Designing policy: collaborative policy development within the context of the European capital of culture bid process

ABSTRACT

How do ideas become policies? What route do they take from inception to implementation and what criteria are used to evaluate one set of proposals against another? This paper examines the development of the Creative Work Fellowship policy proposal in Limerick, tracing the origins of the idea, itself a contended and negotiated object, from discussions between academics and policy-makers through to scoping, pitching and scaling the policy to its eventual users. This policy idea was designed during the Intelligence Unit (IU) commissioned by Limerick2020 as part of the city’s bid to become European Capital of Culture in 2020. The IU took the form of a policy think-tank, tasked with generating insights, ideas and policy proposals into the place of culture within Limerick city and region. The IU structure created a set of actors and an epistemic community capable of both generating and using ideas effectively, chiefly through two mechanisms. The first involved a robust critique and rebuilding process that every element of the policy was exposed to; the second involved feedback from interested parties at specific stages in the process. This created a series of “policy entrepreneurs” capable of taking a fully costed and modelled policy suggestion to government. The findings presented in the paper include an analysis of the collaborative nature of this policy development process, Based on this framework, we also consider the role of the European City of Culture bid process as catalyst for policy development in a regional context, and present findings on this subject.     

The value of music in London

London is one of the world's foremost music cities. Using a statistical approach developed in earlier studies of music in the United Kingdom (NMC, 1996; NMC, 1999), this chapter presents the results of a survey commissioned by London Arts from researchers at the University of Westminster. The chapter draws together available data oh the commercial and public sectors of the industry, on live performances and their audiences, on education and training and on exports. This data has been supplemented by new research, notably in the area of live performance and in identifying geographical ‘clusters’ of music business firms in certain areas of inner London.

Among the key findings of the research are that consumer spending represents some 90 per cent of the £1.1 billion total spending on music in London; consumers spent more on concert tickets and entrance charges for music of all types than on CDs and other soundcarriers; music provides the equivalent of 34,000 full‐time jobs in London and creates added value of over £1 billion and the London music business has net foreign earnings of over £400 million per annum.

The chapter concludes with some reflections on the implications of this research for music policy at both the national and city level. The statistical evidence demonstrates that classical music, a genre with only 10 per cent of the audience, continues to attract over 90 per cent of public subsidy. A similar imbalance in training of education of musicians means that the development of many young and talented non‐classical musicians is left to the vagaries of the market.     

The emerging (national) popular music culture in China

ABSTRACT

Before the emergence of the modern sense of popular music in China, the uses of music in that country have been instrumental in serving political purposes for the state. The modern form of popular music began to enter China through Hong Kong and Taiwan – the two very political locales in which we could observe China’s political economy through the reception of their music in mainland China. How the Chinese authorities coped with the production, distribution and consumption of this ‘foreign’ popular music, is reflective of the swing of the pendulum between relaxation and control, and hence the changing ideologies of the state. Based on the cultural and institutional analysis on a few classical Chinese popular singers since the mid‐1980s, this paper illustrates such a transformation. The paper argues that the Chinese authorities have evolved from a dictatorial authority, which chose to control popular music by means of direct bans and censorship, to an active agent, through various strategies, managing and producing a kind of popular music that can be conducive to, and be resonant with, the national ideologies.     

试论新文化运动与欧洲文艺复兴

中国从传统跨入现代有两个标志：在政治上是辛亥革命,在思想与文化上是新文化运动。辛亥革命的性质很明确,先例也很多,例如法国大革命、“土耳其青年”（Young Turk）革命,和十月革命。新文化运动就复杂多了,因此它的性质有种种不同说法。最普遍的一种看法是,它相当于欧洲“文艺复兴”。胡适很可能就是这么看或者期待的：     

Problematizing the popular: the dynamics of Pinoy pop(ular) music and popular protest music

ABSTRACT

In 1973, the pop music industry in the Philippines, long dominated by the American Top 40, was jolted by the emergence of a new kind of sound that delivered soulful Filipino lyrics in the medium of Western rock. At about the same time the protest movement found, in the popular forms of Western rock and folk, powerful vehicles for cultural resistance. This experimentation within and outside the industry generated great interest across social classes and opened many possibilities for new kinds of popular music, later to be called Pinoy (slang for Filipino) rock or Pinoy pop music. This article looks into the dynamics of Pinoy pop/rock and protest music during the period of authoritarian rule and after, marking their points of intersection and divergence and analyzing the factors that account for the rich popular music production in the 1970s and the 1980s.     

The development of comparable European cultural statistics

UK cultural statistics are far from complete, so the development of comparable European cultural statistics sounds like an ambitious task and one for which clear objectives are needed. One spin‐off from comparing the statistical systems of different countries should be some improvement in national statistics, as best practice is examined and taken up by other countries. However, the essence of the on‐going programme of work described in this chapter is the search for a common statistical language, to be used whenever cross‐country comparisons are wanted or European totals are to be compiled.

Compiling cultural statistics for different countries on a comparable basis sounds like a contradiction: how can the cultures of one country be harmonised with those of another? The key is to identify why the comparison needs to be made. In this chapter, therefore, current developments in European cultural statistics are reviewed by first exploring the needs for pan‐European cultural statistics that flow from policy.

The chapter describes and reviews a European Union project to develop cultural statistics that reported at the end of 1999. The results of this project have been taken into the European statistical system. Hardly any statistical results have yet been published. The chapter questions how far this work will progress beyond the UNESCO framework for cultural statistics. One significant issue is that the UNESCO framework, compiled some 15 years ago, gave relatively little attention to the creative industries. These industries now feature more strongly in policy responses to the wider economic and social challenges facing European countries and the European Union. The new work on cultural statistics gives some recognition to the creative industries but it does not embrace the full extent of the creative industries as defined in the UK.     

Chained to the grassroots: the music industries and DCMS

The paper analyses the implicit assumptions made by three key DCMS reports about how successful music products are made. I show how the reports divide the music sector into small and large producers, handing responsibility for innovation to small producers and expecting that large producers will exploit these innovations efficiently. I argue that this approach risks ignoring the realities of music production and contradicts the findings contained in the reports themselves. I conclude that a romantic idea of successful products developing from small producers may not only misrepresent and misunderstand small producers in the music industries but constrain them.     

The lyrics of laborious life: popular music and the reassertion of migrant manhood in Northeastern Thailand

Abstract

The focal subject under investigation in this paper is the gendered identities of overseas male migrant workers as presented in the contemporary popular song lyrics from Northeastern Thailand. My reading of such lyrics is informed by my ethnographic fieldwork of Thai migrant workers in Singapore. I intend to uncover some complex, cultural junctures of transnational labor migration, in which men, mobility, and music have come across and formed a social force to reshape cultural imagination of migrant manhood. I argue that popular music celebrates male heroism of overseas migrant workers. Instead of challenging existing structures of hegemonic masculinity in the region, popular song texts poetically reaffirm and reassert the traditional dominant gender ideology and cultural practice. Overseas workmen are usually depicted as hard‐working, self‐sacrificial heroes in their attempts to rescue their families as well as romantic, caring lovers and morally responsible fathers.