For the past decades, culture has been given a role as a factor for local and regional development. But what is meant by development and in what ways culture can be of importance in this aspect can be unclear. This thesis examines the perception of the role for local and regional development of one specific cultural place and network – the cultural cooperative Not Quite in Fengersfors, Sweden. I study the way the role as developer is expressed and interpreted in the discourse of the cultural workers who are members of the network and in the discourse of public cultural policy in the region Västra Götaland and in Åmål municipality. The study shows that there are both similarities and differences between the discourses concerning how the role as developer is expressed. What differs is the focus on economic growth, which is expressed to be of great importance in the public cultural policy discourse. The cultural workers within Not Quite express a lack of interest in economic growth, or even a negative attitude towards it. They instead express a ”discourse of meaning”. For them, the main purpose of their artistic work is to create meaning and value for other people rather than economic growth. However, the practical effects of the differences seem quite small. There seem to be a balance between the different kinds of development Not Quite is expected to contribute to, and the cultural workers express a relaxed attitude to goals and expectations from the Västra Götaland region and Åmål municipality.

Cultural policy studies, or studies in the relations of government and culture (Mercer, 1994) were initiated in Australia in the 1980s, where cultural studies have been reinterpreted into a dialogue of policy-making and cooperation between the government and academia (Cunningham, 1994; Hunter, 1993/1994; Molloy, 1994; Santamaria, 1994). This Australian-pioneered "cultural policy moment" (Cunningham 1994; Hawkins, 1994) thus provides an epistemological starting point for an analysis of cultural policy developments in South Africa, especially after 1994. Early South African cultural policy studies tend to draw from the Australian experience (Tomaselli and Shepperson, 1996). It must be noted that in terms of South African film policy analysis, there have been two cultural policy moments, one that addresses film post World War II to 1991, a period that is generally characterised as a "cinema of apartheid" (Tomaselli, 1989). This period is indebted to the seminal work of Keyan Tomaselli and Martin Botha. The second cultural policy moment begins in 1991 and continues to the present. It is this "moment" that informs the research and critical focus of the ways in which cultural studies in South Africa have modified the foundation of its critical position towards the state in response to developments since 1990. The aim of this thesis is to critically examine the ways in which South African cultural studies have responded to the Australian "cultural policy moment" in terms of academic-state relations, and the impact of discussions that were engaged in by various film organisations on film policy after 1990, and which resulted in the written proposals on film submitted to the Arts and Culture Task Group in 1994 and 1995. The Arts and Culture Task Group was the case study within which the notion of cultural policy was studied, along with the White Paper on Film. This thesis draws on and applies a variety of methods: firstly, there is the participatory research: I was employed by ACTAG to undertake research into film policy. My own experience of the process in which I worked very closely with the film sub-committee provides an "insider" account of assumptions, conflicts, practices and how outcomes were reached. I was also designated, along with Professor Tomaselli and Dr Botha, as one of the co-authors of the White Paper, and was thus part of the process of revising the ACTAG recommendations into draft legislation. Secondly, there is the method of comparative study: this thesis initially draws on the Australian cultural studies and film policy on the one hand, and South African cultural studies and film policy on the other. It then evolves into a critique of the "cultural policy moment" (Cunningham, 1994; Hawkins, 1994) as it related to the development of South African film policy between 1991 and 1997. Lastly, there was the empirical investigation: ACTAG, which was established to counsel Dr Ben Ngubane on the formulation of policy for the newly established government (see Chapter Four of this thesis, and see Karam, 1996), served as a case study. The final ACTAG document resulted in a reformulated arts and culture dispensation consistent with the new Constitution. This process in turn led to the origination and publication of the Government of National Unity's White Paper on Film in May 1996. Incorporated into this analysis was an "information trawl" (Given, 1994; Mercer, 1994 and Santamaria, 1994) of prior and extant policy frameworks and assumptions of various film, cultural and media organizations formulated during the period under review. The link between film and culture, and hence film and cultural policy, emerges from the following two commonplace associations: firstly, that film as a form of visual creation is therefore a form of art; and secondly, that the concepts of art and culture are inextricably connected. What drives the present debate is the Australian appropriations of Raymond Williams's description of culture as "a whole way of life". This, while validly dissolving the early-twentieth century identification of culture with "high" or "canonical" forms of traditional literature, sculpture, or painting, none the less leaves theorists with a "distinct fuzziness" (Johnson, 1979) as to what the term "culture" actually denotes. Australian policy studies' approaches tend to focus on culture as personifying a structure of "livability" under terms of employment, environmental concerns, and urban planning (Cunningham, 1994; Hawkins, 1994). In general, however, the focus has only attained any concrete outcomes when research has resuscitated precisely the link between culture and the arts, thereby drawing on the old polemics of "high" versus "low" and "popular" culture. The individual chapters cover the following topics: the Introductory Chapter provides a general historical overview of the South African film subsidization system, a crucial element of the analytical framework, from its inception in 1956 to it's dissolvement in the 1980s; Chapter Two, "Cultural Policy" deals with the origination and development of the concept of "cultural policy"; Chapter Three focuses on the Australian "cultural policy moment" and it's application to film; Chapters Four and Five deal with the ACTAG Film Sub-committee and the White Paper on Film respectively; and the last chapter, Chapter Six critiques these processes and their resulting documents, as case studies, from a cultural policy standpoint. / Thesis (M.A.)-University of Natal, Durban, 1997.

