Shifting meanings in changing contexts: the role of the creative city in Shanghai, Hong Kong and Taipei

Karvelyte, Kristina

doi:10.1080/10286632.2018.1479748

Cited by 12 publications

(9 citation statements)

References 65 publications

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“…The Taipei theatre project originated from a national level. Following the Asian Crisis (1997) and the Global Financial Crisis (2008), Taiwanese authorities employed creative entrepreneurial initiatives to derive new sources of economic development and enhance international competitiveness (Karvelyte, 2020;Wang, 2011). National government programmes promoted cultural and creative urban strategies, including flagship architectural buildings, and over 24 international design competitions were launched between the early 2000s and 2015 (Tseng, 2015).…”

Section: Policies and Politics At The Core Of The New Theatrementioning

confidence: 99%

A performing arts centre for whom? Rethinking the architect as negotiator of urban imaginaries

Goudsmit,

Kaika,

Verloo

2023

Urban Studies

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In this study, we interpret architecture not as a single imaginary stemming from architects and architectural patrons, but as the result of negotiating urban politics and urban imaginaries between different stakeholders, including policymakers, citizens, and developers. We focus in particular on the role of architects within this process as mediators between different stakeholders, who nevertheless have their own specific agenda to pursue. We draw on an empirical case of the Taipei Performing Arts Centre, a cultural flagship project built in Taiwan and designed by the Office for Metropolitan Architecture. Through a review of internal documents, interviews, and content analysis on archival data, we expose the controversy over the integration of the historical ‘low culture’ local food market into the design for the new ‘high culture’ Performing Arts Centre. Although the architects imagined and pursued the integration of the new centre into the existing local culture, both policymakers and local citizens contested this attempt. The study concludes that, despite claims from both policymakers and architects of representing ‘the people’, there were often misunderstandings, deliberate or otherwise, regarding the needs of ‘the people’ or indeed of who ‘the people’ are.

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Section: Policies and Politics At The Core Of The New Theatrementioning

confidence: 99%

A performing arts centre for whom? Rethinking the architect as negotiator of urban imaginaries

Goudsmit,

Kaika,

Verloo

2023

Urban Studies

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“…While in part, ‘spectacle-isation’ captures ‘market desire to acquire symbolic capital’ (Harvey, 1990: 264; see also Zukin, 1991), it also represents the city’s ambition to raise its influence on the global stage and, in some instances, the pursuit of national policy interests. It has been widely acknowledged that in many East Asian cities, various urban display practices, including large-scale cultural events and signature constructions, are closely linked with a nation’s image building, national ambitions for international recognition, identity politics, and the pursuit of cultural superiority (Karvelyte, 2018; Kong, 2007; Lee, 2004; Yeoh, 2005). As Ong (2011: 209) observes,[U]rban spectacles in Asia today play an aesthetic role in promoting future values and new political orientations.…”

Section: Considering Display Within the Context Of Urban Cultural Policymentioning

confidence: 99%

“…In Taipei, capital city of Taiwan, the city’s symbolic power was generated through many years of consistent support and promotion of culture, particularly traditional Chinese culture. In effect, the city has accumulated a symbolic cultural superiority in the Chinese-speaking world and is now considered to serve as an exemplar city in the region, an ‘educator’ (as opposed to an ‘emulator’) in the field of culture and the arts (see Karvelyte, 2018).…”

Section: Considering Display Within the Context Of Urban Cultural Policymentioning

confidence: 99%

“…For a host city, particularly a city that feels marginalized or excluded from the global arena, the mere access to the ‘festival circuit’ could already be considered a source of symbolic capital. Even if the festival does not appear to be as prominent and successful as other festivals in the same network, the sense of belonging created by merely being a part of the network is already a significant step towards its international endorsement and recognition, as well as towards a greater degree of influence in the local matters of culture (see Karvelyte, 2018; Yeoh, 2005).…”

Section: Conceptualizing Urban Practices Of Display: Arts and Film Fementioning

confidence: 99%

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Culture as display revisited

Karvelyte

2020

International Journal of Cultural Studies

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In this article, I revisit Raymond Williams’ idea of culture as display, which he developed to describe a particular moment in culture–state relations: the use of culture and the arts in celebration, embellishment and strengthening of the economic and political power of the state. Jim McGuigan applied this concept to contemporary national cultural policy, emphasizing the significance of display under global capitalism. Besides this notable attempt, Williams’ idea of culture as ‘display’ has never received the attention it deserves. The main purpose of this article is to advance the understanding of ‘display’ by considering its place within the context of urban cultural policy. A critical inquiry into the roles of arts and film festivals helps to dissect different instrumental layers of urban display practices and to capture the ‘symbolic power’ of display. This, in turn, contributes to a more comprehensive conceptualization of globalized urban festivals.

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“…When the particularities of local conditions are considered, the specificties of the motivating elements of a creative city may be more precislely explored. Karvelyte (2020), for example, argues that, while the appeal of the creative city is typically attributed to urban entrepreneurialism, this is insufficient in explaining the so-called "cultural turn" in Shanghai, Hong Kong and Taipei, because none of them ascribe to the conventional format of the post-industrial entrepreneurial city. One of the major forces driving the adoption of creative city initiatives in these places is the inherited cultural policy agenda, which largely stems from national interests and plays a significant role in directing and changing the "global cultural city" making process.…”

Section: The Revised Creative Citymentioning

confidence: 99%

A Critique of the Creative Economy, Creative City and Creative Class From the Global South

Jesus¹,

Kamlot²,

Dubeux³

2020

IJBA

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The aims are to identify and examine the inconsistencies and incongruities of the definitions of “creative economy”, “creative city” and “creative class” in their application to the study and the formulation of public policies in the Global South. The central argument points out that 1) the idea of “creative economy” seemed to conceive peripheral societies would be flat tables on which pre-given economic governance strategies for creative sectors could be replicated; 2) the concept of a “creative city” by the mainstream does not deal with the specific political-economic obstacles in the Global South, so it seems more feasible to define “creative city” from a culturally specific understanding of what creativity is and recognize the motivations for creating a creative city can come from different actors according to local circumstances; 3) the mobilization of creativity in the exercise of the profession is a weak criterion for defining the “creative class”, which motivates difficulties regarding the self-identification of individuals as members of it. They reproduce hierarchical regimes that exclude differences.

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Shifting meanings in changing contexts: the role of the creative city in Shanghai, Hong Kong and Taipei

Cited by 12 publications

References 65 publications

A performing arts centre for whom? Rethinking the architect as negotiator of urban imaginaries

A performing arts centre for whom? Rethinking the architect as negotiator of urban imaginaries

Culture as display revisited

A Critique of the Creative Economy, Creative City and Creative Class From the Global South

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