The Economics Of Cultural Policy Free Download
Sibyla Tator
With his new book, The Economics of Cultural Policy (2010), David Throsby promises to provide a comprehensive synopsis of all economic contributions to the analysis of cultural policy while extending the discussion beyond the usual questions, inviting non-economists and specialists alike to join the conversation. The book suggests that theoretical and applied economics can broaden the existing study and practice of cultural policy by addressing such questions as: How do we understand and study cultural policy within a rapidly changing environment? What economic arguments can we draw on to support government decision making in matters of art and culture?
When it comes to the monitoring and evaluation of cultural policy, Throsby highlights that systematic methods of assessment combined with well-defined data sources will assist efficient decision making, especially when scarce financial resources have to be allocated to different areas of cultural interest. To support this, he briefly introduces some applications of various market and non-market valuation methods. For example, in the realm of cultural industries, he discusses the measurement of their economic contributions in terms of gross value of production, value added, employment and the like. Looking at cultural heritage (built, moveable and intangible), Throsby applies the concept of cultural capital to explain the relevance of heritage as an asset with important public-good benefits. Here, he suggests that cost-benefit analysis and other valuation methods, such as hedonic pricing and contingent valuation, can be useful to measure non-market values. In cases such as the creative arts, he acknowledges the difficulties of operationalizing cultural value and suggests decomposing it into various attributes and applying a judgment-based assessment by a group of experts. The analysis could have gone more deeply into the role of the experts, exploring power relations between them and other actors involved in assessing value and their impact on the evaluation process.
In this volume, Throsby identifies important aspects of cultural policy and argues that it can be enriched rather than debased by economic logic. He persuasively argues this by elaborating on various theories and their application to broader areas of cultural interest. While he introduces theoretical economic arguments in a seemingly balanced and comprehensive way, their practical applications could have been more convincing by supporting them with more varied illustrations from different cultures and countries.
This unique and insightful book provides a comprehensive examination of contemporary cultural policy and its discourses, influences, and consequences. It examines the factors that have led to a narrowing of cultural policy and suggests new ways of thinking about cultural policy beyond economics by reconnecting it with the practices of work, value, and the social.
Cultural policy is changing. Traditionally, cultural policies have been concerned with providing financial support for the arts, for cultural heritage and for institutions such as museums and galleries. In recent years, around the world, interest has grown in the creative industries as a source of innovation and economic dynamism. This book argues that an understanding of the nature of both the economic and the cultural value created by the cultural sector is essential to good policy-making. The book is the first comprehensive account of the application of economic theory and analysis to the broad field of cultural policy. It deals with general principles of policy-making in the cultural arena as seen from an economic point of view, and goes on to examine a range of specific cultural policy areas, including the arts, heritage, the cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, intellectual property and cultural statistics.
This book deals with policy-making in the cultural arena from an economic point of view and examines cultural policy in the arts, heritage, cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, and intellectual property.
The mission of the Center for Cultural Affairs at the O'Neill School of Public and Environmental Affairs is to advance the understanding of the place of arts and culture in public life. The center will facilitate a network of scholars and practitioners interested in advancing cultural affairs research, produce high-quality and relevant research on arts and cultural policy and management issues, and serve as a resource to the arts and cultural sector.
The Editorial Board attended the symposium and presents a short summary. The symposium was opened by a keynote by David Hesmondhalgh, Professor of Media Music and Culture, School of Media and Communication, University of Leeds, entitled Video Screen Interfaces: New Modes of Power in the Cultural Industries. Hesmondhalgh presented his research on video and argued that video screen interfaces involve new dynamics of discoverability (finding content) and prominence (making content stand out). There is a decline of vertically arranged guides in electronic form to favour increasingly horizontally arrangement online. These are important issues for cultural policy because distribution (circulation) rather than production is the media locus of power and profit in the creative industries.
The second keynote by Lluis Bonet, Professor of Applied Economy, Director of the Cultural Management Program, University of Barcelona, was entitled Public policies for the Arts, Comparing cultural policies in the intersection between liberal and illiberal democracies. Bonet presented three conceptual regimes: liberal democracies, totalitarian regimes, and iliberal democracies. He then made a comparison based on 5 key groups of variables regarding political system, respect to human and cultural rights, cultural governance, cultural frame and cultural strategies across Europe, to ask the question: what drives growth of authoritarian iliberal democracies? Noticeable was the growing cultural spending of Hungary and Poland, driven by fears of the perverse effects of globalisation, heightened by financial crisis, refugees, and terrorist events, but also by the building of a national identity and by populist tactics for the redistribution of power.
The question of revitalization of territories by tourism, at the risk of gentrification, is raised in many countries. Can we answer to this challenge? Should we finally worry about attempts to instrumentalize cultural policy? Can it disappear behind politics? Should we fear the propensity to put the economy at the heart of the discourse about the legitimacy of cultural policies?
The Parallel session 1.2 on International comparisons included a presentation by Karina Poli Lima da Cunha, University of São Paulo. Lima da Cunha applied the framework of Culture 1.0 about excellence, culture 2.0 about inclusion, and culture 3.0 about economic development to analyse the cultural and innovation production subfields in the UK and Brazilian cultural policy. Arjo Klamer, Mariangela Lavanga, Ellen Loots and Anna Mignosa, Erasmus University Rotterdam presented on the international Policies for craft, noting the challenge to define the difference between crafts and design while considering the emerging influence of technology. Crafts can be associated to intangible heritage or to creative industries, defining funding, preservation policies and Ministry (regulating) involved.
A law on the status of the artist can greatly improve the working conditions of cultural professionals. UNESCO and ILO join their expertise to shed light on the importance of elaborating efficient and inclusive regulatory instruments the cultural and creative industries.
This publication gives a snapshot of the trends shaping the African fashion sector, the challenges hindering its growth, and its opportunities for growth. As a tool for reflection and action, it is an open invitation to African policymakers and fashion sector professionals to come together for further dialogue and for reinforced and concerted action in favour of the fashion sector.
Member States define their priorities for cultural policy making at EU level in multi-annual Work Plans adopted in form of conclusions by the Council of the EU. Next to the New European Agenda for Culture and in line with its strategic orientation, the Work Plan is established as a strategic and dynamic instrument of EU cultural cooperation that addresses current political developments and set priorities, with due regard for the EU principles of subsidiarity and proportionality.
In 2016, the EU High Representative and Vice-President Federica Mogherini and Commissioner Navracsics presented the Joint Communication to the European Parliament and the Council - Towards an EU strategy for international cultural relations. Its aim is to put cultural cooperation at the centre of the EU's diplomatic relations with countries around the world.
Cultural policy is the government actions, laws and programs that regulate, protect, encourage and financially (or otherwise) support activities related to the arts and creative sectors, such as painting, sculpture, music, dance, literature, and filmmaking, among others and culture, which may involve activities related to language, heritage and diversity. The idea of cultural policy was developed at UNESCO in the 1960s. Generally, this involves governments setting in place processes, legal classifications, regulations, legislation and institutions (e.g., galleries, museums, libraries, opera houses, etc.) which promote and facilitate cultural diversity and creative expressions in a range of art forms and creative activities. Cultural policies vary from one country to another, but generally they aim to improve the accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic, sociolinguistic, literary and other expressions of all people in a country. In some countries, especially since the 1970s, there is an emphasis on supporting the culture of Indigenous peoples and marginalized communities and ensuring that cultural industries (e.g., filmmaking or TV production) are representative of a country's diverse cultural heritage and ethnic and linguistic demographics.
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