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.

This dissertation critically analyses New Zealand’s National Museum Te Papa Tongarewa. Since it opened in 1998, Te Papa, arguably the world’s foremost exponent of the ‘new museology’, has been popularly and critically supported for its innovations in the areas of popular accessibility, bicultural history, and Maori-government management arrangements. As the first in-depth study of Te Papa, I examine and problematise these claims to exceptionality. In producing an analysis that locates the museum within cultural, political, economic and museological contexts, I examine how the museum’s particular institutional program develop, and point to limitations in its policy and practice.

Denna uppsats söker förståelse för hur Metoo har påverkat den svenska teaterbranschen. Detta med bakgrund i händelserna under senhösten 2017 då Metoo startade, först bland skådespelare och senare även i andra branscher. Studien söker kunskap hur Metoo har påverkat personer verksamma i teatervärlden. Den teoretiska referensramen börjar med Michel Foucaults diskussioner om makt och sexualitet för att fortsätta till en överblick av det relationella ledarskapet. Vidare fortsätter teorierna med att beskriva hur sexualitet och organisationer påverkar varandra samt vad som kan leda till sexuella trakasserier i organisationer. Avslutningsvis fördjupas i hur och varför sexuella trakasserier förekommer i teatervärlden. Studien har använt sig av en kvalitativ forskningsmetod med semistrukturerade intervjuer som huvudstrategi för att samla in data, men det har även genomförts telefonintervjuer och skickats ut ett frågeformulär. Utifrån empiri och analys visade det sig att informanterna på olika sätt har blivit påverkade av Metoo. De bekräftade att sexuella trakasserier är vanligt förekommande i teatervärlden även om de var förvånade över omfattningen. Några faktorer som informanterna belyste som en anledning till varför sexuella trakasserier sker är att jämställdhetsarbete inte prioriteras då konsten går före arbetsmiljöfrågor samt att en tystnadskultur har bidragit till att få har anmält. Informanterna menade att Metoo har givit teatervärlden ett språk som kan göra det lättare för dem att prata om och hantera sexuella trakasserier i framtiden. Även om teaterbranschen redan är styrda av lagar och riktlinjer menade informanterna att det behöver bli tydligare hur dessa kan implementeras i det vardagliga arbetet. Överlag vara informanterna positiva till hur Metoo påverkat teatervärlden men några var dock mer skeptiska och menade att strukturer är svåra att förändra. / This essay is an attempt to make an understanding of how Metoo has effected the Swedish theater business. With background in what happened in Sweden and mostly in the theater business in the late fall of 2017, the aim of the study is to know how Metoo have affected people working in this business. The theories start with Michel Foucaults discussion about power and sexuality and continues with a relational perspective on power and leadership. The theories moves on to a discussion about sexuality and sexual harassments in organizations and the cultural industry. The method to collect data was semi-structured interviews and questionnaires with actors and other people working in the theater business. The respondents stories and answers confirmed that sexual harassments is common when working in theaters but most respondents were surprised about the extent. It turned out to be many specific reasons why sexual harassment is a problem in the theatre world, for instance art has the highest value therefore work environment problems is put aside. There is also a culture of silence which prevents sexual harassment from being reported. But many respondents believe that Metoo has given the theatre business a way to speak about problems with sexual harassments. The theatre business are already operating through laws and regulations which prohibits sexual harassments but it needs to work differently for them to be maintained. All the respondents believe that Metoo have influenced them and some of them think that the business will change. But a few respondents have a more critical view on the future impact of #Metoo because they believe that structures are hard to change.

