The cultural hierarchy in funding: Government funding of the performing arts based on ethnic and geographic distinctions

Feder, Tal; Katz‐Gerro, Tally

doi:10.1016/j.poetic.2015.02.004

Cited by 21 publications

(11 citation statements)

References 33 publications

(47 reference statements)

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“…We are definitely witnessing a participative turn in cultural policy (Bonet and Négrier, 2018), with public policy documents everywhere in the Global North stating, like the strategic program of the Finnish government, that ‘(c)ultural services will become more accessible, and the conditions will improve to allow culture to flourish’ (Government programme, 2019: 184). Whether public funding is considered to reproduce the existing hierarchies of society (Bjørnsen, 2012; Feder and Katz-Gerro, 2015) or to modify the social hierarchies by funding culture consumed by underprivileged groups (Belfiore, 2002), it remains unclear what kinds of returns cultural participation really generates and whether non-participation should be considered a problem in the first place (Stevenson, 2013) – or whether lamenting non-participation just further legitimizes existing social hierarchies. While Bourdieu often emphasized that disadvantaged groups should be given the ‘keys’ to assess culture through education, offering them ‘an implicit recognition of the right not to understand and to demand to understand’ (Bourdieu and Darbel, 1991: 94), it seems like in the case of some of the interviewees in this study, several overlapping and structural factors are an effective barrier to any influence that cultural consumption, or even carefully targeted cultural policies, could possibly have.…”

Section: Concluding Discussionmentioning

confidence: 99%

The slippery slope of cultural non-participation: Orientations of participation among the potentially passive

Heikkilä

2020

European Journal of Cultural Studies

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Research on cultural practices has highlighted the rise of different cultural consumption patterns that challenge the classic theories on class-based hierarchies. However, most scholarly work has focused on active, rather than passive, cultural consumers. This article aims to fill that gap by exploring the orientations of cultural participation of hypothetically passive cultural consumers in contemporary Finland. Existing research proves that culturally non-active groups are difficult to reach through quantitative methods, so this project will draw on qualitative data: 40 individual interviews on everyday life, cultural taste, knowledge and participation with a theoretical sample of people whose background profiles statistically predict cultural non-participation. This article finds three main orientations of participation, expressed as attitudes on different kinds of cultural practices and symbolic boundaries drawn – these orientations of participation are the social-mundane, the cultural-legitimate and the introvert-hostile. It is argued that while none of the orientations equals to cultural non-participation, the latter orientation stands out from the other two as drawing symbolic boundaries upward, highlighting that cultural participation remains a highly stratified and polarized field, also in an egalitarian society.

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Section: Concluding Discussionmentioning

confidence: 99%

The slippery slope of cultural non-participation: Orientations of participation among the potentially passive

Heikkilä

2020

European Journal of Cultural Studies

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“…This discourse built the macro-perspective of social superstructures, which to this day maintains centre–periphery hierarchies in Israel that are reinforced by cultural-artistic distinctions between ‘high’ and ‘low’. However, some scholars have shown that also in Israel, peripheries might be a source for artistic flourishing and innovation (Saada-Ophir 2006) and that the borders between the two might be blurring with time (Feder and Katz-Gerro 2015). The following section follows the lead of these scholars and proposes to observe these power relations from a micro-perspective, emphasising the trajectory as a means of movement within the social structure (Bourdieu, 1992) and, at the same time, of negating and eroding this structure (de Certeau, 1984).…”

Section: Theoretical Framework: Who Enables What and For Whom?mentioning

confidence: 99%

‘Enabling Periphereality’: Artistic Trajectories in a Peripheral City

Yavo-Ayalon¹

2019

Cultural Sociology

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The common perspective on centre–periphery power relations views central cities as the source of cultural authority and legitimacy, the influence of which peripheral cities passively accept. By following theatre artists’ trajectories in the peripheral Israeli city of Acre, the article challenges this perception of the periphery as fundamentally inferior to the centre and focuses on how its environment enables artistic creativity. This perspective is developed through Bourdieu’s definition of trajectory alongside everyday practices, in the spirit of de Certeau. By adapting super-positioning from architectural practice the research combines urban spatial analysis with ethnography. The article first identifies the macro-social structures that define Acre and its theatre field as ‘peripheral’, it then exposes the everyday micro-practices of artistic trajectories that erode these larger, top-down social structures and juxtapose both social structures. This leads to the article’s main argument, that ascent within the peripheral cultural field proceeds according to different rules than in the centre, and to developing the notion of Enabling Periphereality to articulate those different conditions and rules.

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“…Th e speech was given at the IV Congress of said union in 2001. Looking back, A. Kolyagin noted: "I quickly realized that we, the whole of our theatrical community, could not survive without the state with which we had to come to an agreement" 12 . Let us emphasize that this attitude was quite in line with the growing role of the state in culture in the beginning in the early 2000s (Jakobson, Rudnik & Toepler, 2016).…”

Section: Modelmentioning

confidence: 99%

“…Th e principles and methods of such support are analyzed (Feder & Katz-Gerro, 2012;Abankina, 2015;Bukviс, Mihaljeviс & Tokiс, 2016;Hetherington, 2017). Political factors of the regional distribution of performing arts organizations' public funding are investigated (Bertelli, Connolly, Mason & Conover, 2014;Feder & Katz-Gerro, 2015). Th e infl uence of public funding limitations on theatres' repertoire formation are analyzed (Neligan, 2006;Werck, Stultjes & Heyndels, 2008).…”

Section: Introductionmentioning

confidence: 99%

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Russian Theatres: the Relation between Funding Models and Policy Objectives in the Area of Theatrical Activity

Rudnik¹

2018

PAI

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The paper considers the transformation of the public funding mechanisms of theatres during the period from the last years of the USSR and early years of post-Soviet Russia up to the present. It analyses the differences between models applied at different times. Several parameters of these models are taken into consideration, including the requirements that public bodies impose on the activities of theatres due to funding, and special features of budgetary tools which among other things characterize the approach to the determination of amounts of funding transferred to the theatres. Four models of public funding are juxtaposed with the state cultural policy objectives in theatrical activity set by the Constitution of the Russian Federation and federal statutory and regulatory enactments. Th e hypothesis that there is no direct orientation towards such objectives is put forward and fi nds its confi rmation. A new model based on the public grants mechanism that meets the requirement of being policy objective-oriented is proposed.

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The cultural hierarchy in funding: Government funding of the performing arts based on ethnic and geographic distinctions

Cited by 21 publications

References 33 publications

The slippery slope of cultural non-participation: Orientations of participation among the potentially passive

The slippery slope of cultural non-participation: Orientations of participation among the potentially passive

‘Enabling Periphereality’: Artistic Trajectories in a Peripheral City

Russian Theatres: the Relation between Funding Models and Policy Objectives in the Area of Theatrical Activity

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