Two cultures: the use and non-use of hypotheses in cultural policy research1

In the hard sciences research programmes are designed to generate evidence consistent or inconsistent with particular hypotheses. Hypotheses unsupported by evidence are modified or abandoned. The framers and testers of scientific hypotheses are members of the same profession, similarly trained and likely to interpret evidence in similar ways. They have professionally generalized responsibility for the quality and integrity of each other's work. Peer review systems are in place to monitor performance and expose chicanery. This is not the case in the cultural policy research arena. Here, policymakers, arts advocates and academic policy analysts are breeds apart. Their professional affiliations and lines of accountability are radically unlike. We have highly selective “advocacy” evidence on the one hand; highly developed but untestable academic theory on the other, suggesting the hypothetical existence of evidence for which academics are not allowed to look. Policymakers avoid “what if?” questions because they are paid to maintain positions of certainty. Academics ask, but lack the data to answer. Neither approach is satisfactory for shaping the future. This paper explains how the two opposing research traditions came into being and points to some of the problems which poor communication between theoreticians and practitioners can create.     

Participation as policy in local cultural governance

ABSTRACT

This article takes on participation not as taking part in cultural activities per se but in cultural policy-making, by studying the transformation and institutionalisation of participatory processes. Focusing on Switzerland, a federalist country where local and private actors play key roles in cultural policy, several processes by which different actors participate in local cultural policy-making are explored. Top-down procedures, such as formalised mandatory consultation procedures or the inclusion of cultural actors in administrative expert committees, coexist with bottom-up grassroots initiatives that can complement or even supplant traditional participatory processes. Furthermore, certain alternative modes and concepts of participation, such as the “cultural council”, circulate between different cases, across levels of state and in time. Participatory processes in cultural policy-making need to be seen as public policies in their own right, which can aim to depoliticise policies and procedures. Furthermore, actors need certain resources in order to participate, and venues aimed at opening participation do so in a restrained framework, focusing mostly on artistic and cultural elites rather than encourage larger citizen participation.     

Indicators for arts and cultural policy: A Global perspective

Taking an international view of cultural indicators, this paper is an account of the state of play of indicator development. It reviews the literature on cultural indicators, raising analytical and global coordination issues, and adapts ‘good practice’ ideas from the literature. It is argued that improving cultural indicators is not simply about improving statistical methods: it is also about understanding better the nature of arts activities, improving the articulation of arts policies and considering the complex interrelationships between statistics and policy and the impacts that measurement can have on ‘stakeholders’ in the arts and cultural sectors.     

Arts education partnerships: sources of harmony and dissonance with cultural institutions’ collaborative efforts

ABSTRACT

Due to budget constraints, schools in the United States have increasingly turned to community arts organizations for support. School-community arts partnership stakeholders collaborate because of shared missions to provide students with valuable arts learning experiences. Investigations of these initiatives indicate that these partnerships improve arts learning opportunities and increase public support and resources for arts education. However, not much is known about the experiences and perspectives of the arts organizations that participate in these partnerships. Coordinating collective efforts with a multitude of institutions and interests poses challenges. In this study, we examine survey data collected from arts organization administrators who participated in a large-scale school-community arts partnership initiative. We find that these organizations are generally positive about their impacts on students’ educational outcomes, but there is substantial variation in these views. We also find that organizations differ in their levels of support for these collective efforts. Sources of this variation appear to be attributable to organizations’ preexisting resources and extent to which they are established. While this difference in levels of support is potentially inevitable, we find evidence that the operations handled by the “backbone” organization, i.e. the initiative’s facilitators and overseers, can significantly influence organizations’ levels of support for these efforts. Organizations are more likely to support these collaborative efforts when they believe the backbone organization ensures transparency with initiative operations, provides regular, effective communication, and effectively resolves competing priorities.     

Extending the cultural research infrastructure: The rise of the regional cultural consortiums in England

Two distinguishing features of the New Labour Government have been its focus on regionalism and the establishment of a department of state, the Department for Culture, Media and Sport (DCMS), explicitly dedicated to ‘cultural’ policy. This paper tracks the development of a new set of regional cultural organizations, the Regional Cultural Consortiums (RCCs). These were established to contribute to regional development and to deliver the DCMS's national policy goals. The paper examines the RCCs' remit, challenges, achievements and prospects, and locates these in wider debates about evidence-based policy and continuity and change in cultural and regional policy. Particular consideration is given to the RCCs' research and data collection activities and their role in developing a move towards improved capacity in regional cultural research and data collection.     

Challenges of cultural industry knowledge exchange in live performance audience research

ABSTRACT

With live performance audience research frequently relying on cultural organisations to facilitate access to their audiences, this article addresses the issues involved in evidencing spectators’ responses via discursive methodologies. Recalling a series of empirical projects conducted over the past ten years with a range of theatre practitioners, it examines the conflicts involved in carrying out scholarly studies of audience reception against cultural organisations’ pressures to produce their own ongoing audience evaluations. Examining key concerns about audience research raised by creative practitioners in varying theatrical contexts, from site-specific to building-based work, it addresses the difficulties of understanding live performance reception and aesthetic experience via impact frameworks. It begins by situating these three operations in the context of Knowledge Exchange (KE) between academics within Higher Education Institutions (HEIs) and those in the creative industry sector.     

Re-imagining the local in national cultural policy formulation – the case of the Anglophone Caribbean

ABSTRACT

The formulation of cultural policies in the Anglophone Caribbean constantly straddles the demands of global, regional and national imperatives as a function of its position as a region of post-colonial, small-island states. This paper will argue that the role these factors play in the art of policy making problematises conventions in the current global/local (glocal) debate circulating in the arena of Cultural Policy Studies. The paper shows that cultural policy making in the Caribbean constitutes a mélange of approaches that are in a constant state of contestation during the policy-making process. It employs content analysis of cultural policy texts from selected Caribbean states, as well as an analysis of stakeholder views from the national cultural policy consultations in Trinidad and Tobago to derive its findings. A Five Factor framework was developed to illustrate the range of responses that guide and shape local actors and activities in the national cultural policy domain. The research concludes that the relationship between the national and local (nocal) actors has to be re-imagined if cultural policy is to deliver on its promise of social transformation in the Caribbean.     

Annual Arts Gala Highlights Asian Arts

The magnificent closing evening show entitled ＂Blessing for Asia＂, held in Thousand Lantern Lake Park in November 17, 2005, brought a successful conclusion to the seventh Asia Arts Festival and the inaugural Asia Cultural Ministers＇ Forum [ACMF] which took place in Foshan, Guangdong Province, China.     

The Arts Council England's “Arts Debate”

This article examines the methodology and thinking behind Arts Council England's “Arts Debate”, a public value inquiry conducted from October 2006 to September 2007. It considers the ways in which methodology might have been shaped by the current discourse of public value, examines the different stages of the debate, and asks how the findings might inform future policy and research.