Dès l'indépendance, l'Algérie traça une politique culturelle visant la prise en charge globale de son patrimoine culturel. L'état des lieux montra des conditions de développement culturel déplorables, héritées de l'époque coloniale. Une politique d'institutionnalisation des différents aspects du patrimoine national fut progressivement mise en œuvre, accompagnée d'un dispositif juridique important. Les débuts de l'archéologie algérienne se singularisent par des pratiques empiriques, eu égard aux carences en ressources humaines qualifiées, à l'absence de savoir-faire dans le domaine des métiers du patrimoine. Une attention particulière fut accordée à l'archéologie musulmane eu égard au retard accusé par rapport à l'époque antique. Cependant, des difficultés inhérentes aux approches et stratégies mises en œuvre (mode de gestion centralisée, carence en formation, insuffisance de moyens,...) ont contribué à maintenir le développement du secteur patrimonial à un cap qui n'eut pas l'ampleur souhaitée par les acteurs de la culture. Une étude de cas porte sur deux musées de sites, les musées archéologiques de Cherchel ; l'un est de conception et de création coloniale ; l'autre est de programmation algérienne. Cette étude de cas met en exergue les stratégies, les approches et les pratiques muséologiques algériennes. / After the independence, Algeria developed a cultural policy for the overall management of its cultural heritage. An assessment of the former indicated deplorable cultural development conditions which were inherited from the colonial era. A policy of institutionalization of the different aspects of the national heritage was implemented gradually, accompanied by the implementation of important laws. The beginnings of Algerian archeology were characterized by empirical practices that typically arose from the lack of qualified human resources. A special attention was given to the Islamic archeology with regard to the significant delay that occurred in the ancient times. However, the difficulties inherent to the implementation of training, insufficient resources, etc...) have contributed to maintain the development of the heritage sector, unfortunately no to the desired extent. A case study that focuses on two the museums, the archeological museums of Cherchel ; the first site museum is of colonial design and creation and the second one is of an Algerian design. This case study highlights the strategies, approaches and practices of the Algerian museums.

THE ABSTRACT The intercultural communication is an extraordinarily important topic especially within the multicultural environment of the European Union. Ph.D. work "The Intercultural Communication in the Context of the European Union Cultural Policy" is focused on a possible relation between intercultural communication and policymaking and realization of the EU cultural policy. Based on studied scholarly literature, other materials and considering previous author's expert experience a basic hypothesis was drawn up - despite all proclamation of the EU the intercultural communication is significantly underestimated. This basic premise was especially because of further surveying divided into a few fractional hypotheses. The aim of the thesis was to empirically verify the assumption formulated above. This dissertation work therefore analyzes the intercultural communication's theory, the history and the present of the EU cultural policy and the EU key institutions responsible for cultural policymaking. The work provides an overview of basic communication characteristics of the EU member states and their cultural categorization. This summary was inter alia prepared thanks to cooperation with The Hofstede Centre and Richard Lewis Communications international institute and its helpful internal online tools...

Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History

CRUZ, Danielle Maia. Fortaleza em tempo de carnaval: blocos, maracatus e a política dos editais. 2013. 245f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-02-06T14:26:15Z No. of bitstreams: 1 2013_tese_dmcruz.pdf: 3020931 bytes, checksum: 3032422b7ac903cc52e9cdfe0cefa6c3 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-02-06T16:00:37Z (GMT) No. of bitstreams: 1 2013_tese_dmcruz.pdf: 3020931 bytes, checksum: 3032422b7ac903cc52e9cdfe0cefa6c3 (MD5) / Made available in DSpace on 2015-02-06T16:00:37Z (GMT). No. of bitstreams: 1 2013_tese_dmcruz.pdf: 3020931 bytes, checksum: 3032422b7ac903cc52e9cdfe0cefa6c3 (MD5) Previous issue date: 2013 / With an ethnographic proposal, this thesis aims to understand the recent changing processes of Fortaleza‟s carnival revels. This relates to a range of policies implemented during Luizianne Lins‟ eight-year municipal administration, particularly between 2009 and 2012. These are changes made in agreement with the state power in order to make, among other purposes, the city attractive to tourists also because of its traditional demonstrations, such as carnival revels. Among the measures taken by Fortaleza City Hall regarding this revelry, the creation of a bidding policy, which consists of funding, is the most interesting due to the aims herein proposed, since it has established a new dynamic on the concession of resources; moreover, the different relationship between revellers and the public power; as well as other festive aspects and revels management. Thereby, taking into account the carnival activities of groups of pre-carnival and maracatu, this thesis tries to understand whether or not the cultural bidding policy interfered on the compositional logic of Fortaleza‟s traditional carnival manifestations and how the revellers reacted to the criteria required by the government. The rationale is if, on one hand, new mechanisms of control of the revels by the public power appeared, on the other hand, revellers recreate, reinvent and reframe their own carnival practice from their own cultural logic and scheme, even if this may occur among negotiations on the projects of changes required. Thus, in theory, the discussion on this thesis falls upon culture and government. / Com uma proposta etnográfica, esta tese tem como objetivo apreender os recentes processos de mudanças das festas carnavalescas em Fortaleza. Isto se relaciona a um conjunto de medidas implementadas no decorrer dos oito anos da gestão municipal de Luizianne Lins, sobretudo entre 2009 e 2012. Trata-se de mudanças realizadas em acordo com o poder estadual, tendo, dentre outras finalidades, tornar a cidade atrativa ao turista também em razão de suas manifestações tradicionais, como as festas carnavalescas. Das medidas tomadas pela prefeitura para esse segmento festivo, a criação da política de editais é a de maior interesse para os objetivos aqui propostos, pois estabeleceu uma nova dinâmica na concessão de recursos, além de diferentes relações entre brincantes e poder público, bem como outras configurações festivas e formas de controle da festa. Assim, tomando como base as atividades carnavalescas dos blocos de pré-Carnaval e maracatus, busca-se compreender nesta tese se a política cultural dos editais interferiu na lógica composicional das manifestações carnavalescas tradicionais da cidade e como os brincantes se colocaram quanto aos critérios postulados nos editais. O argumento é que, se, por um lado, surgiram novos mecanismos de controle da prefeitura com a festa, por outro, os brincantes recriam, reinventam e ressignificam suas práticas carnavalescas a partir de lógicas e esquemas culturais próprios, ainda que isto ocorra atravessado de negociações quanto ao projeto de mudanças que se impõe. Dessa forma, no plano teórico, as discussões desta tese recaem sobre cultura e poder público.

