues of cultural preservation versus cultural change.

The combination of two trends in modern Canadian society, the trend to increasingly rapid urbanization and the trend to increasing leisure, points to a pressing problem for the future in our cities: the provision of the amenities of urban life which will be needed for leisure use. The general planning concern in this study is thus the provision of community services and resources for leisure. The performing arts are taken to be one facet of the cultural opportunities which should be included in planning for leisure. Although the performing arts have traditionally been linked to urban, centres, the present situation in Canada seems to indicate that the cities have not acknowledged their full responsibility in supporting cultural activities. The need for increased local government support of the major performing arts organizations to ensure their continued existence is examined. The technological and economic problems inherent in the nature of performance make it impossible for productivity to keep pace with costs so that the gap between box office revenue and expenditure is inevitable. In addition, the performing arts may be considered as a public good, for which there are collective benefits. The gains to the urban community indicate that increased local government support of the performing arts should be expected. This study includes a comparison of the financial situation for the major theatre and symphonic organizations in five Canadian cities and a projection to 1975 of the minimum local government support that should be provided to ensure the maintenance of the major performing arts organizations in Vancouver. Local government officials show a great reluctance to provide financial support for cultural activities. The suggestion that this situation stems from a lack of knowledge of the gains associated with their presence lead to the development of a framework to display the returns to the urban community as a means of providing a more informed basis for local government support of cultural activities. To develop such a framework, several concepts associated with the PPB systems approach, and its underlying analysis, have been used in approaching the problem of providing information to the decisionmaker. A framework called the "matrix of returns" is proposed. The application of this framework to the Vancouver situation suggests that its success cannot yet be judged. There is a lack of information about the urban community that would be necessary to complete the measurement of returns. The collection of such information was considered beyond the scope of this study. The preliminary matrix of returns does suggest, however, that while the gains are enjoyed by all the urban communities in the metropolitan region of Vancouver, these communities have not been providing a reasonable share of the necessary support. A metropolitan basis for support of cultural activities seems to be needed. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

Throughout its history as a nation, Canada has had a culturally diverse population. For much of this time education has been one of the principal means through which the state and society have addressed the concerns associated with cultural diversity. From the early 1900s onward local and provincial educational authorities have developed and implemented a variety of policies and programs designed to address these concerns. In the 1940s, as the federal government started to develop its first policy and programs to address cultural diversity, it also found itself involved in the field of cultural diversity and education. This study examines how the federal government became interested in cultural diversity and education and how it continued to work in this field despite the fact that education is an area of provincial jurisdiction. In 1940 federal authorities began to lay the groundwork for a cultural diversity policy designed to foster support for the Canadian war effort among members of non-British, non-French ethnic groups. Education was initially to have been one of the strategies through which federal authorities implemented their cultural diversity policy but cultural diversity and education became an area of federal policy separate from yet related to the cultural diversity policy. Throughout most of its history, the two main objectives of the cultural diversity and education policy were education of immigrants for assimilation and education to promote effective intergroup relations. By the late 1960s tentative steps were being taken in the direction of education for cultural retention. Over the period from 1940 to 1971 a policy community of individuals and agencies with interests in cultural diversity and education evolved. Members of this community influenced the development of the federal policy by working on specific initiatives with the federal agency responsible for cultural diversity and education. Each of those initiatives became a site for negotiation on the direction of the policy. Thus the policy developed in an unplanned and ad hoc manner and grew to incorporate contradictory objectives. In addition, some of the work in cultural diversity and education also undermined the goals of the federal cultural diversity policy. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada. / The author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels. / A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade. / Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.

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This thesis deals with Qatar's cultural policy and question of national identity. The main goal of the thesis was to analysis Qatar's foreign cultural policy and to identify its main pillars. These pillars aim to help the foreign public to build their imagination of Qatar, its culture and values. The theoretical framework of the thesis goes back to theories of public diplomacy, cultural diplomacy and nation branding. These theories define benefits of foreign cultural presentation for state and specify conditions of successful presentation. Beside that they also describe role of state and non-state actors in the process of foreign presentation and point out the most effective tools towards foreign public. The theoretical background is followed by an analysis of Qatar's public and cultural diplomacy. The analysis starts with Qatar's initial projects which include the foundation of satellite channel network al-Jazeera and opening of big education campus in Doha Education City. Further chapters concentrate on new cultural policy as it is defined by national development projects. Since the main topic of the thesis is Qatar's foreign cultural policy the text includes also reactions of international media, organizations and other states to Qatar's activities. The conclusion of the thesis summarizes ideas...