Orientador: Leila Mezan Algranti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T04:16:22Z (GMT). No. of bitstreams: 1 Meirelles_JulianaGesuelli_D.pdf: 3797424 bytes, checksum: 1fbaa0a6e0395af649cfd590e5f16c0f (MD5) Previous issue date: 2013 / Resumo: Esta tese investiga os possíveis sentidos da política cultural durante a governança de D. João no mundo luso-brasileiro entre os anos de 1792-1821. O ponto de partida da pesquisa dá-se no início de sua Regência (1792) e encerra-se com seu retorno a Lisboa (1821). Sob as diretrizes do iluminismo luso-brasileiro, a investigação das especificidades da política cultural joanina recaiu sobre quatro locus de cultura de ampla interlocução social: a imprensa interatlântica, os Reais teatros, as Reais Academias Militares e as Reais Bibliotecas Públicas da Corte. Através de uma abordagem interatlântica, buscamos compreender as peculiaridades da administração joanina no universo da cultura em um período de grave crise política no Império Português / Abstract: This thesis investigates the cultural policy fostered by D. João's government in the Luso-Brazilian world during the years 1792-1891. The project has as its starting point the beginning of his reign (1792) and concludes with his return to Lisbon (1821). In the light of the Luso-Brazilian Enlightenment, the research has focused on 4 cultural locus of wide-ranging social reach: the inter-Atlantic press, the Royal theatres, the Royal military academies and the Court's Royal public libraries. Through an inter-Atlantic approach, the present study hopes to understand the intricacies of D. João's administration of the cultural sector in a period of deep political crisis in the Portuguese Empire / Doutorado / Politica, Memoria e Cidade / Doutora em História

In the English museums sector, an impetus for impact assessment stems from an internal ethos towards producing positive impacts for the public. Furthermore, as institutions largely dependent on national and local government funding, museums have increasingly been called to demonstrate their impacts to policy makers. Economic impact and valuation procedures are employed to help meet these demands. However, consideration of non-economic impacts has not kept pace. Reasons include the contested priorities in the sector, a fluctuating policy landscape and too exclusive a focus on theoretical debates rather than empirical research. Indeed, a great deal of attention and time has already been allocated to impact assessment with little accumulation of evidence at a museum-specific or national level. Accordingly, this research set out to reveal a detailed understanding of socio-cultural impacts of museums for their local communities. A thorough meta-synthesis of nineteen academic and non-academic sources, revealed the limitations of previous studies. These limitations relate to sampling, method choice, sophistication of analysis and transparency in reporting. Often, only potential impacts have amounted. The Royal Albert Memorial Museum (RAMM), in the southwest city of Exeter offered a suitable research site for this large-scale study. Drop and Collect administered household surveys ensured the elicitation of views from residents across the city. A range of statistical analysis techniques were applied to cross-sectional samples (n=435, n=384). The main contribution of this research is to demonstrate a replicable approach to eliciting views from the public regarding the impacts of their local museum. Future evaluation can follow this model which is neither focused upon economic impacts, nor arrives at a monetised valuation. Cluster Analysis proves a preferable way of grouping the public rather than traditional segmentations pertaining to socio-demographic or behavioural characteristics. Furthermore, socio-cultural impacts are effectively assessed, monitored and prioritised through Gap Analysis. Factor Analysis reveals latent constructs of Personal-fulfilment, Objects and their Surrounding Narratives, Self-actualisation, Learning and Networked Leisure drive these impacts. Therefore, this research meets the museum management challenge of finding a suitable design for assessment of impacts in relation to different communities.

