Dramaten och Operan fick som två av 26 institutioner under 2011 direktiv från regeringen att utveckla strategier för sina barn- och ungdomsverksamheter avseende åren 2012-2014. Denna studie ämnar analysera hur dessa verksamheter har närmat sig direktiven samt jämföra deras tillvägagångssätt. Därmed avgränsas studien till Dramatens och Operans barn- och ungdomsverksamheter: Unga Dramaten och Unga på Operan. Denna analys görs mot bakgrunden av regeringens styrningsmodeller för statliga myndigheter samt mot bakgrund av Sveriges kulturpolitik. Studien tittar även närmare på synen på barnkultur och hur man politiskt arbetar med att integrera barnperspektivet i kulturen. Personliga intervjuer har genomförts med anställda på Unga Dramaten och Unga på Operan samt med Dramatens och Operans förvaltare på Kulturdepartementet. Frågeställningarna för undersökningen har legat som grund för intervjuguiderna. Det har även samlats in material från sekundära källor, såsom officiella dokument, för att kunna studera det fält inom vilka dessa två kulturorganisationer verkar. Analysavsnittet söker svara på frågeställningarna för denna undersökning. Studien använder sig av målstyrning som mall för att bättre kunna strukturera och analysera det insamlade materialet. Undersökningen kommer fram till att syftet med strategierna var att de skulle fungera som ett verktyg för att tydliggöra verksamheterna. De har inte bidragit till någon förändring vad det gäller arbetsformen i organisationen. I sista kapitlet förs det även en diskussion om huruvida kulturupplevelser till fullo kan återges i traditionella resultatmätningar, såsom årsredovisningar, och om det är möjligt att mäta den effekt och potentiella nytta som kulturupplevelser kan ge barn och vuxna.

Kultur är en stor del av samhället och går ofta förbi obemärkt. Kulturorganisationer som Bonniers Konsthall och Nacka Kulturcentrum, Dieselverkstaden, arbetar aktivt med kulturverksamhet för barn och unga för att uppmärksamma kulturens betydelse. Syftet med denna jämförande studie är att behandla hur barn- och ungdomsverksamheten påverkas av de respektive organisationernas finansiering och handlande ur både ett privat och offentligt perspektiv. I den kvalitativa jämförelsen och analysen studeras material från media, hemsidor, årsredovisningar och intervjuer. Uppsatsen kommer att utreda på vilket sätt omgivningen innebär osäkerheter, möjligheter samt beroenden för de båda kulturorganisationerna. Resultaten av undersökningen visar att organisationernas finansiering påverkar deras verksamhet för barn och unga, men också även hur de agerar och organiserar sig internt.

Dissertation--Potsdam, 2000. / Bibliogr. p. 266-273.

This bachelor thesis is about civilian marching bands in the province Värmland industrial communities, with a focus on Degerfors, Edsvalla, Gruvön, Nors, Slottsbron, and Vålberg bands. Degerfors, Gruvön, and Slottsbron bands are three corps that still operates concerts and performances. The other three unions are defunct. In Värmland, there were many mills that were operating well into the 1900s, roughly speaking there were about 25 mills in various industrial areas. These mills had operations in glass, iron, and paper, each user had a band at least a brass sextet and today there are only eight bands left in Värmland. Bofors in Karlskoga, Charlottenberg, Degerfors, Dejefors, Gruvöns in Grums, Hagfors, Skoghall, and Slottsbron bands. What is the reason that so many bands have disappeared? To answer the question I have investigated the importance of four factors have had for the unions: finance, recruitment collaboration with the music and arts, as well as cooperation with educational associations. The results show a marked reduction in civil bands, from about 25 corps to eight corps today. Factors economy, recruiting, music and culture schools had a great importance and study associations only had a certain importance. Conclusion is if bands do not get financial support in order to conduct business, do not have interaction with music culture schools, because recruitment is done here today. Then it is a great risk that civilian bands are lost.

This essay is a product of the author’s interest in silent films from Soviet, especially, documentary films. Before the 1920’s documentary filmmaking had mostly been limited to newsreels and short scenes. Only occasional feature-length documentaries had been made. During the 1920s, documentary film achieved new status, not only because of its use as propaganda; it was also identified as artistic cinema. Discussions how to use this genre were taking place all over Europe, and in the US. In France, many different journals on cinema were started. In Soviet the discussions later became politicised. It was a good climate for groundbreaking cinema, and Esfir Shub was one of the film pioneers in Soviet. The ambition with the essay is to give Esfir Shub theoretical approach to non-fiction film a greater acknowledgement. The thesis is how Esfir Shub combines titles and pictures with cutting in The Fall of the Romanov Dynasty (1927) and to theorise the film with Shub’s own conceptual ideas. The method is close reading of the film and the articles written by Shub. The conclusions made by the author, is that Shub uses titles and pictures, in a dynamic cross-cutting between the oppressor and the oppressed. She is faithful to her own theories. She is only using authentically material and not played scenes; otherwise she would distort historical facts. The montage is built in two different ways. Firstly Shub use an ironic tone in the titles when she introduces the oppressors from the old regime, and comment these images widely. Secondly she uses pictures of typical symbols of capitalism and does not need to comment in such matter as earlier, because the film material she had captured speaks for itself.

