Pub Date : 2022-09-08DOI: 10.1080/09548963.2022.2120382
Susan E. Jones
This analysis of the plight of visual artists during Covid-19 illuminates the working conditions of a chronically under-examined sub-section of cultural labour. It demonstrates the severity of pandemic impacts on visual artists’ social and economic circumstances, including inappropriate criteria for accessing government and Arts Council England emergency measures. A central concern is a consideration of how arts policies might better acknowledge and account in future arts infrastructures for the distinctive, diverse social contributions of this workforce element. The commentary reveals a stark contrast between ambitions at national and local levels about what artists and the arts are for, and where and how arts policy should be made and implemented. It evidences an emerging grassroots appetite for a dramatic shift from current hierarchical patterns driven by national imperatives to nuanced, localized infrastructures that can ensure artists’ multiple talents and assets contribute fully to social and economic change for the better within communities. [ FROM AUTHOR] Copyright of Cultural Trends is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
{"title":"Cracking up: the pandemic effect on visual artists’ livelihoods","authors":"Susan E. Jones","doi":"10.1080/09548963.2022.2120382","DOIUrl":"https://doi.org/10.1080/09548963.2022.2120382","url":null,"abstract":"This analysis of the plight of visual artists during Covid-19 illuminates the working conditions of a chronically under-examined sub-section of cultural labour. It demonstrates the severity of pandemic impacts on visual artists’ social and economic circumstances, including inappropriate criteria for accessing government and Arts Council England emergency measures. A central concern is a consideration of how arts policies might better acknowledge and account in future arts infrastructures for the distinctive, diverse social contributions of this workforce element. The commentary reveals a stark contrast between ambitions at national and local levels about what artists and the arts are for, and where and how arts policy should be made and implemented. It evidences an emerging grassroots appetite for a dramatic shift from current hierarchical patterns driven by national imperatives to nuanced, localized infrastructures that can ensure artists’ multiple talents and assets contribute fully to social and economic change for the better within communities. [ FROM AUTHOR] Copyright of Cultural Trends is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47389061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-24DOI: 10.1080/09548963.2022.2115338
Sumi Kim
{"title":"The British Museum’s Korean gallery: a space embodying South Korean cultural diplomacy in the 1990s","authors":"Sumi Kim","doi":"10.1080/09548963.2022.2115338","DOIUrl":"https://doi.org/10.1080/09548963.2022.2115338","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43571986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/09548963.2022.2103646
Bas van Heur, Els Silvrants-Barclay, Menna Agha
{"title":"Collective cultural infrastructures: ownership, architecture, governance","authors":"Bas van Heur, Els Silvrants-Barclay, Menna Agha","doi":"10.1080/09548963.2022.2103646","DOIUrl":"https://doi.org/10.1080/09548963.2022.2103646","url":null,"abstract":"","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-18DOI: 10.1080/09548963.2022.2082864
Jimmyn Parc, P. Messerlin
In recent years, there have been many voices in Korea arguing that a few commercially successful fi lms take up the opportunities for the exhibition of other fi lms and thus limit the selection of titles available for moviegoers, a trend dubbed the “ screen monopoly ” . In seeking a solution, a number of scholars have looked to the anti-screen monopoly “ regulations ” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean fi lm market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a bene fi cial option. The fi ndings in this paper suggest a strong need to re-examine the e ff ectiveness of government policies in the cultural industry.
{"title":"Screen monopoly and diversity: a comparative study between the Korean and French film industries","authors":"Jimmyn Parc, P. Messerlin","doi":"10.1080/09548963.2022.2082864","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082864","url":null,"abstract":"In recent years, there have been many voices in Korea arguing that a few commercially successful fi lms take up the opportunities for the exhibition of other fi lms and thus limit the selection of titles available for moviegoers, a trend dubbed the “ screen monopoly ” . In seeking a solution, a number of scholars have looked to the anti-screen monopoly “ regulations ” in France, but without providing rigorous or persuasive evidence. By comparing the appropriate variables of Korea and France, this paper argues that the Korean fi lm market is less monopolised than France despite the non-existence of these regulations. Furthermore, it demonstrates that Korea has more diversity than France. As a result, this paper concludes that introducing the French anti-screen monopoly regulations in Korea does not seem a bene fi cial option. The fi ndings in this paper suggest a strong need to re-examine the e ff ectiveness of government policies in the cultural industry.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47998197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-10DOI: 10.1080/09548963.2022.2083944
Johanna K. Taylor
ABSTRACT Artist in residence in government (AIRG) programs that embed artists within civic work are becoming increasingly popular across the United States. As governments are challenged to shift systems to be more equitable, repair infrastructure and prepare for future crises, cross-sectoral collaboration models offer new ways of working. Cross-sectoral collaboration that embeds artists in non-arts sectors spurs civic innovation and shifts contexts to inspire new ideas and opportunities. This article builds a guiding framework of the characteristics and considerations that shape AIRG programs in order to present possible pathways that can be followed in program development and implementation. Foundationally, each AIRG is unique and responsive to the specific underlying social, political, economic, environmental and cultural preconditions of place. The guiding framework details preconditions, program design and partners, and program structure, followed by an analysis of the challenges and opportunities. Research was conducted on AIRG programs operating in 2020 and 2021.