Artikelns syfte är att öka kunskapen om kulturprojektens speciella karaktär genom att undersöka vad det önskade resultatet är och vilka faktorer som är avgörande för ett kulturprojekts framgång eller misslyckande. Studien fokuserar på värmländska kulturinstitutioner som årligen får statligt bidrag genom samverkansmodellen. Studien bygger på kvalitativa semistrukturerade intervjuer med representanter från institutionerna där de berättade om sin respektive institutions verksamhet och projekt. Empirin har sedan analyserats mot en tidigare utformad framgångsmodell av Fors och Svedberg (2015) som illustrerar framgångskriterier för kulturprojekt, för att sedan kartlägga institutionerna bild av lyckade projekt. Forskningens resultat visade att institutionernas huvudsakliga mål, och det som de hoppas på att uppnå, är produktioner och projekt av hög konstnärlig kvalité mer än ekonomisk framgång. Resultatet visade även på att kulturmålen anses mer som riktlinjer än direkta krav. / The purpose of this article is to increase the knowledge about the special characteristics of cultural projects by examining what the desired outcome is and the factors that are critical to a projects success or failure. The focus of the study is the cultural institutions in Värmland which annually receive government subsidies through the collaboration model. The study is based on qualitative semi-structured interviews with representatives from the institutions where they talk about their respective institutions' activities and projects. The empirical data was then analyzed against a previously designed success model by Fors and Svedberg (2015) that illustrates success factors for cultural projects, and to then identify the institutions view of successful projects. The research results showed that the institutions main objectives, and what they hope to achieve, is productions and projects of high artistic quality rather than economic gain. The result also showed that the cultural goals are considered more as guidelines than direct requirements.

Throughout Czech history theatre played a pivotal role in the formation of Czech language and culture. Theatre embodies much of what makes Czech culture unique in Europe, but also ties Czech Republic together with its neighbours who share a similar cultural heritage. This thesis first analyses the development of the institutional and legislative framework of theatre and its financing. In following chapters this thesis offers an overview of the different legal forms of theatres, both profit and non-profit. Specific situation of the theatres still owned by state is examined in detail, explaining and illustrating many of the difficulties and obstacles caused by this form of legal existence. The process of transformation of allowance organizations is then described and evaluated using examples of selected transformed theatres. As a connected issue, the perceived difference between profit oriented and non-profit theatres is examined, which leads to exploration of the relationship between the cultural economic policies and the social importance of culture. In this context, the system of financing of theatres is then explained, detailing both tax legislature and the funding of theatre from public sources. In the closing segment, some ideas for improving the current system of funding are offered for...

Le régime de la tutelle sur les établissements publics, et les conditions de la coopération, appréhendées selon les critères classiques du droit administratif, ne permettent qu'une conduite imparfaite de la politique culturelle de l'État. Les établissements publics sont un objet : le ministère de la Culture établit avec ces personnes publiques dotées d'une autonomie des rapports inégaux qui ne peuvent fonder la mise en œuvre d'une politique publique cohérente.Les finances publiques enrichissent cependant le droit public et en modifient les instruments administratifs : la loi organique relative aux lois de finances crée de nouveaux rapports entre l'État et les entités en charge de l'exécution d'un service public. L'opérateur de l'État est le point d'entrée d'une gouvernance inédite et de l'introduction de la performance au sein des établissements publics nationaux. Par ailleurs, de nouvelles structures de coopération se mettent en place, qui enrichissent les critères de l'établissement public.La contractualisation de la performance, dont il convient d'étudier les possibilités de l'étendre aux structures de coopération, est un moyen de faire de l'établissement public un acteur de la gouvernance culturelle : de nouvelles connexions s'établissent, les gestionnaires des structures culturelles doivent rendre des comptes. En retour, la généralisation de cette dynamique de contractualisation serait un moyen pour l'État de mener une réflexion inédite sur la détermination et la conduite de la politique culturelle, à partir de ses modes de gestion. / The mode of supervision of public establishments, together with the cooperation conditions, understood on the basis of the classical criteria of administrative law, only allow for an imperfect conduct of the state's cultural policy. The public establishments are an object: The Ministry of Culture establishes relations with these public entities that are on unequal footing and cannot provide a basis for the implementation of a coherent public policy.However, public finances add to the wealth of public law and modify its administrative instruments : the loi organique relative aux lois de finances (Organic Law on Laws of Finance of August 1, 2001) establishes new relations between the state and the entities responsible for the implementation of a public service. The state operator represents the entrance point of a new governance that introduces the notion of performance within national public establishments. Further, new cooperation structures are being put into place that enrich the criteria of public establishments.The fact that performances are contractually defined – and the extension of this system to cooperation structure should be examined – can turn the public establishment into a player in the field of cultural governance: New connections are established, the managers of cultural structures are made accountable. In return, the wider application of this contracting dynamic would provide the state with a unique opportunity to reflect on how to determine and conduct a cultural policy based on these forms of managements.