With the Culture Survey 2009, the Cultural policy in Sweden has got a new direction. The new direction emphasises the importance of broadening the non-public funding for the cultural sector. The new direction opens up new phenomenon to establish themselves in Sweden. Crowdfunding is such a phenomenon. Crowdfunding is an online-method "by which the individual becomes financiers of projects and activities they have passion for" (Jakten på medborgarfinansiering, 11). The essay has resulted in a comprehensive presentation of the phenomenon crowdfunding and a deepening of the platform Crowdculture. Crowdculture is an online-platform for funding cultural projects through a combination of crowdfunding and public support. Societal trends digitization, stronger donation culture, economization of culture and cultural policies that seek broader financing is considered to be the foundation for Crowdcultures existence. The method crowdfunding contribute to a participatory and an audience perspective, witch is not previously been used frequently in the cultural sector. The platform Crowdculture suits a particular type of cultural project, and should not replace the existing funding. Within the cultural sector Crowdculture has the potential to make an impact but the potential has not yet fully spread. Cultural projects that fit within crowdfunding is usually owned and produced by civil society, as these projects have been difficult to get public funding. The method Corwdfunding is not only about getting funding but also with opportunity for early marketing. / Kulturutredningen 2009 har gett kulturpolitiken i Sverige en ny inriktning. Den nya inriktningen betonar vikten av att bredda den icke offentliga finansieringen av kultursektorn. Inriktningen öppnar upp för nya fenomen att etablera sig i Sverige. Crowdfunding är ett sådant fenomen. Crowdfunding är en online-metod ”genom vilken individen blir finansiärer av projekt och verksamhet de känner engagemang för” (Jakten på medborgarfinansiering, 11). Uppsatsen har resulterat i en övergripande presentation av fenomenet crowdfunding och en fördjupning av plattformen Crowdculture. Crowdculture är en online-plattform för att finansiera kulturprojekt genom en kombination av crowdfunding och offentligt bidrag. Samhällstrenderna digitalisering, starkare donationskultur, kulturens ekonomisering och kulturpolitiken som eftersträvar breddad finansiering anses vara grunden till Crowdcultures existens. Metoden crowdfunding bidrar till en deltagarkultur och ett publikperspektiv som tidigare inte använts flitigt inom kultursektorn. Plattformen Crowdculture passar en viss typ av kulturprojekt och bör inte ersätta redan befintligt finansieringssystem. Crowdculture har potential att få genomslag inom kultursektorn men är inte riktigt där ännu. Kulturprojekt som ryms inom crowdfunding är oftast ägda och producerade av civilsamhället då dessa projekt har svårt att få offentlig finansiering. Crowdfunding handlar inte endast om att finansiera projekt utan belyser också ett nytt sätt av marknadsföring.

Projects is the most common work model within the cultural area, but what is a cultural project? The definition of cultural projects is ambiguous. There are also no compiled information about what it means for culture to be pursued in project form. Scientific research about traditional project management and success criterias are wide-ranging. So is the scientific research about cultural studies and cultural policy. Which perspectives exists concerning successful cultural projects? This study is constructed from qualitative interviews with cultural producers and cultural perpetrators having been funded by Region Wermland. The empirical material is analyzed using a project model for success criterias. The result of the study indicates through the model similarities and differences, and presents an alternative model compatible with cultural projects. In the suggested model there appears to be three main sections: project management success, product success and market success. Project management success contains the framework for time and cost, derived from the classic iron triangle. However the quality goal aspect has been moved to the section product success. A common denominator in the researched projects is the concept popular adult education in relation to a successful outcome. The study presents a model that increases the understanding of the complexity of cultural projects.

No description available.

The aim of this paper is to research and discuss the role the cultural politics play for the Swedish employment office (Arbetsförmedlingen) and the meaning culture politics have within the labour market policy. A research has shown that Arbetsförmedlingen evaluates unemployed cultural workers differently than regular registered jobseekers. From an instrumental perspective on political implementation this can be considered as an anomali. Arbetsförmedlingen’s mandate derives from the government and its authority is a tool for carrying out state policy. A study, conducted on how Arbetsförmedlingen handles matching of culture jobseekers in the labour market can therefore be utilized as guidance towards possible answers regarding the state’s cultural policy in general. The problem formulation presented above led to the following inquiry: Does Arbetsförmedlingen have a cultural political assignment appointed by the government? Furthermore, what does the answer to the question imply regarding the Swedish cultural policy? A descriptive analysis of ideas are applied in order to examine governmental political documents and Arbetsförmedlingen’s regulations. The inquiry has generated a no answer for its question.  Arbetsförmedlingen does not have a cultural political assignment. The governmental organization has primarily a labour market political mission and in this context it signifies that it balances the cultural labour market. The result indicates that the Swedish cultural policy are presently diverting from the traditional Swedish model, where the state had a closer relationship to the culture and the culture workers.

Der Landesverband Sachsen im Deutschen Bibliotheksverband e.V. hat sich auf Basis der hohen Anerkennung der Leistungen der sächsischen Bibliotheken im politischen Raum entschieden, Wahlprüfsteine zur Landtagswahl 2014 zu erarbeiten. In Abstimmung mit den anderen Landeskulturverbänden, der Vorstandsvorsitzende arbeitet in einer aktiven Interessengemeinschaft mit, sind die bibliothekarischen Belange in die abgestimmten Wahlprüfsteine eingeflossen. Diese sind mittlerweile verschickt und fast alle Fraktionen haben Antworten signalisiert. Das nächste BIS-Heft wird über die Ergebnisse berichten.