City, Culture and Society最新文献

In existing studies on the relationship between cultural events and urban transformation, neoliberalism narratives of urban entrepreneurship have been prominently emphasised. As this paper argues, discussions of the cultural economy rarely pay sufficient attention to the agency of the creative class, and often fail to consider that those modes of urban governance may differ. This paper draws on a study of the geographical factors involved in developing the FIRST International Film Festival, which was held in the city of Xining on the Tibetan Plateau. It explores the reasons for the relocation of the FIRST International Film Festival from Beijing to Xining, and the purposes and ways in which Xining employs the FIRST International Film Festival. From these findings, the study suggests that the geographical expressions of cultural industries themselves, as well as the diversity of development interests and considerations in a particular place, are essential to gain a comprehensive understanding of the connections between cultural events and the city.

Creative cluster urban policy, aimed at regenerating parts of cities in the UK, has been linked with ameliorating social exclusion in the extant policy literature. This is paradoxical given levels of exclusion within the creative and cultural industries in the UK. Moreover, this type of policy favours more publicly funded creative and cultural organisations as opposed to creativesmall and medium-sized enterprises including micro-organisations (SMEs) - those who primarily trade, and who make up the bulk of the sector. This is because creative SMEs have unique labour, organisational and economic realities which might limit their levels of social inclusion practice (SIP). Moreover, what SIP looks like for such an assorted array of organisational and sub-sectoral businesses, and how this benefits them, has not been accurately presented in the literature. If creative cluster policy is to deliver social inclusion (broadly defined) then it must contend with the business realities which exist for creative SMEs. This paper draws on research conducted in the established creative cluster of Hackney Wick and Fish Island (HWFI) in London. Using an operational definition for SIP derived from the policy literature as well as descriptive and nonparametric correlation analysis of survey data, this paper investigates three questions. First, does SIP by creative SMEs lead to business growth? Second, does SIP by creative SMEs lead to business longevity? Third, what are the implications for creative clusters? By addressing these three questions this paper aims to shed light on the costs and benefits of SIP for specifically creative SMEs and how this affects the clusters within which they are nested. While data limitations exist, findings suggest that short term, immediate rewards identified as business growth, and analysed through annual turnover, are not imminent for creative SMEs that pursue SIP. However, longer term benefits, analysed as business longevity or how long these businesses stay in operation, are apparent for those creative SMEs that do pursue SIP. This indicates a positive impact for creative clusters regarding ameliorating social exclusion but could be markedly improved if policy provides appropriate incentive structures for specifically creative SMEs who pursue or plan to pursue SIP.

This conceptual study explores the relationship between live popular music and the sustainability goals of the New Urban Agenda, which is the United Nation's vision on a sustainable future in the context of growing urbanisation. In connection to the Sustainable Development Goals, the agenda reflects a broad approach to sustainability. It addresses environmental, social, economic and spatial issues. We consider the opportunities and complexities of implementing these four forms of sustainability in live music ecologies. Therefore, this article discusses the impacts of musical performance on social relationships in cities, urban economies and the environment. Furthermore, we examine the spatial conditions needed to support these sustainability goals. To achieve the proposed goals, various stakeholders (e.g. music organisations, urban planners and policy-makers) will need to work together to, among other things, enhance inclusivity, mitigate the negative effects of live music on the environment, and address issues of gentrification.

This paper analyses how recent changes on crime governance strategies in Bogotá have carried a modification on how surveillance is put into practice in the city. We argue that the reduction of the violence linked to the armed conflict along with the implementation of transnational forms of governing security led surveillance practices to be focused on public spaces instead of individuals. For public spaces to be surveilled, a classification between secure and insecure spaces has been created, which rests upon an esthetic ideal of how those spaces (should) look like. This shift from biographical surveillance to geographical surveillance implies that individuals stop being the main target of classification and control. In their stead, public space is the main object of surveillance. Yet, the fact that individuals are not the core of this governance technology does not mean that they do not experience the consequences of it. The meanings that are arranged around the esthetics of public spaces indorse practices of self-surveillance in which citizens should watch over the city, and protect themselves from crime.