The diploma thesis deals with the financing of theatres -- allowance organizations of the City of Prague. The thesis outlines the development of organisational structures of the Czech theatre as well as offers an overview on how theatres are run and operated in relation to the Czech legislation. Furthermore, the whole issue is examined in depth and placed in a wider context of economic policy. The thesis aims to evaluate the transformation using the example of selected theatres that have been transformed; the analysis also consideres allowance organisations. It is intended to outline mechanisms that enable optimal functioning of theatres in general, i. e. not only for non-profit theatres, as well as combine private and public financing at the same time. Systems of financing arts in United Kingdom and in Austria are presented in order to provide inspiration for the improvement of the Czech system. This diploma thesis endeavours an outline of the question analysed in its whole complexity.

Ce travail se propose d'étudier les ambitions, d'envisager les modalités et enfin de mesurer les résultats de la politique culturelle française menée en Grèce du début des années 1930 à 1981 (date d'entrée de la Grèce dans la Communauté Economique Européenne). Durablement implantée comme culture étrangère dominante depuis la fin du XVIIIème siècle, la culture française se heurte, en Grèce, au cours d'un long XXème siècle à une rude concurrence et connaît une période de déclin au profit de la culture américaine après 1945. Cette étude présente donc le double intérêt de mettre en exergue à une "échelle locale", traversée par les influences de nombreuses puissances étrangères, l'évolution de la diplomatie culturelle française. Partant du postulat d'une "décadence" de la politique étrangère française à partir des années 1930, ce qui se joue en territoire hellénique serait, à bien des égards, le reflet de ce qui se joue plus globalement au niveau mondial pour le rayonnement français. / The aim of this work is to study how the era from the Thirties to 1981 represents a key moment for the cultural presence of France in Greece. Dominant foreign culture from the end of the 18th century to the beginning of the 20th century, France has to face new rivalries (especially the United States of America after 1945)and new challenges. This analysis focuses on the organisation and the results of the cultural policies led by France during this period.

ABSTRACT UNESCO’s World Heritage Convention of 1972 has set the standard for the evaluation, preservation and conservation of World Heritage Sites (WHS) globally. The role and function of UNESCO in the cultural heritage sector in Africa, in particular cannot be denied. However, the World Heritage Convention (WHC) site management requirements for African States that are parties to the Convention, presents challenges in terms of implementation. This is due in most cases, to lack of infrastructure, deficient national policy structures, poor legislation, bad management and poor implementation. This is particularly the case in developing countries where governments are grappling with socio-economic and political challenges. Questions are raised about who has the right to define heritage, and what kinds of parameters are used to measure World Heritage of ‘‘universal’’ value. Is it appropriate for UNESCO to recommend a set of standards that have become a lens through which global cultural heritage policy is viewed and measured? What then are the implications for African sites for being listed as World Heritage, and what are their chances of competing in the global cultural arena based on the challenges mentioned above? This research report, through a study of the Mapungubwe Cultural Landscape in the Limpopo Province of South Africa, attempts to grapple with aspects of the questions raised above, and seeks to illustrate the challenges of managing a World Heritage Site. It highlights the gaps between WHC requirements, national cultural policy legislation, infrastructural and human resource incapacity, and implementation by the management at the Mapungubwe World Heritage Site