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<p>My research examines the political role of unions, as the collective voice of Canadian cultural workers, in connection to the cultural policies that shape their memberships’ personal and professional lives. I examine the policy advocacy strategies of Alliance of Canadian Cinema, Television and Radio Artists; the Directors Guild of Canada; the Writers Guild of Canada; the Communication, Energy and Paperworkers Union of Canada; and the International Alliance of Theatrical and Stage Employees IATSE, as members of federal and provincial cultural policy networks.</p> <p>I argue that changes in cultural policy influence the level of participation and the political strategies of the unions and guilds in federal and provincial cultural policy networks. Shifts in organizational and political strategies affect the ways that unions articulate their interests as policy problems; this, in turn, affects the ways in which issues and problems are understood and acted upon by decision-makers in policy reforms. While most of the unions and guilds, particularly at the federal level, have been active in cultural policy networks for several decades, unions at both federal and provincial levels are increasingly partnering with the employers – the independent producers – in their policy interventions. Analysis of my case studies leads me to conclude that this strategy is paradoxical for unions. While a partnership approach from a “production industry” standpoint arguably increases union access to and credibility with policy decision-makers, it can compromise or obscure how unions articulate cultural policy problems as <em>labour</em> problems. When unions engage in policy advocacy either independently or as a labour coalition, the direct relationship between cultural policy and its specific impact on labour markets and working conditions is most evident.</p> / Doctor of Philosophy (PhD)

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The difficulties faced by services in the cultural sector have been immediate and challenging. Public services that are cultural in nature have faced funding cuts, closures and redundancies. Museum services are low in political importance and unable to provide clear evidence of their policy impact. Despite these challenges, there has been limited evidence about the policy process at ground-level. This thesis builds on theoretical and empirical ideas in social and cultural policy to present museum workers’ perspectives within a cultural theory framework. Following Lipsky’s (1980) work on street-level bureaucrats, this thesis presents an analysis of street-level workers’ roles in delivering social and cultural policy. Museum workers’ perspectives are presented through a series of case studies (drawing on qualitative interviews and observations) from three local-authority museum services in England, Scotland and Wales. The findings showed evidence that top-down cultural and social policies have had an influence on workers actions, but service-level workers’ understandings were central to the policy process. Museum workers actively shaped museum policy through ground-level interactions with visitors and groups. Workers experienced policy in the cultural sector as fragmented, vague and difficult to engage with at the ground-level. Workers mainly viewed policy as meaningless rhetoric. Despite this, those working at ground-level often utilised policy rhetoric effectively to gain funding and manipulate activities towards their own needs and interpretations. Policy evaluation was also fragmented and underdeveloped within the services studied. Workers found themselves under pressure to fulfil policy objectives but were unable to show how they did this. Furthermore, there was a perceived distance from managers and local authority structures. This allowed a space for workers to implement and shape policy towards their own professional and personal ideals. Vague policies and a lack of formal mechanisms for evaluation led to high levels of worker discretion at ground-level. Economic policy expectations were resisted by workers, who tended to have more egalitarian views. Museum workers effectively managed policy expectations through a mixture of discretion and policy manipulation. Delivery at the ground-level was seen as effective – despite, not because of, cultural sector policies.