The European Capital of Culture Programme and the UK Cities of Culture Programme have emerged as important vehicles in the realisation of the promise of culture led regeneration. However, while value of bidding both in terms of cultural value and public value is well documented, less attention has been given to those cities that loose in their attempts to become Capital of Culture. Drawing on the works of Turner, we conceive of the bidding phase of a competitive cultural mega event competition as a liminal phase; where the ‘old’ rules of cultural organising are put into flux, and where novel or creative solutions can be re-imagined. Using a case study methodology, the paper draws attention to the ways the bidding process shapes the cities, and the legacy effects made possible through engagement in the process. We show how the competitive nature of the bidding process (often with cities competing with their close neighbours), enables a particular form of civic pride, that is, civicism to enrol stakeholder support to ‘do it for the bid’ and set the scene for transformation. We propose that the legacy of bidding is not just about winning (or not) but leveraging the process for sustainable change. We discuss how two places, in competing to host a cultural mega event, used the bid to create change to redress structural and social inequalities. While the emphasis in the current discourse is a ‘winner takes all’, we evidence that this does not do justice to the transformative effect of bidding for those cities that do not go on to host the event. The framework presented in this work offers cities a model to reflect on the transformative potential of bidding for yearlong cultural events.

The perception that young people and youth orientated venues dominate the nocturnal city has stimulated calls on the part of government to address the exclusion of specific demographics, particularly those who are midlife. Focusing on those now aged 40–65, this paper explores how policies concerned with diversifying nightlife engage with this ageing demographic. Drawing on both scholarly and policy literature, the discussion examines how a discourse of diversity, diversification and vibrancy frame ageing and urban centres after dark. Acknowledging this demographic is under-researched, the paper brings together diverse literatures from urban planning, gerontology and sociology with a view to question the ways diversity, nightlife, and ageing are articulated and deployed in British urban policy. The paper challenges a normative concept of the life course, and a simplistic approach to place on which calls for diversifying nightlife within urban centres often rest. It concludes with a call for a framework for future research which connects place identity and demographic diversity within this cohort to inform future policy initiatives.

Cincinnati, like many mid-sized cities in the U.S., has undergone gentrification in the past few decades. One of the downsides of gentrification is that it supposedly displaces lower-income (often minority) population. This paper examines two census tracts in two neighborhoods in Cincinnati that underwent gentrification between 2000 and 2016 using a combination of census data, interviews with neighborhood Community Development Corporation members, building permits, and Google Street View Analysis. The African-American population in both of these neighborhoods declined by 20.0 percent between 2000 and 2016. It is suggested that the housing crisis of 2008 affected middle-class African-Americans to a greater extent than their white counterparts and led to the exodus of African-Americans from these tracts. Using a gentrification index adapted from Hwang (2015) to measure change in the built environment, it was shown that these two tracts progressed from disinvested in 2007/09 to early stage gentrification by 2016. These changes included the renovation of buildings, the construction of new mixed-use complexes, and changes in the types of businesses in the neighborhoods.

Craft industries in the global south make important contributions to local culture and economic development, yet their organisational dynamics and community development potential are understudied. Moreover, these industries are undergoing rapid change as creative producers adapt to economic liberalisation and globalisation. Focusing on this challenge, this research explores the changing dynamics and economic development potentials of an artistic brassware industry in Kandy, Sri Lanka. The research analyses how key features of the brassware industry including community-specific knowledge and skills, social networking, and identity creation that are tied to long-existing socio-cultural factors such as religion and the caste system are changing. As producers adapt or move away from traditional production techniques and values, the industry has undergone significant change and a resultant downturn. Although not representative of experiences in all global south countries, the findings from this case may contribute to a deeper understanding of craft industries in countries facing similar challenges.

This paper details the contextual and conceptual elements involved in setting up an Urban Lab in the city of Galway, Ireland. The paper specifies the set-up of a lab in the post-industrial area of Nuns' Island, through a detailed reading of pertinent ‘lab-centred’ literatures. It contributes to this literature by (1) analysing a lab in the explicit context of an urban regeneration project and (2) exploring ways in which co-production may be put into practice. Urban Lab Galway is anticipated initially to play a major role supporting the urban regeneration of an area adjacent to a major university, which also owns substantial buildings and land on the site, and is thus not surprisingly supported by the local university in question. The paper motivates and details the reasons supporting co-produced initiatives, critically exploring the potential and difficulties attaching to such practices. The paper ends in a sustained engagement with the concept of ‘creative destruction’ in the context of lab-based engagements.