On bullshit in cultural policy practice and research: notes from the British case

Belfiore, Eleonora

doi:10.1080/10286630902806080

Cited by 128 publications

(83 citation statements)

References 23 publications

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“…Jürgen Habermas, McGuigan is particularly critical towards the economic reasoning that dominates cultural policy. Even though the writings of McGuigan sometimes tend to be more ideological than analytical, the increased emphasis given to instrumental cultural policy since the 1980 has been thoroughly documented empirically (Belfiore 2009, Gray 2007). …”

Section: Introductionmentioning

confidence: 99%

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Kleppe

2016

International Journal of Cultural Policy

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Section: Introductionmentioning

confidence: 99%

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Kleppe

2016

International Journal of Cultural Policy

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“…As policy turns to a resurgence of interest in craft labour as a route to economic survival it may well be that local policy actors reconsider their ethos. Or they may continue in the ways outlined in this paper and perhaps engage in acts of bullshitting that Belfiore (2009) so aptly outlines. In this regard, one might judge that there may well be continued rhetorical support for jewellery designer makers within a mindset that diminishes and dismisses their value.…”

Section: Resultsmentioning

confidence: 99%

Gender, craft labour and the creative sector

Hughes

2012

International Journal of Cultural Policy

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This paper responds to a resurgence of interest in craft labour as an integral aspect of policy generation in the creative sector. It highlights the local, and industrial, cultural, and political histories and processes that create divisions and distinctions within craft economies. Drawing on research with designer makers in Birmingham Jewellery Quarter, the paper demonstrates how gender infuses the responses of policy actors in their regeneration plans for the local economy. It notes the significance of local meanings of craft and how this leads to misrecognition and devaluation. It also illustrates how the economic importance of designer makers is diminished within a policy environment that has had a long standing focus on large scale manufacturing. This leaves designer makers occupying a role that is predominantly focused on their symbolic and decorative value. This bodes ill for cultural policy reformulation that is based on the economic significance of flexible specialisation within small scale, networked businesses. IntroductionThis paper builds on, and responds to, Banks' (2010) concerns to signal the importance of craft labour to the cultural industries. He notes how, in its weight of attention on knowledge workers and creatives, craft labour has been a neglected facet to understanding this sector. However, as Banks notes, a focus on craft workers will illuminate alternative political positions as craft workers are, generally, subordinated to artistic labour. They are also currently threatened by recent transformations of flexible capitalism.

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“…Una corriente ha defendido la necesidad de orientar la política cultural hacia la integración social (Belfiore, 2009;Connolly, 2013). Sin embargo, otra corriente especialmente influyente en el Estado español, pero presente a nivel internacional, ha tendido a reconceptualizar la política cultural como una herramienta de antagonismo político antihegemónica que permitiría construir un espacio común, ni privado ni público, en el que los movimientos sociales ganarían el control de las instituciones culturales (Arora, 2015;Gilmore, 2017;Barbieri, 2018).…”

Section: Políticas Culturales Cambio Político Y Cambio Socialunclassified

¿Por qué las políticas culturales locales no cambian? Constricciones del modelo urbano, inercia en la gestión y batallas culturales en los «gobiernos del cambio» en Madrid y Barcelona (2015-2018)

Rius-Ulldemolins¹,

Gisbert²

2018

Rev. Esp. Cienc. Polít.

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¿Por qué las políticas culturales locales no cambian?Constricciones del modelo urbano, inercia en la gestión y batallas culturales en los «gobiernos del cambio» en Madrid y Barcelona ( -2018 ResumenDesde los años ochenta, la política cultural ha sido progresivamente entendida como una herramienta para la transformación urbanística y socioeconómica de las ciudades. En este sentido, una creciente atención se ha dirigido a explicar cómo la acción pública en el ámbito cultural ha cambiado en función de los objetivos y de los discursos que la legitiman. Sin embargo, menos atención ha recibido la comprensión de los elementos que explican su continuidad y persistencia, las inercias y las resistencias al cambio de esta política pública. Asimismo, en la última década, la creciente crítica al paradigma de la ciudad creativa y a sus efectos negativos ha llevado a desarrollar una propuesta alternativa de política cultural, en el marco de la llamada «nueva política» heredera del movimiento 15M. Esta perspectiva pretende impulsar nuevas formas de entender la cultura en el ámbito local, que se ha calificado de procomún. Este artículo trata de responder a la pregunta sobre hasta qué punto se puede hablar de cambio o, por el contrario, de continuidad en el desarrollo de las políticas culturales locales en dos casos destacados donde este fenómeno ha ocurrido: Madrid y Barcelona entre 2015 y 2018. También analiza las razones estructurales de la relativa continuidad en formas y resultados de la política cultural, a pesar de un cambio discursivo en relación con sus objetivos.Palabras clave: política cultural, ciudad creativa, campo político, nueva política, Madrid, Barcelona. AbstractSince the 1980s, cultural policy has been progressively understood as a tool for the urban and socio-economic transformation of cities. In this sense, an increasing attention has been addressed at explaining how public action in the cultural sphere has changed according to the objectives and discourses that legitimize it. However, less attention has been paid to understanding the elements that explain its continuity and persistence, inertias and resistances to change of this public policy. Likewise, in the last decade, the growing criticism of the creative city paradigm and its negative effects has led to develop an alternative proposal of cultural policy within the framework of the so-called «new politics» inherited from the 15M movement. This perspective tries to encourage new ways of understanding culture in the local domain, which has been described as pro-common. This article seeks to give an answer to the question about the extent to which there has been a change or, instead, continuity in the development local cultural policies in two relevant cases where this phenomenon has occurred, Madrid and Barcelona between 2015 and 2018. Moreover, it analyzes the structural reasons for the relative continuity in forms and results of the cultural policy despite a discursive change regarding its objectives.

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On bullshit in cultural policy practice and research: notes from the British case

Cited by 128 publications

References 23 publications

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

Gender, craft labour and the creative sector

¿Por qué las políticas culturales locales no cambian? Constricciones del modelo urbano, inercia en la gestión y batallas culturales en los «gobiernos del cambio» en Madrid y Barcelona (2015-2018)

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