[pt] A resistência às novas formas de apropriação do trabalho intelectual e a falência do sistema representativo para dar conta dessas mudanças são os problemas que estão postos à sociedade. A correlação das políticas culturais com o trabalho imaterial, na perspectiva negriana do poder constituinte, pretende investigar novos caminhos de resistência e de liberação. As políticas públicas relativas à cultura no Brasil têm dois momentos de intenso brilho: o período do Estado Novo da criação do Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN), onde os modernistas puderam neutralizar a ameaça integralista e participar do processo revolucionário de criação de uma política pública cultural abrangente e universalista; e o período subsequente à Constituição Federal de 1988, que, de maneira ambígua, reabriu a possibilidade de se pensar em novas perspectivas para as políticas culturais. Com as garantias de cidadania e de acesso e fruição dos direitos culturais previstas constitucionalmente a partir de então, foi possível alargar o conceito de cultura e abrigar a noção de patrimônio imaterial. A partir do Ministério da Cultura (MinC) da gestão de Gilberto Gil, as noções de cultura e do papel do Estado transformaram-se radicalmente, culminando com a sistematização do Plano Nacional de Cultura (PNC). Esta dissertação quis expor os embates político-constitucionais relacionados às políticas públicas culturais e analisar as transformações do trabalho nas sociedades contemporâneas, mostrando a estreita relação desta nova forma trabalho com o trabalho desempenhado nas atividades culturais - uma vez que a tendência hegemônica do trabalho imaterial tornou-se realidade. / [en] The actual problems raised to any society are the resistance to new forms of appropriation of intellectual work and the bankruptcy of representative system to take care of these changes. The connection of cultural politics with immaterial labor on a Negrian`s perspective of constituent power intends to investigate new ways of resistance and liberation. Public politics related to the culture have two specific moments of intense brightness in Brazil: the period of the Estado Novo and the creation of the National Service of Historic and Artistic Patrimony (SPHAN), in which the modernists have been capable to neutralize the threat integralista and participate in a revolutionary process of creation of a comprehensive and universalist cultural public politic; and the later period of the Brazilian Constitution of 1988, that, in an ambiguous way, reopened the discussion about cultural politics. With citizenship garanties established and the access and fruition of cultural rights protected by the constitution from now on, it has been possible to enlarge the concept of culture and harbor the notion of immaterial patrimony. Notions such as culture and the role of the State have been dramatically changed since the first management of the minister Gilberto Gil at the Cultural Ministry (MinC), and the direct consequence is the organization of the National Plan of Culture (PNC). This dissertation intended to expose the political and constitutional impingements related to the cultural public politics and to analyse the transformations of the work at contemporary societies. As a direct consequence, we want to establish the narrow relation between this new form of work and the work performed at cultural activities, since immaterial labor tendency has become a reality.

