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This novel ethnographic study investigates the role of culture and tourism in the sustainable development of rural communities in Jamaica. It focuses on two distinctive Jamaican groups, the Charles Town Maroon and the Seaford Town German descendants. The objectives of the study are to examine the meanings culture holds for local people in relation to identity, sense of place and community development; assess the extent to which they capitalise on their intangible and tangible culture in pursuit of sustainable rural community tourism and make recommendations for local people and policymakers. The basis for the research is the economic and social crisis facing rural communities in Jamaica due to the demise of their traditional agriculture base. This has been precipitated by international trade liberalisation rules, which removed the preferential access of Jamaican produce to European Union countries. With small-scale Jamaican sugar and banana farmers unable to compete with major producers from the United States of America and South America, rural communities have been left devastated. For many, farming is now an unreliable source of income. More than half of local farmers are in serious economic and social difficulties and 80 per cent of the 1.1 million people living below the poverty line in Jamaica, live in the countryside. With few alternative livelihood strategies, many rural inhabitants are attempting to exploit their culture resources by way of rural community tourism. This coincides with research, which shows an increasing desire by tourists to capture diverse and ordinary social experiences in destinations such as Jamaica. They want authentic contact with host communities away from resorts. However, with tourism on the island predicated on the sand, sun and sea all-inclusive resort model and poor rural infrastructure, local people face tough challenges to exploit their culture resources. The study is conducted in the real world setting of rural Jamaica and is underpinned by an integrated conceptual framework developed from ideas taken from different literatures and preliminary fieldwork. The framework is applied to the findings of the study to analyse the different development paths taken by Charles Town and Seaford Town. It argues that Ray’s (1998) culture economy approach helps to capture this, but the complex and contested nature of ideas relating to development, identity, sense of place, community and culture commoditisation mean it does not do so holistically. However, a more comprehensive picture of the development paths of the two communities emerges by integrating notions of the culture economy with ideas relating to cultural connectedness and plurality of commoditisation. The concepts reflect a sense of ‘rootedness’ in place (vertical linkages) and same-level locally bounded relationships (horizontal linkages). Plurality of commoditisation refers to the differentiated and diversified tactics being deployed by locals to meet tourists’ demands for actual interactions and co-creative experiences with them. The research approach consists of a constructivist paradigm, relativist ontology, subjectivist epistemology, ethnographic methodology and qualitative methods. The focus is, therefore, not only on who, why, what, when, and how, but also on meanings, human action, identity, sense of place, interactions, emotions and behaviour. Thick detailed descriptions are used to capture the articulations of local people and the circumstances in which they occur. The study finds that the role of culture and tourism in the sustainable development of rural communities in Jamaica marks the transition from a primarily agriculture mode of production to one that places greater emphasis on the use of local culture resources. However, while it is clear that communities such as Charles Town and Seaford Town are rich in culture resources, the extent to which they capitalise on them are somewhat limited. The reasons are socio-economic, historical and deep-seated. Adopting the modified culture economy approach, proposed in this study, could increase understanding of the challenges faced by locals and offer a way forward. This is because the framework is holistic in that it considers the socio-economic, cultural and emotional dimensions of rural communities.

Made available in DSpace on 2016-04-26T18:12:34Z (GMT). No. of bitstreams: 1 Doralice Soares Leao.pdf: 979154 bytes, checksum: 0f6b0dcda9b41044633078ac8b2c52d2 (MD5) Previous issue date: 2012-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / There are many thinkers who state as urgent the need to deal with culture as a productive segment (THOMPSON, 1999; BRIGGS and BURKE, 2004) and there are some initiatives aimed at a very much needed data system (BNDES (National Bank for Economic and Social Development), 2006; SEBRAE (Brazilian Service for Small Business Development), 2008) capable of providing visibility to the role the culture plays in the current scenario of capitalism (BENTES, 2007; JAMESON, 1996; SENNETT, 2006). A new field has been designed, the culture economy, which still does not have great media visibility and, within it, there is another field, which has been referred to as dance economy. However, the silence of the economic journalism and of the cultural journalism has been keeping invisible the economy-culture relationship, as well as the economy and dance relationship. With the purpose of reverting the situation, the paper is based on bibliographic review to focus on political forces that influence the dance economy (MCLUHAN, 2001; OLIVEIRA & CIANCIO, 2007). The hypothesis suggested herein is opposed to the line of thinking that discloses in seminars, meetings, congresses and festivals the status of dance economy because it questions the existence of a productive sector that can actually be conceived as dance economy. For such, the research embodies the communication forms of the events promoted on that issue between 2000 and 2012, and its theoretical ground is the Corpomídia Theory (KATZ & GREINER 2001, 2003) in order to show that the exchanges between bodies and environments around this possible existence of dance economy have been increasing (DAWKINS, 1976) without any critical thinking and, thus, contributing towards the strengthening of public policies for the culture which are incapable of promoting autonomy / Não são poucos os teóricos que proclamam a urgência em se tratar a cultura como um setor produtivo (THOMPSON, 1999; BRIGGS e BURKE, 2004) e já existem algumas iniciativas voltadas para uma indispensável sistematização de dados (BNDES, 2006; SEBRAE, 2008) capaz de dar visibilidade ao papel que a cultura tem no atual estágio do capitalismo (BENTES, 2007; JAMESON, 1996; SENNETT, 2006). Desenhou-se um novo campo, a economia da cultura, que ainda não tem grande visibilidade midiática e, dentro dele, aninha-se um outro, que vem sendo moneado de economia da dança. No entanto, o silenciamento do jornalismo econômico e do jornalismo cultural tem mantido a relação economia-cultura e também a da economia com a dança na invisibilidade. Objetivando colaborar para que a atual situação seja revertida, a tese parte de uma revisão bibliográfica para focar as forças políticas que tensionam a economia da dança (MCLUHAN, 2001; OLIVEIRA & CIANCIO, 2007). A hipótese aqui proposta vai na contramão do pensamento que divulga em seminários, encontros, congressos e festivais a situação da economia da dança porque questiona a existência de um setor produtivo que possa ser, de fato, conceituado como economia da dança. Para tal, toma como corpus desta pesquisa as formas de comunicação dos eventos promovidos com esse tema no período entre 2000 e 2012, e emprega como fundamentação teórica a Teoria Corpomídia (KATZ & GREINER 2001, 2003) para sustentar que as trocas entre corpos e ambientes em torno de uma possível existência da economia da dança vem replicando-se (DAWKINS, 1976) sem qualquer reflexão crítica e, dessa maneira, contribuindo para o fortalecimento de políticas públicas para a cultura incapazes de promover autonomia

