Public Culture, Cultural Identity, Cultural Policy

Mulcahy, Kevin

doi:10.1057/978-1-137-43543-9

Cited by 39 publications

(29 citation statements)

References 30 publications

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“…Many studies have shown that cultural participation is determined by socioeconomic class, including family background and education as well as household income (Mulcahy, 2017;Throsby, 2010;Van Hek and Kraaykamp, 2013;Willekens and Lievens, 2016), which seem to support the idea that the arts are consumed or appreciated mostly by higher income and educated members of society. Glow et al (2020: 1) note that audiences in Anglophone countries remain predominantly "white, middle class, and middle-aged."…”

Section: Cultural Participation Diversity and Well-beingmentioning

confidence: 97%

Festival value in multicultural contexts: City festivals in South Africa

Snowball

Antrobus

2020

Tourism Economics

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Worldwide, the number and variety of cultural festivals have grown dramatically. Many areas see festivals as an important way to attract tourists, and their spending, to a region, resulting in a positive economic impact. While they offer important opportunities for artistic producers and audiences, there is growing pressure for festival organizers to demonstrate their value to society beyond their economic impact. Like many countries, South Africa has a strong focus on increasing diverse cultural participation, demonstrating the social, nonmarket values of events that receive public funding. Using data from two South African festivals, the article uses a valuation framework developed by the South African Cultural Observatory to demonstrate measures of audience diversity, the use of quality of life measures to gauge the impact of culture on well-being, and the use of community focus groups to assess the impact of participation on social cohesion and capacity building.

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Section: Cultural Participation Diversity and Well-beingmentioning

confidence: 97%

Festival value in multicultural contexts: City festivals in South Africa

Snowball

Antrobus

2020

Tourism Economics

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“…(Sokka 2012;Kangas 2003). Naturally, it is impossible to set up independent expert bodies that are neutral of impartial (Kangas 2003: 92;Mulcahy 2017); it is always a question of battling interest, rationales, and arguments for public intervention in culture. The ministry saw the stripping of art fields' power to allocate state funds to "equals" as fortification of "arts autonomy".…”

Section: The Formation Of the Arts Promotion Centre From The Perspectmentioning

confidence: 99%

Results-based steering as a tool for centralizedart policy management and instrumentalization? Analysis of the Finnish ArtsCouncil’s reformation

Jakonen¹

2020

NKT

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“…When neoliberal capitalism has been adopted into Indonesia's post-Reform economic and political system, cultural policies have been often overlapped between one ideal and the other ideals; contributing to the creation of conditions of multiple ambivalence. Constructively, cultural policy is the government's efforts to make regulations on cultural development and empowerment that involve public participation to foster a form of cultural democracy (Mulcahy 2006(Mulcahy , 2017Hadley & Belfiore 2018;Mennell 1981;Belfiore 2016;Langsted 1989;Gibson & Edwards 2016), strengthen cultural values (Behr et al, 2017;Walmsley 2018;Oman 2019;Manchester & Prett 2015;Oancea et al, 2018;Belfiore 2018), and enrich national identity (Villarroya 2012;Al-Zo'by 2019). Nevertheless, cultural policies in the era of market civilization have always brought diverse business interests for maximum capital accumulation (Wise 2002;Banks 2018;Throsby 2010;Craik 2007;Frey 2000;Bille et al, 2016;Hesmondhalgh & Pratt 2005;Haans & van Witteloostuijn, 2018).…”

Section: The Problem Of Post-colonial Subjectivity and Cultural Policymentioning

confidence: 99%

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

Setiawan¹,

Subaharianto²

2020

Proceedings of the 4th International Conference on Arts Language and Culture (ICALC 2019)

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This article aims to explore the concept and practice of neo-exoticism as an ideal-flexible formula for developing ethnic arts in the midst post-colonial society and neoliberal tourism industry. By analyzing our field data from various events of cultural tourism in Banyuwangi, East Java, Indonesia, we will elaborate some concepts and practices of neo-exoticism. We adopt and develop the idea of neo-exoticism from the concept of "post-colonial exotic" by Huggan (2001), which describes the contestation between the desire of intellectuals and activists to preserve traditional cultures continuously as a significant marker for national identity and the state's policy to incorporate the beauty of exotic cultures into commercial activities. The framework will help us to analyze primary data from participatory observation in cultural tourism activities in Banyuwangi and interview with some folk artists from 2012-2019 as well as secondary data from online news media. The result of this study shows that the neo-exoticism formula in the development of ethnic arts has several advantages. For the state regime, this formula makes local government easy for repackaging ethnic artistic richness in the form of tourism products such as carnival, festival, spectacular event, and collaborative performance. Indeed, the artists and residents will benefit through their cultural participation, but the investors in tourism with neoliberal flexible principles which incorporate exotic characteristics into their services will get greater profits. However, the neo-exoticism formula will not have a major impact on ethnic arts that still follow the traditional standard performances.

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Public Culture, Cultural Identity, Cultural Policy

Cited by 39 publications

References 30 publications

Festival value in multicultural contexts: City festivals in South Africa

Festival value in multicultural contexts: City festivals in South Africa

Results-based steering as a tool for centralizedart policy management and instrumentalization? Analysis of the Finnish ArtsCouncil’s reformation

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

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