Abstract Several studies have addressed the challenges faced by cultural and creative professionals and businesses since the emergence of the global COVID-19 pandemic. Some success stories have surfaced around larger organizations that managed to adapt quickly because they had been preparing for the digital era. The focus of the study presented here adds the much-needed viewpoint of those individuals who form the target audiences and are vital for the future of any CCI organization. These are the results of a public survey aimed at informing directly cultural organizations that experiment with new creative approaches and are adjusting to the transformations that have taken place. Findings are vital for organizations from smaller cultural markets while key conclusions shed light on the new disposition of the public towards existing and future formats of cultural offers online that are valid for contemporary audiences in general. These cover several key observations regarding the most popular type of cultural content and events online; the engagement rate of different audience groups; the most preferred duration of culture in video format; gender affinities influencing the engagement with cultural content online; the motivations and barriers for attending cultural events online, ways to keep the audiences informed, and finally, which new forms of cultural and creative offers would the public be willing to attend online in the recent future. The article demonstrates that knowing the target audience and using data analytics on public dispositions while creating new content can empower CCI organizations. This claim is also based on the successful experience of pilot offers created by CCIs that have benefited directly from the research results of Intercultura Consult’s 2021 project. Work continues in a new project empowering cultural organizations to incubate experimental offers (digital dimension including). The goal is to enhance their connection with key audiences.
{"title":"Reconnect: Cultural Content and Audiences in the Digital Environment","authors":"P. Koleva, Milena Berbenkova","doi":"10.2478/csep-2021-0008","DOIUrl":"https://doi.org/10.2478/csep-2021-0008","url":null,"abstract":"Abstract Several studies have addressed the challenges faced by cultural and creative professionals and businesses since the emergence of the global COVID-19 pandemic. Some success stories have surfaced around larger organizations that managed to adapt quickly because they had been preparing for the digital era. The focus of the study presented here adds the much-needed viewpoint of those individuals who form the target audiences and are vital for the future of any CCI organization. These are the results of a public survey aimed at informing directly cultural organizations that experiment with new creative approaches and are adjusting to the transformations that have taken place. Findings are vital for organizations from smaller cultural markets while key conclusions shed light on the new disposition of the public towards existing and future formats of cultural offers online that are valid for contemporary audiences in general. These cover several key observations regarding the most popular type of cultural content and events online; the engagement rate of different audience groups; the most preferred duration of culture in video format; gender affinities influencing the engagement with cultural content online; the motivations and barriers for attending cultural events online, ways to keep the audiences informed, and finally, which new forms of cultural and creative offers would the public be willing to attend online in the recent future. The article demonstrates that knowing the target audience and using data analytics on public dispositions while creating new content can empower CCI organizations. This claim is also based on the successful experience of pilot offers created by CCIs that have benefited directly from the research results of Intercultura Consult’s 2021 project. Work continues in a new project empowering cultural organizations to incubate experimental offers (digital dimension including). The goal is to enhance their connection with key audiences.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125423405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Can intellectual property and marketing strategies help bearer communities to make a sustainable living from their intangible heritage? This is the question that underpinned a British Academy-funded interdisciplinary research project that comprised researchers from the UK, France, and Italy, and an NGO from Kolkata. This contribution describes the development and implementation of heritage-sensitive intellectual property and marketing strategies (HIPAMS) with two communities in West Bengal – Chau dancers and Chau mask-makers who were at the heart of the project. Using methods including forum theatre and walking stories, the research team and the communities’ highlighted challenges faced by the communities in making a sustainable living from their heritage skills and developed ways in which HIPAMS could be used by the communities to their advantage while retaining a focus on the importance of the heritage. The initial evaluation shows how significant these strategies can be for heritage communities, however small and incremental the advances made.