本文以北京798 艺术区作为研究对象，探讨它如何为中国当代艺术进入公共视野提供平台，并提出了艺术作为都市生产力的问题。本文根据时间顺序将其发展分为三个历史阶段，即1951-1993 年的718 联合厂时期、1995-2005 年的民间艺术社区、2006-2011 年的官方创意产业园区；并从三个方面展开讨论。首先，798这一空间本身的身份经历了两次转变--从工业生产的空间到以艺术创作为基础的创意社区；再到后来为政府收编，成为城市建设文化范本。本文为此历史发展做系统性研究。其次，798 的转型体现了建筑、族群与城市身份间的关系，一方面，民间自发改造工业遗留空间，另一方面，城市政策的制定与规划也对798产生直接和间接的影响；第三，本文重点讨论798 从民间自发形成的创意社区到政府收编后变身为文化创意产业区的过程中，艺术（包括艺术家）与经济（资本家和商业化）、与政治这三者之间的关系和张力。本文指出，此互动过程把798发展成一个创意产业园区，以798 为中心，向周边地区辐射，形成集生产、创作、展出、贩卖为产业链的艺术交易区域，即「泛798 区域」，798 成功地引起人们关注中国当代艺术，并从体制层面思考其未来的发展该如何与经济、政策相互平衡，同时798 作为一个个案，也提示我们关注有关城市文化用地的相关问题。 / This article takes Beijing 798 Art District as its research subject. It focuses on how 798 provides the platform for the Chinese Contemporary Art to enter the public view, and it proposes that art can be productive power to urban development as well. This thesis is divided into three sections according to its historical development: the 718 joint factory period from 1951 to 1993, the folk art community from 1995 to 2005, and the official Creative Industrial district from 2006 till 2011. My discussion mainly focus on three aspects. Firstly, as a space, 798 has been transformed twicse, from an industrial space to an arts community, and then to an official cultural paradigm for other cities to follow. Secondly, the transformation of 798 embodies the relationship among people's living, business operation, and city's identities. For one thing, the artists transformed the space to a facilitate their creation; for another, the policy of the urban planning has influenced 798's development as well. Thirdly, the thesis discusses the tensions among art, capital and politics. The result of their negotiation is that 798 becomes a creative industrial district, in which the original 798 site occupies the centre position, its radiating its influences and coordination to the surrounding areas, and they form the industrial chain which is now generally called the "Greater 798 Zone". 798 brings public attention to Chinese contemporary art, which helps us to relate arts and industry, to understand the difficult balance of contemporary art development between capital and policy. 798 also calls our attention to the relationship between culture and land. / Detailed summary in vernacular field only. / 張媞. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 132-137). / Abstract in Chinese and English. / Zhang Ti. / 目录 --- p.3 / 引言 --- p.4 / Chapter v --- 研究背景 --- p.4 / Chapter v --- 研究目的及内容 --- p.6 / Chapter 第一章： --- 718联合厂时期（1951-1993） --- p.13 / Chapter v --- 近代北京工业建筑的历史 --- p.13 / Chapter v --- 718 联合厂：从筹备施工到投入生产 --- p.15 / Chapter v --- 工人阶级的「集体身份」--集体生产和集体生活 --- p.24 / Chapter v --- 一去不复返的「集体生产」和「集体生活」新时期旧厂房 --- p.33 / Chapter 第二章： --- 从生产的空间到创意社区(1995-2005) --- p.35 / Chapter v --- 90 年代的北京「城市化」进程 --- p.36 / Chapter v --- 从「地下」到「地上」：中国当代艺术史的简短梳理 --- p.38 / Chapter v --- 用于展览的空间被展览的空间：闲置工厂空间的转生 --- p.43 / Chapter v --- 798 艺术区的形成：创意阶层的萌芽和身份的建立 --- p.53 / Chapter 第三章： --- 创意社区的夭折创意产业园区大行其道（2006-2011） --- p.79 / Chapter v --- 创意社区VS 文化创意产业区 --- p.80 / Chapter v --- 园区规划和管理 --- p.94 / Chapter v --- 泛798 区域VS 文化用地 --- p.115 / 结语 --- p.125 / 参考书目 --- p.132 / 参考网站 --- p.134

This thesis examines the way in which dance work produced by postcolonial dance artists is often misread and exoticised by critics, funders and audiences. Yet the works produced have a disruptive effect and are products and clear indications of the sometimes oppressive processes that create cultural representation and identities. These postcolonial dance artists also have to contend with problematic umbrella terms such as ‘Black’ and ‘South Asian’ which are not fully descriptive of their dance practice and have the effect of stereotyping the work produced. The thesis investigates the artists Mavin Khoo, Shobana Jeyasingh, Akram Khan, Bode Lawal, Robert Hylton and Phoenix Dance Company who have created works that have asserted their individual agency through the use of particular cultural dance practices and have engaged in concepts such as classicism, modernism and postmodernism in order to establish a place within the British dance canon. Choreographic work produced by artists such as Khoo and Hylton have ‘educated’ audiences about the dance traditions that have been ‘passed down’ to them, whilst artists and companies like Phoenix have worked within a primarily Western medium, yet acknowledging that their work is informed by their distinctive African, African-Caribbean and Indian identities also. Although the work produced by these artists is often viewed from a white and Eurocentric perspective and exoticised to fit with conventional notions of ‘Indianness’ and ‘Blackness’, this thesis demonstrates that through the use of methodologies from cultural theory/policy, postcolonial theory and dance studies it is possible to reveal and illuminate meanings in the choreography and performances of postcolonial artists, and open up the dialogue that their works initiate in a multicultural and globalised context.

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