En tant que centre le plus puissant de l'influence française en Afrique, l'Algérie sera la clef de voûte de l'empire africain. Plus généralement et cela dès le début de la colonisation, on observe que l'Algérie constitue une terre d'essai et d'aventure, et l'institution y a assez vite encouragé le développement des arts. Le monde de l'art de l'Algérie française se construit par la reproduction institutionnelle du système de la métropole. Certes, le musée des Beaux-Arts d'Alger est également né de la volonté des politiques. Il exerce un rôle fondamental en tant que stabilisateur de l'idéologie coloniale et baromètre de l'identité culturelle particulière de l'Algérie. Ses collections sont constituées avec l'objectif de représenter un panorama de l'art français et pas seulement celui de l'orientalisme. Par la volonté de faire la France en Algérie, les choix des œuvres ont été faits pour des raisons non seulement esthétique, mais également idéologiques. Une fois le musée inauguré, on met en œuvre un ambitieux programme d'enrichissement des collections. Cette thèse démontrera que le musée des Beaux-Arts d'Alger participe à l'édification coloniale à échelle nationale et locale par la constitution stratégique de ses collections. Sous la bannière du colonialisme, cette institution porte un plaidoyer culturel de l'autorité coloniale dépendante de la visibilité de leurs ordres. Entre la métropole et l'espace « périphérique», le musée des Beaux-Arts d'Alger et ses collections contribuent à dessiner le contour de l'identité de l'Algérie coloniale et postcoloniale en accomplissant leur rôle qui était de lier tout ce qui concerne les arts et les cultures. / As the most powerful center of French influence in Africa, Algeria will be the keystone of the African empire. More generally, from the very beginning of colonization, Algeria is a land of experimentation and ad venture, and the institution has encouraged the development of the arts. The art world of French Algeria is built by the institutional reproduction of the metropolitan system. Of course, the Museum of Fine Arts of Algiers was also born of the will of the politicians. It exercises a fundamental role as a stabilizer of the colonial ideology and barometer of the particular cultural identity of Algeria. Its collections are constituted with the objective to represent a panorama of the French art and not only that of Orientalism. By the will to make France in Algeria, the choices of the art works are made for reasons not only aesthetic, but also ideological. Once the museum is inaugurated, an ambitious enrichment program is being implemented. This thesis will demonstrate that the Museum of Fine Arts of Algiers participates in the colonial construction on a national and local scale by the strategic constitution of its collections. Under the banner of colonialism, this institution carries a cultural advocacy of colonial authority dependent on the visibility of their orders. Between the metropolis and the "peripheral" space, the Algiers Museum of Fine Arts and its collections help to shape the identity of colonial and post-colonial Algeria by fulfilling their role of linking everything related to the arts and cultures.

La ville de Hohenems, commune autrichienne d'environ 16.000 habitants située dans le Vorarlberg, a été marquée par des vagues d'immigration successives au fil de son histoire : ancienne ville d'accueil pour une importante communauté juive ou encore de nos jours pour de nombreux travailleurs immigrés ou réfugiés en grande majorité de confession musulmane, Hohenems s'inscrit véritablement dans une longue tradition interculturelle. Une approche microhistorique permet de s'interroger sur les raisons et les motivations qui ont permis en 2009 l'instauration d'un prix littéraire pour auteurs issus de la migration ayant adopté l'allemand comme langue d'écriture alors qu'ils ont une autre langue maternelle. A travers l'exemple concret de ce prix littéraire sont abordés d'une part la gestion de l'hétérogénéité culturelle au niveau communal et d'autre part l'impact de la littérature d'auteurs issus de la migration dans le monde germanophone. La conséquence en est l'émergence d'une écriture interculturelle voire transculturelle. / The city of Hohenems, an Austrian town of about 16.000 inhabitants located in Vorarlberg, has been marked by successive waves of immigration. As a former host city for a large Jewish community and even today for many immigrant workers and refugees, a large majority of whom are Muslims, Hohenems truly embraces a long intercultural tradition. A microhistorical approach makes it possible to question the reasons and the motivations that in 2009 enabled the establishment of a literary prize for migrant authors who write in German though they are non-native German speakers. Through the concrete example of this prize, we examine the management of cultural heterogeneity at the local level and the impact of the literature of migrant authors in the German-speaking world that leads to the birth of intercultural and cross-cultural writing.