No description available.

Made available in DSpace on 2015-04-22T22:04:15Z (GMT). No. of bitstreams: 1 Rila Arruda.pdf: 3812553 bytes, checksum: 25eb90cafd17932b6ef998194a8f04e6 (MD5) Previous issue date: 2011-03-15 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / A política cultural no Estado do Amazonas demonstra um significativo crescimento nos últimos treze anos, bem como os investimentos em diversos projetos, na política de eventos, na formação artística, na criação de centros culturais e museus. A pesquisa apresenta uma análise geral do conjunto das políticas culturais efetivadas pelo poder público do Amazonas (1997-2010), seja no âmbito municipal e no âmbito estadual, com ênfase na política de museus e na relação entre os agentes sociais diretamente envolvidos no campo museal. No entanto, somente a partir de uma análise dos dados oficiais e, principalmente, a partir do posicionamento tomado por parte de um determinado conjunto de agentes sociais é possível identificar os princípios que norteiam a concepção e implantação dessa política pública.

Made available in DSpace on 2016-04-26T14:55:11Z (GMT). No. of bitstreams: 1 Joana dos Santos Egypto de Cerqueira.pdf: 968361 bytes, checksum: 58ceab4ea27f7469753ce82997e8e9d6 (MD5) Previous issue date: 2015-03-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work presents three different movements characterized by disjunctive series interweaved around the genealogy of forces in struggle, composing the invention of a dance. It is especially inspired in the writings of Friedrich Nietzsche, Michel Foucault, Gilles Deleuze and Félix Guattari. Traces of what is considered as contemporary dance‟ are situated through the discussions around dance‟s execution by history and becomings that are installed on it. Therefore, the emergence of the Programa Municipal de Fomento à Dança (Municipal Dance Foster Programme) for the city of São Paulo is investigated, from ways of conducts taken out by performance artists during the passage of the 20th to the 21st century. The Vocational Programme (Programa Vocacional) is analised as one of the most important complementary political program related to the activity of artists from different fields. In this way, the research concentrates on the historical analysis of the cultural policies investments in Brazil that reflects in adjustments over the production of the so-called intangible materials‟ and controls related to the recent field of the creative economy . The government of conducts affects the life of artists and dancers in São Paulo, while the sophistication of power technologies develop calculations and create forms of selectivity around the current artistic creations in contemporary dance by means of governmental notices and tenders. Different ideas of culture‟ are presented based especially on nietzschean lectures about cultivation of social and ethical practices. A path of the development of cultures of the self through the experimentation of dances produced in São Paulo between the final decades of the 20th century and the beginning of the 21st raising mixes with a distant archipelago: Japan. That meeting is considered as one of the possible links that calls our attention for the political condition of the contemporary dance in São Paulo / Este trabalho apresenta três movimentos caracterizados por séries disjuntivas que se entrelaçam em torno da genealogia das forças em luta componentes da invenção de uma dança, a partir principalmente das leituras de Friedrich Nietzsche, Michel Foucault, Gilles Deleuze e Félix Guattari. Situa-se vestígios daquilo que veio a ser considerado como dança contemporânea em meio à discussão entre efetuações da dança pela história e devires que nela se instalam. Discute-se, por conseguinte, como se deu a emergência do Programa Municipal de Fomento à Dança para a cidade de São Paulo, a partir de modos de condutas efetuados por artistas da cena, durante a virada do século XXI. Analisa-se, contudo, um dos atuais programas políticos municipais complementares à condição do campo de trabalho que envolve a vida de artistas de diferentes campos: o Programa Vocacional. Nesse sentido, a pesquisa debruçou-se na análise histórica dos investimentos em políticas culturais, no Brasil, que desaguam em adequações sobre a produção dos considerados materiais intangíveis e controles relacionados ao recente campo da economia criativa . O governo das condutas atravessa a vida de artistas e dançarinos, na cidade, em meio também à sofisticação de tecnologias de poder que condicionam cálculos e atestam seletividades sobre as atuais elaborações voltadas às artes e à dança contemporânea, por meio do funcionamento dos editais. Noções de cultura são apresentadas principalmente a partir de leituras nietzschianas enquanto cultivo de práticas sociais e de si. Delineia-se, entre as décadas finais do século XX e a entrada do XXI, um percurso da elaboração de culturas de si pela experimentação de danças experimentadas e produzidas em São Paulo, que suscitam misturas e contágios com um longínquo arquipélago: o Japão. Esse encontro apresenta-se como um dos possíveis fios que chamam a atenção para uma escuta relacionada à condição política presente sobre a dança contemporânea, na cidade de São Paulo

