Cultural managers are increasingly engaged ininternational projects; they work in international art festivals, globalcompanies of the creative industries, or international tourism. They areinvolved in cultural diplomacy and cultural development cooperation; andmoreover, in times of an increasing worldwide migration, cultural managers areengaged in moderating intercultural change management processes in their owncountries. How is internationalization influencingcultural management? Is there a tendency towards harmonization of managementpractices due to cultural globalization? How do cultural managers from different worldregions describe their working conditions also in terms of cultural policy, andwhich differences can be observed? What are the main challenges of internationalcultural cooperation, which competencies are needed for working ininternational and intercultural contexts, and which training concepts ininternational cultural management proved to be successful? These questions are investigated on the basisof a world wide survey of cultural managers. 244 pages

This book places the study of public support for the arts and culture within the prism of public policy making. It is explicitly comparative in casting cultural policy within a broad sociopolitical and historical framework. Given the complexity of national communities, there has been an absence of comparative analyses that would explain the wide variability in modes of cultural policy as reflections of public cultures and cultural identity. The discussion is internationally focused and interdisciplinary. Mulcahy contextualizes a wide variety of cultural policies and their relation to politics and identity by asking a basic question: who gets their heritage valorized and by whom is this done? The fundamental assumption is that culture is at the heart of public policy as it defines national identity and personal value.

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with 'innovation' in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvization.

This edited collection provides an introduction to the emerging interdisciplinary field of cultural mapping, offering a range of perspectives that are international in scope. Cultural mapping is a mode of inquiry and a methodological tool in urban planning, cultural sustainability, and community development that makes visible the ways local stories, practices, relationships, memories, and rituals constitute places as meaningful locations. The chapters address themes, processes, approaches, and research methodologies drawn from examples in Australia, Canada, Estonia, the United Kingdom, Egypt, Italy, Malaysia, Malta, Palestine, Portugal, Singapore, Sweden, Syria, the United Arab Emirates, the United States, and Ukraine. Contributors explore innovative ways to encourage urban and cultural planning, community development, artistic intervention, and public participation in cultural mappingrecognizing that public involvement and artistic practices introduce a range of challenges spanning various phases of the research process, from the gathering of data, to interpreting data, to presenting "findings" to a broad range of audiences. The book responds to the need for histories and case studies of cultural mapping that are globally distributed and that situate the practice locally, regionally, nationally, and internationally.

The story of arts and cultural policy in the twenty-first century is inherently of global concern no matter how local it seems. At the same time, questions of identity have in many ways become more challenging than before. "Narrative, Identity, and the Map of Cultural Policy: Once Upon a Time in a Globalized World" explores how and why stories and identities sometimes merge and often clash in an arena in which culture and policy may not be able to resolve every difficulty. DeVereaux and Griffin argue that the role of narrative is key to understanding these issues. They offer a wide-ranging history and justification for narrative frameworks as an approach to cultural policy and open up a wider field of discussion about the ways in which cultural politics and cultural identity are being deployed and interpreted in the present, with deep roots in the past. This timely book will be of great interest not just to students of narrative and students of arts and cultural policy, but also to administrators, policy theorists, and cultural management practitioners.

How have cultural policies created new occupations and shaped professions? This book explores an often unacknowledged dimension of cultural policy analysis: the professional identity of cultural agents. It analyses the relationship between cultural policy, identity and professionalism and draws from a variety of cultural policies around the world to provide insights on the identity construction processes that are at play in cultural institutions. This book reappraises the important question of professional identities in cultural policy studies, museum studies and heritage studies.

The authors address the relationship between cultural policy, work and identity by focusing on three levels of analysis. The first considers the state, the creativity of the power relationship established in cultural policies and the power which structures the symbolic order of cultural work. The second presents community in the cultural policy process, society and collective action, whether it is through the creation of institutions for arts and heritage profession or through resistance to state cultural policies. The third examines the experience of cultural policy by the professional. It illustrates how cultural policy is both a set of contingencies that shape possibilities for professionals, as much as it is a basis for identification and identity construction. The eleven authors in this unique book draw on their experience as artists and researchers from a range of countries, including France, Canada, United Kingdom, United States, and Sweden.