Under början av 2000-talet stod musikbranschen inför några svåra år när fildelning blev allt vanligare och försäljningen av CD-skivor sjönk kraftigt. Denna uppsats undersöker vad som hände med musikbranschen efter denna kris och hur musikbranschen som fält ser ut idag. Detta undersöks utifrån Pierre Bourdieus teorier om det kulturella fältet och olika former av kapital samt Emma Stenströms teori om att vi rör oss i en ny kulturekonomi. Genom att lyssna på podcastserier från Sveriges Radio och DMG Education med fokus på musikbranschen utfördes en innehållsanalys som genererade fyra teman; krisen, musikbranschens demokratisering, image och pengar. Krisen uppkom som en konsekvens av digitaliseringen av musikindustrin. Denna digitalisering har ändrat förutsättningarna och strukturen för musikbranschen som fält. Skivbolagens maktposition är inte längre lika stor och streamingföretaget Spotify har snabbt stigit till att bli en av de dominerande aktörerna inom fältet. Artistens maktposition har även förstärkts, något som inom fältet beskrivs som demokratiseringen av musikbranschen. Krisen har även lett till att det blivit allt mer accepterat för artisterna att tjäna pengar och samarbeta med den kommersiella sektorn vilket tidigare inte vara lika accepterat. / In the beginning of the 20th century the music industry went into a crisis when file sharing became more common and at the same time the sale of the CD dropped. This thesis tries to examine what happened with the music industry in Sweden after this crisis and tries to identify the key actors in the field today. This will be illustrated through Pierre Bourdieu’s theory of the cultural field and different forms of capital as well as Emma Stenströms theory of the culture economy. A content analysis was made by listening to podcast series from Sveriges Radio and DMG Education covering the music industry, which generated four themes; the crisis, the democratisation of the music industry, image and money. The crisis emerged as a consequence of the digitalization of the music industry. This digitization has changed the structure and qualifications that constructs the field. The record companies power position is no longer as great and the streaming company Spotify have rapidly risen to become a dominating actor within the field. Even the artists power position has become greater, something that within the field has been described as the democratization of the music industry. It has become more acceptable for the artist to earn money after the crisis and cooperation with the commercial industry are at large more approved of. This goes against the previous position of the field where economic success was secondary to cultural values.

Denna fallstudie undersöker utvärderingens praktik inom ett offentligt finansierat scenkonstprojekt. Med en hermeneutisk ingång och abduktiv ansats studeras olika betydelser av begreppet utvärdering inom ramen för det system, som på initiativ av Dramaten&, möjliggjorde scenkonstprojektet Nationalismens Apostlar 2014. Analysen grundar sig på intervjuer och textmaterial. Den teoretiska utgångspunkten är tvärvetenskaplig med betoning på utvärderingsmetodik, kulturpolitisk forskning och Arts Management. Uppsatsens huvudargument är att ett scenkonstverk som Nationalismens Apostlar bäst förstås som ett organisatoriskt resultat av flera aktörer i samverkan. Kommunikationen mellan dessa aktörer blir avgörande för att senare kunna bedöma betydelsen och värdet av det enskilda scenkonstverket. / This case study is an exploration of different understandings of the evaluation process in a publicly funded performing arts project. With a hermeneutics entrance and abductive approach different meanings of evaluation is studied within the system that enabled the project Nationalismens Apostlar at the Swedish National Theatre 2014. The analysis is based on interviews and text material. The theoretical starting point is interdisciplinary with emphasis on Evaluation Methodology, Cultural Politics and Arts Management. The main argument presented in the thesis is that a peforming arts project as Nationalismens Apostlar must be understood as a result of different actors in an organisational context. The communication between these different actors is subsequently vital to define the meaning and value of the final artwork.