{"title":"Designing Heritage-Sensitive IP and Marketing Strategies for ICH-Based Creative Economy","authors":"Ananya Bhattacharya, Madhu C. Dutta, C. Waelde","doi":"10.2478/csep-2021-0012","DOIUrl":"https://doi.org/10.2478/csep-2021-0012","url":null,"abstract":"Abstract Can intellectual property and marketing strategies help bearer communities to make a sustainable living from their intangible heritage? This is the question that underpinned a British Academy-funded interdisciplinary research project that comprised researchers from the UK, France, and Italy, and an NGO from Kolkata. This contribution describes the development and implementation of heritage-sensitive intellectual property and marketing strategies (HIPAMS) with two communities in West Bengal – Chau dancers and Chau mask-makers who were at the heart of the project. Using methods including forum theatre and walking stories, the research team and the communities’ highlighted challenges faced by the communities in making a sustainable living from their heritage skills and developed ways in which HIPAMS could be used by the communities to their advantage while retaining a focus on the importance of the heritage. The initial evaluation shows how significant these strategies can be for heritage communities, however small and incremental the advances made.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125235457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article presents an economic analysis of the behavior of the creative economy of three countries: the United Kingdom (UK), the Republic of Korea (South Korea), and Mexico. The experience and the actions implemented by the first two countries are useful to suggest the implementation of public policies for Mexico. As is well known, the creative economic sector contributes to economic development and generates wealth for the nations. The activities included in this type of economy may vary from country to country since theorists, organizations, and governments use different approaches and there are current discussions regarding what activities to include in this sector. The question is why developed economies are most worried about this kind of topic and the developing countries not so much, despite that in the future both kinds of economies will face problems from technological unemployment. Since the beginning of this century, the UK and South Korea have implemented practices regarding creative economies. For example, these regions have created specialized organizations to foster creative economic sectors with the perspective of technological development and by offering them financial support. In 2013, South Korea created a program to support creative and cultural industries, particularly oriented to the international market; the program was coordinated by the Ministry of Science, ICT, and Future Planning (MSIP). On the other hand, the government of Mexico has not implemented integral policies to assist or encourage creative sectors, where most of the support towards these sectors has come from private organizations and individual initiatives. The purpose of this article is to use the experiences of the UK and South Korea to suggest ideas and learning mechanisms that can be adopted by Mexico to implement practices, programs, and public policies to improve its creative sector.
{"title":"The Creative Economy as a Factor of Economic Development: Three Different Cases, One Common Objective","authors":"Santos López-Leyva, Gilberto Guzmán-Solano","doi":"10.2478/csep-2021-0010","DOIUrl":"https://doi.org/10.2478/csep-2021-0010","url":null,"abstract":"Abstract This article presents an economic analysis of the behavior of the creative economy of three countries: the United Kingdom (UK), the Republic of Korea (South Korea), and Mexico. The experience and the actions implemented by the first two countries are useful to suggest the implementation of public policies for Mexico. As is well known, the creative economic sector contributes to economic development and generates wealth for the nations. The activities included in this type of economy may vary from country to country since theorists, organizations, and governments use different approaches and there are current discussions regarding what activities to include in this sector. The question is why developed economies are most worried about this kind of topic and the developing countries not so much, despite that in the future both kinds of economies will face problems from technological unemployment. Since the beginning of this century, the UK and South Korea have implemented practices regarding creative economies. For example, these regions have created specialized organizations to foster creative economic sectors with the perspective of technological development and by offering them financial support. In 2013, South Korea created a program to support creative and cultural industries, particularly oriented to the international market; the program was coordinated by the Ministry of Science, ICT, and Future Planning (MSIP). On the other hand, the government of Mexico has not implemented integral policies to assist or encourage creative sectors, where most of the support towards these sectors has come from private organizations and individual initiatives. The purpose of this article is to use the experiences of the UK and South Korea to suggest ideas and learning mechanisms that can be adopted by Mexico to implement practices, programs, and public policies to improve its creative sector.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122129197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract As audience-oriented and information-driven organisations, museums are embracing the Internet and interactive technology for developing virtual museums by encouraging the participation of the users in cultural activities. Technology does not exist per se being socially shaped. Museums have the opportunity to promote social innovation by developing technology and opening up to the audience as an active participant in the definition of cultural contents emphasising the interaction and communication between museums and their users. The Internet and interactive technology help museums to drive service innovation by opening up to the participation of the audience in defining cultural heritage contents. As virtual-oriented and technology-driven organisations, museums are becoming social, developing social spaces for innovation, selecting different pathways by managing information and knowledge sharing, developing interactive and virtual technology, building a shared authority on cultural heritage, involving the user as an active participant in co-production of cultural heritage knowledge.