The cultural presence in struggles around political, economic, technical, and legal issues centered in the realities of cities can become catalysts for changes in a whole range of institutional domains - markets, participatory governance, judicial recourse, cultures of engagement and deliberation, and rights for members of the urban community regardless of lineage and origin. The resurgence of the city as a site for research on these major contemporary dynamics is evident in many different disciplines - sociology, anthropology, economic geography, cultural studies, and literary criticism... This volume is a significant contribution to this larger body of research and interpretation... It opens new ground for research, interpretation and policy making in our emergent global urban era

Cultural policy is changing. Traditionally, cultural policies have been concerned with providing financial support for the arts, for cultural heritage and for institutions such as museums and galleries. In recent years, around the world, interest has grown in the creative industries as a source of innovation and economic dynamism. This book argues that an understanding of the nature of both the economic and the cultural value created by the cultural sector is essential to good policy-making. The book is the first comprehensive account of the application of economic theory and analysis to the broad field of cultural policy. It deals with general principles of policy-making in the cultural arena as seen from an economic point of view, and goes on to examine a range of specific cultural policy areas, including the arts, heritage, the cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, intellectual property and cultural statistics.

Which are the key questions to be asked about cultural policy in the Europe of the twenty-first century? How is cultural policy at metropolitan, national and European level addressing recent developments that are complicating the cultural and social realities of contemporary Europe? This book offers an innovative assessment of these questions and aims to provoke debates about the way forward for cultural policy in Europe. Based on extensive theoretical and empirical research, this volume critically addresses the way in which cultural policy has evolved, and develops new conceptual and theoretical perspectives for re-imagining cultural change and complexity.


Hardcover: 328 pages

Publisher: Palgrave Macmillan (June 22, 2006)

Policy Matters critically examines the apparatus of public arts funding in Canada, focussing on institutions such as the Canada Council for the Arts, the National Gallery of Canada, and the Art Gallery of Ontario. Robertson asks, In whose name is arts policy developed? emphasizing the contribution Canadian artists, particularly those engaged in the Canada-wide network of artist-run centres, have made to arts policy in Canada.

Paperback: 288 pages

Publisher: Yyz Books (Oct 2006)

Public and private institutions in the United States have long been home to a variety of art works, antiquities, and ethnological materials. For years, these collections have been seen as important archives that allow present and future generations to enjoy, appreciate, and value the art of all cultures. The past decade, however, has seen major changes in law and public policy and an active, ongoing debate over legal and ethical issues affecting the ownership of art and other cultural property.
Contributors to Who Owns the Past? include legal scholars, museum professionals, anthropologists, archaeologists, and collectors. In clear, nontechnical language, they provide a comprehensive overview of the development of cultural property law and practices, as well as recent case law affecting the ability of museums and private collectors to own art from other countries. Topics covered include rights to property, ethical ownership, the public responsibilities of museums, threats to art from war, pillage, and development, and international cooperation to preserve collections in the developing world.


Engaging all perspectives on this debate, Who Owns the Past? challenges all who care about the arts to work together toward policies that consider traditional American interests in securing cultural resources and respect international concerns over loss of heritage.


Kate Fitz Gibbon is a specialist in Asian art and world heritage issues. From 20002003 she served on the Cultural Property Advisory Committee to the President.



Hardcover: 362 pages

Publisher: Rutgers University Press (September 30, 2005)

Americans are cultural copycats. White suburban youths perform rap music, New York fashion designers ransack the worlds closets for inspiration, and Euro-American authors adopt the voice of a geisha or shaman. The ownership of these art forms, however, remains contested. Do they belong to the community that originally generated them, or to the culture that has absorbed them?

While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above?


Who Owns Culture? offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-mans-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania?


Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.

Susan Scafidi is a member of the law and history faculties at Southern Methodist University. She has taught at the University of Chicago Law School, Saint Louis University School of Law, and most recently, the Yale Law School.

Subtitle: Appropriation and Authenticity in American Law

Paper ISBN 0-8135-3606-5

Cloth ISBN 0-8135-3605-7

Pages: 208 pp.