168 p. / Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2013-01-07T18:10:53Z No. of bitstreams: 1 33.pdf: 1472320 bytes, checksum: 1aaaec9f5c68a5eac45af11ceb24cf10 (MD5) / Made available in DSpace on 2013-01-07T18:10:53Z (GMT). No. of bitstreams: 1 33.pdf: 1472320 bytes, checksum: 1aaaec9f5c68a5eac45af11ceb24cf10 (MD5) Previous issue date: 2009 / O presente estudo teve como objetivo investigar até que ponto a política cultural para música praticada pela Secretaria de Cultura e Turismo da Bahia - SCT, entre os anos de 1995 e 2006, esteve efetivamente voltada para a proteção e promoção da diversidade musical, ou, se ao contrário, de maneira intencional ou não, acabou contribuindo para estimular o avanço da Axé Music sobre os espaços reservados a música no mercado de entretenimento baiano. Para tanto foram levantados e analisados projetos, ações e programas promovidos pela SCT direcionados a área musical. Através da análise de relatórios de atividades do governo e dos planos plurianuais desse período foi possível verificar que as atividades da SCT na área de música tentaram de alguma forma proteger e promover a diversidade musical na Bahia, já que se pôde perceber que uma variedade de gêneros usufruiu desse apoio. Pôde-se comprovar também que algumas dessas atividades tinham a preocupação em promover artistas emergentes que, em sua maioria, não pertenciam aos gêneros musicais do mainstream. Porém, nem sempre esta preocupação vinha acompanhada de diretrizes que levassem em consideração pontos importantes à questão da proteção e promoção da diversidade musical. Muitos foram abordados de maneira superficial ou nem sequer foram tocados, não recebendo a devida atenção dos responsáveis pela elaboração dessas atividades. / Salvador

The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices of particular groups of creative workers in the different national (country-specific) contexts to support this criticism. There has been a significant lack of studies that aim to understand how creative workers experience and cope with the changing policy context in their work. In particular, the voice of non-artists has rarely been considered when seeking a better understanding of the sector’s dynamics. This thesis explored the Scottish cultural sector through the eyes of cultural leaders. The study was carried out during a time of significant transformation to the funding structure, processes and relationships in the sector, catalysed by the establishment of a new funding agency (the funder). It focuses on cultural leaders’ understandings of an increasingly politicised cultural landscape that constitutes the context of their work. The thesis also looks at the influence of these understandings on the leaders’ role responsibilities, as well as the essence and the sustainability of the cultural sector. The empirical work for the thesis followed a qualitative research approach and focused on 21 semi-structured interviews with cultural leaders and industry experts based in Scotland. These individuals were purposefully chosen as a group of stakeholders who are able to engage in discussions about the cultural sector in the context of recent changes in the governance and financial subsidy of Scottish (publically funded) arts. The research findings illustrated the importance of leaders’ values and beliefs, which reflect the purpose of their work and shape their enactments in the sector. In particular, the intrinsic motivation, artistic ambitions, social and civic responsibilities of leaders emerged as crucial qualities of their work roles. The findings revealed a discrepancy between these artistic and civic concerns of cultural leaders and the socio-economic expectations of the funder, which contributed to a great deal of unproductive ('inorganic') tensions for which leaders had to find coping mechanisms. Bourdieu’s (1977, 1992) theoretical concepts were used as a starting point in understanding the cultural sector as a cultural field, and cultural leaders as actors enacting their work-related practices in the evolving socio-political and economic system of cultural production. However, upon further analysis of the data, the notions of a ‘worldview’ and ‘stewardship’ emerged and were used to better explain the greater complexity of work in today’s cultural sector. This thesis thus builds upon Bourdieu’s concept of ‘field’ and ‘artistic logic’ and explains the changing cultural sector as a holistic cultural field where cultural leaders enact their stewardship-like work responsibilities from within a strong and dynamic artistic worldview.