{"title":"Becoming Social Museums by Being Virtual-Oriented and Technology-Driven Organisations","authors":"Mauro Romanelli","doi":"10.2478/csep-2021-0006","DOIUrl":"https://doi.org/10.2478/csep-2021-0006","url":null,"abstract":"Abstract As audience-oriented and information-driven organisations, museums are embracing the Internet and interactive technology for developing virtual museums by encouraging the participation of the users in cultural activities. Technology does not exist per se being socially shaped. Museums have the opportunity to promote social innovation by developing technology and opening up to the audience as an active participant in the definition of cultural contents emphasising the interaction and communication between museums and their users. The Internet and interactive technology help museums to drive service innovation by opening up to the participation of the audience in defining cultural heritage contents. As virtual-oriented and technology-driven organisations, museums are becoming social, developing social spaces for innovation, selecting different pathways by managing information and knowledge sharing, developing interactive and virtual technology, building a shared authority on cultural heritage, involving the user as an active participant in co-production of cultural heritage knowledge.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130497621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article discusses the case of the transformation of the Tighina-Bender fortress in a historic museum and tourist attraction site. The fortress is one of the most important medieval fortifications in Eastern Europe and is a national monument registered in the State Register of Protected Monuments of the Republic of Moldova. Paradoxically, but the fortress has not benefited from serious historic and archaeological research so far. It must be because during the Soviet era the fortress was a military base and it was closed to the public. Its recent transformation into a museum, the launch of a rehabilitation project, and ensured access inside this fortification inspire us for the possibility of transforming this site into one of the most attractive tourist places in the Republic of Moldova. But for better interpretation and presentation is strictly necessary to understand the history of the place, its role from regional and European perspectives, the relation of historic place with the local community, etc. (Re)inventing a museum needs, in, first of all, a vision and, secondly, a strategy of museum sustainable development.
{"title":"Tighina-Bender Fortress – (Re)Inventing a Museum","authors":"Sergiu Musteaţă","doi":"10.2478/csep-2021-0003","DOIUrl":"https://doi.org/10.2478/csep-2021-0003","url":null,"abstract":"Abstract This article discusses the case of the transformation of the Tighina-Bender fortress in a historic museum and tourist attraction site. The fortress is one of the most important medieval fortifications in Eastern Europe and is a national monument registered in the State Register of Protected Monuments of the Republic of Moldova. Paradoxically, but the fortress has not benefited from serious historic and archaeological research so far. It must be because during the Soviet era the fortress was a military base and it was closed to the public. Its recent transformation into a museum, the launch of a rehabilitation project, and ensured access inside this fortification inspire us for the possibility of transforming this site into one of the most attractive tourist places in the Republic of Moldova. But for better interpretation and presentation is strictly necessary to understand the history of the place, its role from regional and European perspectives, the relation of historic place with the local community, etc. (Re)inventing a museum needs, in, first of all, a vision and, secondly, a strategy of museum sustainable development.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133019997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Romanian cartography at the Paris Peace Conference has so far received very little attention. Nevertheless, Romanian scholars produced tens of maps to support Romanian claims, most of them ethnographic ones. Seen as unscientific in 1919, they were quietly brushed aside. The present article argues that Romanian maps of 1919 displayed the same ideas found among Romanian elites. Ethnographic space was for them not just a matter of graphic representation of census results, but also the historical development of ancient and modern Dacia. Romanian cartography was congruous with Romanian culture in a wider sense. The article will review these ideas and then discuss their impact in Paris in 1919 and for Romanian culture since then.
{"title":"The Past as Science: Romanian Cartography at the Paris Peace Congress of 1919","authors":"Silviu Anghel","doi":"10.2478/csep-2021-0004","DOIUrl":"https://doi.org/10.2478/csep-2021-0004","url":null,"abstract":"Abstract Romanian cartography at the Paris Peace Conference has so far received very little attention. Nevertheless, Romanian scholars produced tens of maps to support Romanian claims, most of them ethnographic ones. Seen as unscientific in 1919, they were quietly brushed aside. The present article argues that Romanian maps of 1919 displayed the same ideas found among Romanian elites. Ethnographic space was for them not just a matter of graphic representation of census results, but also the historical development of ancient and modern Dacia. Romanian cartography was congruous with Romanian culture in a wider sense. The article will review these ideas and then discuss their impact in Paris in 1919 and for Romanian culture since then.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133268930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this essay, we will examine if and how Bourdieu’s cultural capital theory can be applied to the YouTuber online persona and if any significant alterations could point towards the consideration of a new form of capital – digital capital. We will also be looking at how a YouTuber persona and its capital can be transferred and used in different environments and situations. We aim to examine how one’s online persona is becoming just as, if not more important than one’s real-life actions, managing to overcome punitive measures (inauthenticity aversion) usually applied to inauthentic forms of capital. We will take into account how the embodied, objectified, and institutionalized cultural capital can be found in YouTuber personas, but are being altered by the online environment, by exposure, by the algorithms used by the platform, by ‘internet history’. With the help of these alterations, the forms of capital associated with the online persona – in this case the YouTuber persona – have transcended the classic definitions of cultural capital. These developments can be analyzed and further explored in several fields, such as personal branding.