The Swedish publishing company En bok för alla (which translates as “A book for everyone”) was established in 1976 following a decision in the Swedish parliament granting the right of the government to sign a cooperative agreement with the non-profit foundation Litteraturfrämjandet. Using state funds, the publishing company would publish books of high literary value to be sold at low prices over a three-year period. The purpose of this was to combat the kind of literature that was sold at supermarkets and corner shops, and which was deemed being of low literary value, but also to reach the wider public and attract non-readers. In this study I argue that the establishment of En bok för alla must be viewed as an expression of Swedish cultural policy which took form in the early years of the 1970s. Two years prior to En bok för alla being established the Swedish parliament passed the first cultural policy act of Sweden, thus laying the groundwork for cultural policy to come. In this act, it is stated that aim of Swedish cultural policy was to contribute to a better social environment and to work for the furtherance of equality. This would be achieved by, among other things, minimizing the negative effects of commercial interests in the cultural sphere and decentralizing the production and distribution of culture. During the 1960s and 1970s, books had become increasingly expensive and books of higher literary quality were both more difficult and more expensive than their lower quality counterparts. I argue that many looked at this as a shortcoming on the part of the above mentioned commercial interests, who valued money more than literature. I will also show how some these ambitions, bold though they may have been, in the end fell short of accomplishing the goal of En bok för alla. Though they did succeed in publishing books at low costs, the question of whether they were of high literary quality or not I can’t say, they did not seem to reach the wider audience they had hoped to attract. Following the Swedish election of 2006 and the subsequent change of government, the state funds for En bok för alla were withdrawn in 2007. The argument given for this was that the book market had changed since 1976. This was of course true, but in my opinion the need for these high-quality dime-store books is perhaps even more acute today than ever before. In a time when smartphones, television and computers all compete for our attention, I believe that it is becoming an increasingly important task for our society to secure the role of books and reading in the world of media.

This dissertation profiles the children's television industry in Australia; examines the relationship between government cultural policy objectives and television industry production practices; and explores the complexities of regulating and producing cultural content for child audiences. The research conducted between 1997 and 2002 confirms that children's television is a highly competitive business dependent on government regulatory mechanisms and support for its existence. For example, the Australian Broadcasting Authority's retaining of mandatory program standards for children's programs to date, is evidence of the government's continued recognition of the conflict between broadcasters' commercial imperatives and the public-interest. As a consequence, the industry is on the one hand insistent on the government continuing to play a role in ensuring and sustaining CTV - however, on the other hand, CTV producers resent the restrictions on creativity and innovation they believe result from the use of regulatory instruments such as the Children's Television Standards (CTS). In fact, as this dissertation details, the ABA's intended policy outcomes are inevitably coupled with unintended outcomes and little new or innovative policy development has occurred. The dissertation begins with an investigation into the social, cultural and ideological construction of childhood within an historical and institutional context. I do this in order to explore how children have been defined, constructed and managed as a cultural group and television audience. From this investigation, I then map the development of children television policy and provide examples of how 'the child' is a consistent and controversial site of tension within policy debate. I then introduce and analyse a selection of established, establishing and aspiring CTV production companies and producers. Drawing on interviews conducted, production companies profiled and policy documents analysed, I conclude by identit~'ing ten key issues that have impacted, and continue to impact, on the production of children's television programming in Australia. In addressing issues of industry development, the question this dissertation confronts is not whether to continue to regulate or not, but rather, how best to regulate. That is, it explores the complexities of supporting, sustaining and developing the CTV industry in ways which also allows innovative and creative programming. This exploration is done within the context of a broadcasting industry currently in transition from analogue to digital. As communications and broadcasting technologies converge, instruments of regulation - such as quotas designed around the characteristics of analogue systems of broadcasting - are being compromised. The ways in which children use television, and the ways in which the CTV producers create content, are being transformed. The ten key issues identified in this dissertation, I propose, are crucial to industry development and policy debate about the future of children's television in Australia. In integrating the study of policy with the study of production, I have given prominence to the opinions and experiences of those working in the industry. In doing so, this dissertation contributes to the growing body of work in Australia which incorporates industry with cultural analysis, and which includes the voices of the content providers.