Series: The Public Life of the Arts

Renouant avec l 'ambition de synthèse qui avait fait son succès, cette nouvelle édition, entièrement refondue, présente de manière claire la somme des connaissances sur un secteur en mutation, traditionnellement si important dans l'imaginaire social, celui de la culture. Confié aux meilleurs spécialistes, cet ouvrage mènera le lecteur (étudiant, enseignant, professionnel de la culturel, élu local...) des origines de l'intervention publique dans le domaine culturel, sous les auspices de l'Etat, à un paysage contemporain beaucoup plus éclaté, sinon en état de crise. Si, depuis le ministère d'André Malraux et de Jack Lang, le secteur culturel a été touché par les grandes dynamiques contemporaines de la gouvernance (déconcentration, décentralisation, rationalisation des dépenses publiques, territorialisation...), les mutations qu'il a connues en font souvent un pionnier, ou champ d'expérimentation, propice à l'invention de réponses originales aux questions d'aujourd'hui. Entre exception et diversité culturelle, entre économie et service public, entre démocratisation et élitisme, le champ de la culture, que parcourt cet ouvrage du local au mondial, de l'artiste au citoyen, concerne tout autant l'Etat et les collectivités territoriales, que les acteurs privés ou le monde associatif, en ce qu'il engage le devenir de la société tout entière.


# Broché: 172 pages

# Editeur : La Documentation Française; 2e édition revue et augmentée (25 janvier 2005)

Faced with intense competition for audiences and financial support, as well as adverse political fallout from the culture wars of the early 1990s, arts advocates have increasingly sought to make a case for the arts in terms of their instrumental benefits to individuals and communities. In this report documenting the most comprehensive study of its kind, the authors evaluate the strengths and weaknesses of these instrumental arguments and make the case that a new approach to understanding the benefits of the arts is needed. Critical of what they view as an overemphasis on instrumental benefits, the authors call for a greater recognition of the intrinsic benefits of the arts experience, provide a more comprehensive framework for assessing the private and public value of both intrinsic and instrumental benefits, and link the realization of those benefits to the nature of arts involvement. In particular, they underscore the importance of sustained involvement in the arts to the achievement of both instrumental and intrinsic benefits. This study has important policy implications for access to the arts, childhood exposure to the arts, arts advocacy, and future research on the arts.

Format: Kindle Edition

Print Length: 124 pages

Publisher: RAND Corporation (February 25, 2005)

Professor Jacek Purchla's book is devoted to the very delicate topic that is historical heritage confronted with the contsant flux of the contemporary world. The author's thoughts centre mainly around issues of heritage protection in the context of the transormation that Central Europe has seen since 1989. Professor Purchla is rightly aware of the differences in the way that Central Europe and Western Europe understand many geopolitical and historical concepts. This has a crucial influence on both the theory and practice of heritage protection, and hence also on the legislative and financial solutions employed in this field. The author also draws attention to the fact that since 1989 little attempt has been made in Poland to modify the system of financing and managing culture that was created for a socialist state and a command and control economy. Over the years it has become clear how toleration of the previous system has compounded our dilemmas, generating a sense of lack of stability and omnipresent frustration. The lack of a clear defined cultural policy on the part of the state has been the source of many mis-conceptions in terms of establishing the tasks of cultural and heritage protection institutions. The greatest loss to the national economy, however, is that the potential of culture as a factor in economic development and a source a new jobs is being ignored, which is in turn blocking its use as a major social policy tool. (from the foreword by Andrzej Rottermund)

International Cultural Centre, Krakow 2005, 68 pages

Order: http://mck.krakow.pl

Art, Cultural Heritage, and the Law is one of the first legal casebooks to address the rapidly emerging fields of art and cultural heritage law, utilizing an interdisciplinary approach. This book addresses artists rights (freedom of expression, copyright, moral rights and rights in architectural works and historic preservation); the functioning of the art market (dealers and auction houses, warranties of quality and authenticity, transfer of title and recovery of stolen art works, and the role of museums), and finally cultural heritage (the fate of art works and cultural objects in time of war, the international trade in art works and cultural objects, the archaeological and underwater heritage of the United States, and indigenous cultures, focusing on restitution of Native American cultural objects and human remains, and appropriation of indigenous culture). This book is intended for the law school classroom but will also be useful to any lawyer or scholar interested in these timely issues and emerging fields of legal practice. The book provides an appendix of international conventions and national statutes the addresses the art market and disposition of cultural objects. Combining both legal and non-legal source materials and several very recent legal decisions, the book presents an interdisciplinary approach and addresses some of the most contentious ethical aspects of these issues. In addition, images of many of the art works that were at issue in the legal cases are presented so that the reader can gain an appreciation of the artistic and cultural values at stake.

