University of Macau / Faculty of Law

University of Macau / Faculty of Social Sciences / Department of Government and Public Administration

Kulturlivet har liksom alla delar av samhället kommit att i allt högre grad legitimeras i ekonomiska termer. Denna utveckling kan beskrivas i termer av en ekonomisering av samhället. Då managementtekniker från New Public Management har dominerat den offentliga förvaltningen sedan 1980-talet har ett samhälle där alla aktiviteter utsätts för konkurrens, kontraktsstyrning och kontroll växt fram. Kulturarbete har i samband med denna samhällsutveckling alltmer börjat organiseras som projekt. I denna studie används idéhistorikern och filosofen Michel Foucaults begreppsvärld för att visa på hur denna ekonomisering och projektifiering kan förstås som en diskurs som formar kulturarbetaren såväl som kulturpolitiken. Med utgångspunkt i att diskurser formar verkligheten undersöks hur projektifieringens diskurs har etablerats på kulturområdet, och hur kulturarbetaren subjektiveras – formar sig – inför denna verklighet. Dessa frågor utforskas genom en analys av kulturpolitiska styrdokument och genom intervjuer med kulturarbetare. Projektifieringens innebörd utforskas genom Foucaults teorier om biopolitik och styrmentalitet som relateras till nyliberalism, New Public Management och ekonomisering. Johanna Oksala och Wendy Browns teorier om nyliberalism, Roland Almqvists och Jan-Erik Lanes beskrivning av New Public Management, samt Johann Packendorffs analys av projektifieringens konsekvenser för individen utgör några av utgångspunkterna för denna diskussion. Studien visar på att projektifieringens diskurs har etablerats på kulturområdet och tre centrala begrepp som formar den har identifierats: flexibilitet, förnyelse och frihet. Analysen visar på att dessa begrepps diskursiva innebörder kan relateras till entreprenörskap, anpassningsbarhet, konkurrens, kreativitet och valfrihet. Vidare visar analysen på att kulturarbetaren subjektiveras av diskursen som ett nyliberalt subjekt: fri att göra val men som därigenom hålls ansvarig för sitt välbefinnande på livets alla områden. Slutligen diskuteras de konsekvenser som en projektifiering av kulturen kan få: ett försvagat offentligt samtal och ett mindre demokratiskt kulturliv. / Like all other parts of society the cultural sector has come to increasingly be legitimized in economic terms. This development can be described in terms of an economization of society. As the management techniques of New Public Management have come to dominate public sector administration since the 1980’s a new type of society has developed where all activities are exposed to competition, contract management and control. In light of this developement, the cultural sector has increasingly begun to organize cultural work in the form of projects. This paper uses the work of philosopher Michel Foucault to illustrate how this economization and projectification can be understood as a discourse which shapes the cultural worker as well as cultural policy. Based on the idea that discourses shape reality this paper examines how the discourse of projectification has been established in the cultural sector, as well as how the cultural worker is constituted as a subject within the discourse. These issues are explored through an analysis of cultural policy documents and through interviews with cultural workers. The implications of the discourse of projectification are studied through Foucault's theory of biopolitics and governmentality in the light of neoliberalism, New Public Management and economization. Johanna Oksala and Wendy Brown's theories of neoliberalism, Roland Almqvist and Jan-Erik Lane's analysis of New Public Management, and Johann Packendorffs analysis of the consequences this projectification has for the individual are starting points for this discussion. The paper shows that the discourse of projectification has been established in the cultural field and three central concepts that form the discourse have been identified: flexibility, innovation and freedom. The analysis shows that discursive meanings of these concepts can be related to concepts of entrepreneurship, adaptability, competition, creativity and freedom of choice. Furthermore the analysis in this paper shows that the cultural worker is subjectivated by the discourse as a neoliberal subject: a subject with an unquestionable ability to make free choices, which means that the individual is responsible for their own wellbeing in all areas of life. Finally, the paper discuss the possible consequences of this projectification of culture: a weakened public dialogue and a less democratic cultural life.

This study explores the narratives of day-to-day practices of the Venezuelan System of Children and Youth Orchestras, one of the oldest social development strategies in Venezuela, and one of the most successful social inclusion and cultural participation programs in the world. Its main objective is to identify some of the policy-based and organizational factors contributing to the success, autonomy, and longevity of this initiative since its creation in 1975. In order to assess the relative importance of these factors, the study reviews the sociopolitical circumstances surrounding the evolution of the program and examines the perceptions of its main actors and clients about key internal processes and organizational dynamics. More generally, this case is offered as a way of better understanding the insularity of bureaucratic efficiency in Latin America. / text