{"title":"Cultural Capital in the Digital Age. The YouTuber Online Persona","authors":"Eliana Isabella Radu","doi":"10.2478/csep-2021-0002","DOIUrl":"https://doi.org/10.2478/csep-2021-0002","url":null,"abstract":"Abstract In this essay, we will examine if and how Bourdieu’s cultural capital theory can be applied to the YouTuber online persona and if any significant alterations could point towards the consideration of a new form of capital – digital capital. We will also be looking at how a YouTuber persona and its capital can be transferred and used in different environments and situations. We aim to examine how one’s online persona is becoming just as, if not more important than one’s real-life actions, managing to overcome punitive measures (inauthenticity aversion) usually applied to inauthentic forms of capital. We will take into account how the embodied, objectified, and institutionalized cultural capital can be found in YouTuber personas, but are being altered by the online environment, by exposure, by the algorithms used by the platform, by ‘internet history’. With the help of these alterations, the forms of capital associated with the online persona – in this case the YouTuber persona – have transcended the classic definitions of cultural capital. These developments can be analyzed and further explored in several fields, such as personal branding.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122843895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Culture is a concept as well as a social reality whose complex geometry is currently considered at least under three different perspectives: 1) an intellectual, spiritual, and esthetical development, (2) a way of life associated with social practices, and (3) specific areas of activities such as arts and sciences associated to esthetics and human values. Maybe the last line of understanding is the most present in people’s minds, but all three aspects are increasingly more important for contemporary societies.
{"title":"Broadening the Frame of Cultural Exploration","authors":"A. Zbuchea, Monica Bira","doi":"10.2478/csep-2021-0001","DOIUrl":"https://doi.org/10.2478/csep-2021-0001","url":null,"abstract":"Culture is a concept as well as a social reality whose complex geometry is currently considered at least under three different perspectives: 1) an intellectual, spiritual, and esthetical development, (2) a way of life associated with social practices, and (3) specific areas of activities such as arts and sciences associated to esthetics and human values. Maybe the last line of understanding is the most present in people’s minds, but all three aspects are increasingly more important for contemporary societies.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124880170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract We aim to map the divide between practice and research in the field of knowledge production and diffusion related to museum studies. In doing so, we draw on the domain literature regarding the evolution of museums as institutions and its implications for the development of a dedicated field of studies. The current research focuses on the publishing work undertaken by museum professionals and researchers, as an essential component contributing to the advancement of research as well as to the diffusion of good practices. More precisely, we scrutinized European journals from the domain available on the Web of Science (WoS) as well as journals not included in the “main” scientific flows and generally published in various languages, other than English.
我们的目标是绘制出与博物馆研究相关的知识生产和传播领域的实践与研究之间的鸿沟。在此过程中，我们借鉴了关于博物馆作为机构的演变及其对专门研究领域发展的影响的领域文献。目前的研究重点是博物馆专业人员和研究人员所从事的出版工作，这是促进研究进步和传播良好做法的重要组成部分。更准确地说，我们仔细审查了来自科学网络(Web of Science, WoS)上可用领域的欧洲期刊，以及不包括在“主要”科学流中的期刊，这些期刊通常以英语以外的各种语言出版。
{"title":"A Theory-Practice Divide in a Museum Showcase","authors":"Monica Bira, A. Zbuchea","doi":"10.2478/csep-2021-0005","DOIUrl":"https://doi.org/10.2478/csep-2021-0005","url":null,"abstract":"Abstract We aim to map the divide between practice and research in the field of knowledge production and diffusion related to museum studies. In doing so, we draw on the domain literature regarding the evolution of museums as institutions and its implications for the development of a dedicated field of studies. The current research focuses on the publishing work undertaken by museum professionals and researchers, as an essential component contributing to the advancement of research as well as to the diffusion of good practices. More precisely, we scrutinized European journals from the domain available on the Web of Science (WoS) as well as journals not included in the “main” scientific flows and generally published in various languages, other than English.","PeriodicalId":296149,"journal":{"name":"Culture. Society. Economy. Politics","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116512806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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