A teacher's manual is available.



About the Author

Patty Gerstenblith is a professor of law at DePaul University College of Law.

Hardcover: 932 pages

Publisher: Carolina Academic Press (November 18, 2004)

A Frenchman rents a Hollywood movie. A Thai schoolgirl mimics Madonna. Saddam Hussein chooses Frank Sinatra's "My Way" as the theme song for his fifty-fourth birthday. It is a commonplace that globalization is subverting local culture. But is it helping as much as it hurts? In this strikingly original treatment of a fiercely debated issue, Tyler Cowen makes a bold new case for a more sympathetic understanding of cross-cultural trade. Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends. Cultural "destruction" breeds not artistic demise but diversity.


Through an array of colorful examples from the areas where globalization's critics have been most vocal, Cowen asks what happens when cultures collide through trade, whether technology destroys native arts, why (and whether) Hollywood movies rule the world, whether "globalized" culture is dumbing down societies everywhere, and if national cultures matter at all. Scrutinizing such manifestations of "indigenous" culture as the steel band ensembles of Trinidad, Indian handweaving, and music from Zaire, Cowen finds that they are more vibrant than ever--thanks largely to cross-cultural trade.


For all the pressures that market forces exert on individual cultures, diversity typically increases within society, even when cultures become more like each other. Trade enhances the range of individual choice, yielding forms of expression within cultures that flower as never before. While some see cultural decline as a half-empty glass, Cowen sees it as a glass half-full with the stirrings of cultural brilliance. Not all readers will agree, but all will want a say in the debate this exceptional book will stir.


Paperback: 192 pages

Publisher: Princeton University Press; New Ed edition (March 1, 2004)

Cet ouvrage réunit l'ensemble des communications présentées au colloque que le ministère de la Culture et de la Communication a organisé, en collaboration avec la Fondation nationale des sciences politiques (OFCE) et en partenariat avec le Musée du Louvre, en novembre 2002. Il est composé d'un volume imprimé et d'un cédérom inclus dans l'ouvrage. Le livre est organisé autour de trois thèmes : une présentation des principaux effets des mutations intervenues dans le domaine de l'école, de la famille, du travail ou de la sociabilité sur les rapports à la culture ; une confrontation entre le public de la culture imaginé par les artistes et les responsables politiques (celui du théâtre populaire, celui du festival d'Avignon...) et les publics réels tels que les révèlent les enquêtes de fréquentation ; enfin, une réflexion critique autour de la légitimité culturelle et de la pertinence actuelle des analyses de P. Bourdieu dans le domaine de la sociologie de la culture. Les textes contenus dans le cédérom parcourent l'ensemble des secteurs de la vie culturelle (bibliothèques, musées, cinéma, spectacle vivant, illustrant la diversité de la " question des publics " dans le domaine de l'art et de la culture. L'ensemble ainsi constitué marque sans conteste une étape sur le chemin qui a vu, dans les années 1960, la réalisation des premières enquêtes sur la fréquentation des équipements culturels et sur les pratiques culturelles, et fournit un cadre particulièrement riche pour repenser la question de la démocratisation. A ce titre, il devrait constituer un ouvrage de référence pour les milieux de la recherche et les étudiants des nombreuses formations culturelles mais aussi pour les professionnels de la culture (bibliothécaires, responsables d'établissements culturels, directeurs d'action culturelle dans les collectivités territoriales...)

Towards Cultural Citizenship: Tools for Cultural Policy and Development, published in November 2002, contains an analysis of the dimensions of culture that connect to human development. The report targets a number of constituencies 'from policy makers and practitioners in the field of culture and development, to institutional and community-based researchers, to 'stake-holders in the cultural field' in the broadest sense.