This thesis examines how cultural heritage policies are developed in New Zealand. Cultural heritage symbolises the development of a society, illustrating past events and changing customs and values. Because of its significance, the government has accepted responsibility for protecting cultural heritage, and has developed a number of institutions and a variety of policies to address this responsibility. It is important to understand how the goverment uses these mechanisms to protect cultural heritage, and the subsequent relationships that have developed between actors in the cultural heritage area. These will have an impact on the effectiveness of the policy which is developed. Cultural heritage is treasured by society for a number of reasons, but as social attitudes change, so does the treatment of cultural heritage. It is re-defined, re-interpreted and used to promote a sense of pride in the commmunity. This manipulation extends to policy making. Since the 1980s, the government has influenced, and been influenced by, two major social changes. There has been an introduction of free market principles such as rationalisation, competition and fiscal responsibility into the New Zealand economy and political structure. These principles have been applied to cultural heritage and consequently cultural heritage is treated as a commodity. As the result of changing attitudes towards the treatment of the Maori and Maori resources, there has been a movement towards implementing biculturalism. This has meant a re-evaluation of how Maori taonga is treated, particularly of the ways Maori cultural heritage has been used to promote a sense of New Zealandness. There are several major actors involved in cultural heritage policy making - government, policy units, cultural heritage organisations and local authorities. Central government is the dominant force in the political process, with control over the distribution of resources and the responsibilities assigned to other actors. Because the use of market principles and movement towards biculturalism have been embraced at the central government level, other actors in the policy making process are also expected to adopt them. Policy units develop options to fit with the government�s general economic and political agenda. The structures adopted for the public service are designed to encompass market principles, particularly the efficient use of resources and competitiveness. While cultural heritage organisations may influence the government�s agenda through lobbying and information-sharing, they are limited by issues such as funding and statutory requirements. Government has shifted many responsibilities to the regions, but while territorial authorities are influenced by the concerns of their communities, they are also subject to directions from the government. The process and structures which have been outlined do not contribute to an effective policy making system. The use of market principles to direct cultural heritage protection tends to encourage uneven and inconsistent policies, both at national and local levels. The range of cultural heritage definitions used by government agencies also promotes inconsistency. Cultural heritage is encompassed in a large number of government departments and ministries, which makes the co-ordination funding by meeting required �outputs� and the government�s requirement of fiscal responsibility. This is not appropriate language for cultural heritage, which should not have to be rationalised as an economic good. Although the government has devolved a number of responsibilities and territorial authorities have a variety of mechanisms available to protect cultural heritage, there is no nation-wide criteria for territorial involvement. Because of regional differences there is an uneven treatment of cultural heritage. Those policies developed by territorial authorities will also be influenced by the government�s economic direction. Organisations supported by the Dunedin City Council, for example, must also provide budgets and strategic plans which fit with Council�s fiscal objectives.

The aim of this two year master thesis is to analyze how digital preservation is presented as a problem in the Swedish national strategy for the digitization and digital preservation of the Swedish cultural heritage. In order to study which assumptions about digital preservation exists within the strategy I apply the discourse oriented methodological tools presented by Carol Lee Bacchi, which focuses on discerning what problem or, rather, representation of a problem exists within a specific policy. This study is a post-structuralist discourse analysis. The main focus of the study is on what assumptions and prerequisites the dominating representation of the problem is based upon and how the representation has evolved. The main material of the study consists of public investigations conducted by the Swedish state, governmental propositions and replies as well as other public documents upon which Bacci's methodological tools are applied. Results show that digital preservation is primarily interpreted as a financial problem as the national strategy and its surrounding documents stress the need of cost-efficient solutions. The discourse of cost-efficiency is based upon instrumental political ideals, and results show that there is a specific kind of terminology within the documents which strengthens the dominance of this discourse. The consequence of the dominating representation of the problem as being of a financial kind marginalizes other vital aspects of digital preservation.

