Governing creative industries in the post-normative cultural condition

Finnish cultural policy as public funding: Regime view across policy domains

“…We set the following question: What kind of a cultural policy regime do the distribution of public funding for culture and the related administrative responsibilities throughout the Finnish state administration illustrate? The Finnish state cultural policy regime -the purposes of state intervention in the cultural field (Rius-Ulldemolins & Pizzi 2022) -forms a complex set of governance responsibilities and funding implemented by several ministries and their subordinate agencies as well as other actors (see also Wyatt & Trevena 2020). As funders of art and culture, the different policy domains of the state administration have diverging ideologies, rationalities, historical backgrounds, and procedures (see Vestheim 2012).…”

“…Along with the rise of the "governance paradigm" within cultural policy (see Kann-Rasmussen & Hvenegaard Rasmussen 2021; Wyatt & Trevena 2020), such themes as coordination and cooperation within the administration and with other societal actors have been considered important political-administrative strategies to overcome the limitations of "sectorized" top-down policies (also Torfing & Triantafillou 2013). Here, also from the public funding perspective, interministerial governance becomes indeed one of the key aspects of sectoral cultural policy "…to harness potential synergies with other ministries and government agencies."…”

Conceptual Approach to Managing the Development of Creative Industries in Second-Tier Industrial Cities

“…Creative industries are the direct outcome of government liberalization reforms in trade and privatization in the 1980s and 90s. These reforms aimed to liberate culture from state subsidies and stimulate the post-industrial economy as creativity was recognized as a source of innovation, entrepreneurship, and knowledge capitalization (Wyatt & Trevena, 2020). However, in the realm of policy, creative industries represent a radical departure from traditional justifications of state cultural policy as this concept introduces alternative motives for «cultural self-expression and potentially new goals of cultural policy: profit and economic growth» (Svensson et al, 2017).…”