<p>With the increased role of local authorities in creating cultural policy, gathering information on how successful and sustainable local heritage conservation programs are established will be very valuable in crafting future policies. This dissertation investigated the development of local government heritage conservation policies in the City of San Fernando, Pampanga in the Philippines in order to determine (1) predictors of community support for heritage conservation policy – why communities support heritage conservation policy and what characteristics or elements of communities lead them to support heritage conservation policies, (2) factors that lead to the adoption and implementation of heritage conservation policies or policy drivers of heritage conservation policy, and (3) given the deeper understanding of community support and policy drivers, the relationship between these predictors and drivers with heritage conservation policy management and sustainability. It did this by being cognizant of the lack of homogeneity across communities, with actors, factors, contexts, and nuances specific to each community.</p><p>Implementing two component studies, the dissertation used mixed methods, which interprets and integrates information drawn from the combined strength of both quantitative and qualitative data, following the convergent design (Creswell and Plano Clark, 2018; Harrison et al., 2020) and guided by the Rigorous Mixed Methods framework (Harrison, Reilly and Creswell, 2020). This first study used a self-administered online survey to collect data from stakeholders and ordinary residents of the City of San Fernando, Pampanga which was analyzed using Structural Equation Modelling (SEM). In the second study, guided by the naturalist paradigm (Guba and Lincoln, 1982; Lincoln and Guba, 1985), transcripts of semi-structured interviews conducted by City Tourism and Investment Promotion Office (CTIPO) were coded and analyzed using the grounded theory approach. It combined several coding approaches, specifically a blended approach (Skjott Linneberg, and Korsgaard, 2006), with the the Gioia Methodology (Gioia et al., 2012) and Ünlü-Qureshi instrument (Qureshi and Ünlü, 2020)</p> <p>The integration of qualitative and quantitative data and results was guided by the dimensions of the mixed methods research integration trilogy (Fetters and Molina-Azorin, 2017). The dissertation identified predictors for community support for heritage conservation policy, policy drivers of the heritage conservation policy process, and the relationship between these predictors and drivers and within the heritage conservation policy process and produced three models: (1) predictors of community support for local heritage conservation policy, (2) heritage conservation policy drivers, and (3) managerial implications for heritage conservation policy sustainability, and a framework for heritage conservation, management, and sustainability. The data suggested that in the case of San Fernando, (1) knowledge and awareness, (2) sense of belonging and attachment, (3) place image and community identity, and (4) evaluation of value are predictors of support for heritage conservation policies, with evaluation of value as a mediator for the first three. It also identified two major policy drivers: (1) good governance, and (2) heritage consciousness, and six specific policy drivers: (1) understanding the dynamics of heritage conservation, (2) addressing program sustainability, (3) stakeholder integration in the policy process, (4) appreciation of process-oriented governance, (5) manifesting pride and attachment, and (6) awareness of long-term outcomes of policies, that serve as factors leading to the adoption and implementation of heritage conservation policies. The predictors and policy drivers were incorporated into a single framework for heritage conservation policy management and sustainability.</p>

This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

This critical examination of the concept of cultural heritage is based on an overall phenomenological approach, with focus on Alfred Schütz’s further development of Edmund Husserl’s idea of the lifeworld. With strong emphasis on the subjective and intersubjective dimensions, the concept of cultural heritage is contextualized, analysed and criticized from different aspects for the purpose of enriching the discourse of cultural heritage. A literature based methodology is used, including a hermeneutic analysis of theoretical texts in the field of cultural heritage studies and the new Swedish Culture Environmental Law (“Kulturmiljölagen”) and related bills. Qualitative interviews deal with people’s notions about the concepts of culture, cultural heritage and intangible cultural heritage. Finally, this study includes field observations of the Mount Dajti National Park in Albania, involving a visual methodology (photos) and non-visual field notes. A linguistic analysis with a gender perspective, finds that the concept of cultural heritage can be criticized for its patriarchal connotations. The central issue with the concept of cultural heritage concerns its involvement in the complexity of fixed notions and definitions, causing arbitrariness and ambivalence. The interview data indicates a strong connection between cultural heritage and history, despite their distinction. The field observations verify this complexity through an account of the relationship between cultural and natural heritage. The constitutions and values of cultural heritage are established within the Authorized Heritage Discourse (AHD), obviating alternative notions of heritage. Thence, this thesis stresses the importance of going beyond the discursive frames and of transparency and critical reflection within the field of cultural heritage. Phenomena can always be interpreted in a subjective or intersubjective way, leading to dissonant and contested heritage, and a new term called “life values”. This is a two-year master’s thesis in Archive, Library and Museum studies.