Where Outreach Meets Outrage: Racial Equity at the Canada Council for the Arts (1989-1999), examines the early formation of racial equity policies at The Canada Council for the Arts. In this research project, I am primarily interested in understanding the ways in which ‘culture’ is employed by the state, the Canada Council for the Arts and by black artists to articulate and communicate complex issues that pertain to notions of art, citizenship, solidarity, justice, multiculturalism, belonging and nationhood. The research places culture and cultural production centrally within claims and calls by racialized artists for the ethical redistribution of societal resources and participation in societal structures. I look at questions of how community is produced and struggled over in relation to claims for cultural resources. This thesis employs an interdisciplinary approach drawn from the disciplines of sociology, anthropology and critical cultural studies to allow the complex relationships between activities of the Canadian state, racial equity policy making at the Canada Council, and grass roots social activism to emerge. I argue that state practices of management are elastic and that racial equity policies at the Canada Council emerged out of a confluence of transformational activities simultaneously taking place at the state/institutional and grassroots levels. The significance of this research project is that it fuses contemporary cultural production and art within contemporary social justice paradigms that seek to understand the processes and practices within liberalism that produce oppressions and resistance through an exclusionary politics of representation. This dissertation study will have both applied and theoretical implications in the Canadian context both within and outside of the academy in the fields of the arts, cultural policy and education.

Where Outreach Meets Outrage: Racial Equity at the Canada Council for the Arts (1989-1999), examines the early formation of racial equity policies at The Canada Council for the Arts. In this research project, I am primarily interested in understanding the ways in which ‘culture’ is employed by the state, the Canada Council for the Arts and by black artists to articulate and communicate complex issues that pertain to notions of art, citizenship, solidarity, justice, multiculturalism, belonging and nationhood. The research places culture and cultural production centrally within claims and calls by racialized artists for the ethical redistribution of societal resources and participation in societal structures. I look at questions of how community is produced and struggled over in relation to claims for cultural resources. This thesis employs an interdisciplinary approach drawn from the disciplines of sociology, anthropology and critical cultural studies to allow the complex relationships between activities of the Canadian state, racial equity policy making at the Canada Council, and grass roots social activism to emerge. I argue that state practices of management are elastic and that racial equity policies at the Canada Council emerged out of a confluence of transformational activities simultaneously taking place at the state/institutional and grassroots levels. The significance of this research project is that it fuses contemporary cultural production and art within contemporary social justice paradigms that seek to understand the processes and practices within liberalism that produce oppressions and resistance through an exclusionary politics of representation. This dissertation study will have both applied and theoretical implications in the Canadian context both within and outside of the academy in the fields of the arts, cultural policy and education.

This research will try to describe the reasons and motives which produce the programs of artist-in-residence (A.I.R) and international mobility by the phenomena of globalization with the four main bodies: the organization of operating residence program, art centre, artist, funding. Furthermore, the researcher will analyse the A.I.R. programs by three operating strategies: to set up the international cultural policy; to practie the international support and the fellowship; to establish the platform of international network. The exploration are as following: 1. To clarify the meaning and value of A.I.R and discuss the strategies and patterns. 2. According to the international A.I.R. and mobility programs. To examine and analysis the models of carrying out in other countries by the above three strategies. 3. To analyse and discuss the possibilities of A.I.R and Mobility program executed by Taiwan¡¦s Government , to suggest the operating prcedures and evaluation of official operation by Taiwan¡¦s government. Also, this research will take the operation of foreign examples as comparative cases and take their models to generalize the strategies and evaluations of official operation by Taiwan¡¦s government. These strategies are literature review, research in the internet, case studies, interview, fieldwork. Firstly, the literature review will include the evolution of artistic ecology for artists, the themes of A.I.R., and the tendency of globalization. Secondly, to analyze the operating strategies and provide the suggestion from the aspects of residence program, fellowship project, the scene of residence. Finally, the study will advise the official organizations, artists and art centre managers those who concern about the programs of A.I.R and International mobility as specific suggestion and strategies.