Denna uppsats syftar till att beskriva och analysera styrningen av det offentliga kulturstödet samt hur detta påverkar organiseringen och verksamheten hos fria kulturorganisationer. En teoretisk utgångspunkt tas i de förändringar av den offentliga verksamhetens styrning och kontroll, som pågått sedan 1980-talet och som av forskarvärlden samlas under begreppet New Public Management. Studien är avgränsad till Stockholms stads kulturstöd; verksamhetsstödet, projektstödet och den år 2008 införda så kallade incitamentsstrukturen. Studien, som är en flerfallsstudie, är också avgränsad till fyra fria kulturorganisationer. Med fria kulturorganisationer menar vi organisationer som är sin egen huvudman och vars verksamhet inte syftar till att generera vinst. Organisationerna i studien är Biografteatern Rio/Framtidens Mötesplats AB, Dramalabbet, Musikföreningen Fritz’s Corner samt Orionteatern AB. Empirin bygger främst på intervjuer med representanter för dessa kulturorganisationer samt en intervju med en handläggare på Stockholm stads kulturförvaltning. I studien framkommer bland annat att Stockholms stads fördelning av verksamhets- och projektstöd fortfarande i första hand baseras på kvalitativa bedömningar av de sökande och deras verksamheter även om ansökningshandlingar blivit mer och mer kvantitativt inriktade i sin utformning. Införandet av incitamentsstrukturen har lett till en förändrad instrumentell syn på kulturen och kulturpolitiken, med ett ökat fokus på att företagisera den fria kulturlivet. Studien visar upp en bild av att Stockholms kulturpolitik under den senaste mandatperioden blivit mer polariserad. Där det tidigare rått en generell samsyn kring kulturpolitiska satsningar har det under den senaste mandatperioden, och framför allt kopplat till införandet av incitamentsstrukturen, skapats en tydligare kulturpolitisk skillnad mellan de politiska blocken. I studien framkommer också att kulturorganisationernas finansieringstradition, som bland annat är kopplat till hur det offentliga anslagen ser ut, starkt har påverkat verksamheternas organisering, bland annat syns detta i att organisationerna utvecklat ett managementstyre. Organisationerna i studien skiljer sig i hur starkt deras verksamhet är beroende av offentliga medel. En sak som framkommer är dock att samtliga verksamheter på något sätt skulle behöva ändra sin grundläggande konstnärliga inriktning om stödet skulle försvinna.

The Lower Mainland of British Columbia is growing rapidly resulting in a dramatic alteration of the landscape. Associated with this growth is the loss of community heritage structures and properties. This destruction is occurring at a rapid rate even though conservation mechanisms, tools and strategies exist. This thesis examines the practice of heritage conservation and identifies the heritage conservation tools that are presently being utilized by a number of selected Lower Mainland municipalities. It then outlines the necessary conditions that a community must possess for existing conservation tools to be effective. A literature review of existing heritage conservation statutes was conducted to identify the statutory tools available for conservation purposes. The primary method of investigation involved interviewing 13 prominent heritage professionals from the Provincial Government, selected Municipal Governments, and the private planning sector. The survey allowed the author to generate a ‘tools chest’ of mechanisms available for conservation purposes. In total 23 conservation tools were identified from both the literature review and survey. Research indicated that the perceived responsibility for heritage conservation in British Columbia rested with local governments. To date these governments have had limited success in ensuring long term management and protection of heritage properties within their jurisdictions. Conservation tools presently being applied to manage these community resources are limited in scope and applicable only under specific ownership conditions. In general, local governments are under utilizing the conservation tools available to them. Reasons for this may include the lack of political and public support, in addition to, monetary and time restraints directed for this purpose. This study concludes with recommendations for local governments and the planning profession regarding the direction which these groups should embark on with future conservation activities.

This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault’s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness? / Thesis (Ph.D, Art History) -- Queen's University, 2010-09-23 11:09:40.235

This study aims to explore the relationship between the Transitional Local Council of Pietermaritzburg, and various arts and culture bodies in the Pietermaritzburg area. It has seemed that there is a power differential in this relationship, with a very high concentration of power in the hands of the TLC, while very little of it resides with the arts and culture organizations. The findings of this study have shown that the relationship is, in all cases, built on funding. However, secondly, the problem with this is that the TLC has no real policy on the allocation of funding to arts and culture. There is some informal policy, but nothing concrete. Thirdly, the study shows that the TLC does in fact have a power base from which to work - the finances it controls. And, finally, the study has shown that the transition to democracy in 1994 has not substantively changed the situation in which arts and culture organizations find themselves. / Thesis (M.Soc.Sc.)-University of Natal, Pietermaritzburg, 2001.

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.

During the independence era in West Africa (1958–1980) many nations embarked on ambitious programmes aimed at rejuvenating their traditional art forms. These programmes were realised through new cultural policies, with music the prime target of the governments’ campaigns. I contend that in the search for an appropriate voice West African governments focussed on one group of musicians, the Mande griots. It was through their musical compositions that the State communicated ideology and doctrine to the public. I assert that to focus on a specific ethnic group and promote them as cultural ambassadors was a policy that conflicted with the core principles of West Africa’s governments, who upheld a doctrine that promoted nationalism over ethnocentrism. It was a neo-colonialist strategy designed to consolidate the rule of the governing party, a contention which I support through an analysis of the role of griots in West African society and an appraisal of the careers of musicians, musical recordings, and musical styles. This thesis represents a historical account of Mande griots in West Africa with respect to their influence on local and national politics. Part of the aim of this thesis is to create a comprehensive and accurate catalogue of West African musical recordings and groups, the results of which are located in the appendices.