{"title":"Artists, government and cross-sector collaboration: A guiding framework of US-based artists in residence in government programs","authors":"Johanna K. Taylor","doi":"10.1080/09548963.2022.2083944","DOIUrl":"https://doi.org/10.1080/09548963.2022.2083944","url":null,"abstract":"ABSTRACT Artist in residence in government (AIRG) programs that embed artists within civic work are becoming increasingly popular across the United States. As governments are challenged to shift systems to be more equitable, repair infrastructure and prepare for future crises, cross-sectoral collaboration models offer new ways of working. Cross-sectoral collaboration that embeds artists in non-arts sectors spurs civic innovation and shifts contexts to inspire new ideas and opportunities. This article builds a guiding framework of the characteristics and considerations that shape AIRG programs in order to present possible pathways that can be followed in program development and implementation. Foundationally, each AIRG is unique and responsive to the specific underlying social, political, economic, environmental and cultural preconditions of place. The guiding framework details preconditions, program design and partners, and program structure, followed by an analysis of the challenges and opportunities. Research was conducted on AIRG programs operating in 2020 and 2021.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"1 1","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43012347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-07DOI: 10.1080/09548963.2022.2082862
A. Fung, W. He, Shule Cao
ABSTRACT Studies of digital platforms have critically examined the exploitation and low paid condition of creative labour in cultural industries. This study aims to empirically explore the motivation behind why producers/consumers, key opinion leaders, or wanghong are still devoted to producing and posting videos on the short video platform Douyin, which is the Chinese version of Tik Tok, despite the precarious condition. Leveraging on Bourdieu’s concept of cultural capitals and the interchangeability of capitals, this paper argues that Douyin provides the possibility for different wanghong to pursue their own intended capitals, which are not just economic capital, but also social, symbolic, and cultural capital. Under a relatively close environment of China, the flexibility and interchangeability of capital gain have at least become an alternative for these wanghong to explore their creativity and fulfil their desires.
{"title":"Cultural capitals and creative labour of short video platforms: a study of wanghong on Douyin","authors":"A. Fung, W. He, Shule Cao","doi":"10.1080/09548963.2022.2082862","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082862","url":null,"abstract":"ABSTRACT Studies of digital platforms have critically examined the exploitation and low paid condition of creative labour in cultural industries. This study aims to empirically explore the motivation behind why producers/consumers, key opinion leaders, or wanghong are still devoted to producing and posting videos on the short video platform Douyin, which is the Chinese version of Tik Tok, despite the precarious condition. Leveraging on Bourdieu’s concept of cultural capitals and the interchangeability of capitals, this paper argues that Douyin provides the possibility for different wanghong to pursue their own intended capitals, which are not just economic capital, but also social, symbolic, and cultural capital. Under a relatively close environment of China, the flexibility and interchangeability of capital gain have at least become an alternative for these wanghong to explore their creativity and fulfil their desires.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"32 1","pages":"264 - 279"},"PeriodicalIF":3.1,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48223313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-07DOI: 10.1080/09548963.2022.2082863
Wen Guo
ABSTRACT The National Endowment for the Arts (NEA) implements creative placemaking (CPM) policy by forging and coordinating a broad-based national policy network. This article visualizes and analyzes the national CPM policy network based on hyperlinks on the policy actors’ websites. By unpacking the roles, resources, and affected interests of policy actors and their relationships with each other in the policy network, this article finds that the NEA exercises institutional entrepreneurship through CPM policy with four governance strategies: (1) seek legitimacy by re-activating federal interagency relations; (2) reorient and expand arts constituencies through existing governance infrastructure and new brokers; (3) develop discursive strategy and advance policy implementation through consulting and research organizations, and (4) diversify financial support by reaching out to banks and foundations. In the entrepreneurial process, the NEA also develops a mutually reinforcing mechanism of public value, financial stability, and artistic vitality with the governance strategies.
{"title":"Institutional entrepreneurship through network governance: a social network analysis of NEA's creative placemaking national initiative","authors":"Wen Guo","doi":"10.1080/09548963.2022.2082863","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082863","url":null,"abstract":"ABSTRACT The National Endowment for the Arts (NEA) implements creative placemaking (CPM) policy by forging and coordinating a broad-based national policy network. This article visualizes and analyzes the national CPM policy network based on hyperlinks on the policy actors’ websites. By unpacking the roles, resources, and affected interests of policy actors and their relationships with each other in the policy network, this article finds that the NEA exercises institutional entrepreneurship through CPM policy with four governance strategies: (1) seek legitimacy by re-activating federal interagency relations; (2) reorient and expand arts constituencies through existing governance infrastructure and new brokers; (3) develop discursive strategy and advance policy implementation through consulting and research organizations, and (4) diversify financial support by reaching out to banks and foundations. In the entrepreneurial process, the NEA also develops a mutually reinforcing mechanism of public value, financial stability, and artistic vitality with the governance strategies.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43536241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-04DOI: 10.1080/09548963.2022.2081487
Andrew Anzel, H. Beer, G. Currie
ABSTRACT The cultural sector has increasingly adopted practices of impact measurement to justify public investment. While scholars have investigated the (de)merits of this cultural trend, literature on its rationale, development, and evolution is limited. We address this oversight by uncovering the intellectual history of impact measurement in cultural contexts. We reveal how measurement justification and practice became misaligned over time, creating a latent paradox of impact measurement in cultural contexts. We argue that current practices of impact measurement both strengthen and weaken the justification for public cultural investment. In the short term, impact measurement strengthens investment justification by providing cursory evidence of produced outcomes. In the long term, current practices weaken this justification by failing to produce counterfactual accounts for how cultural spend achieves funding objectives. We problematize this paradox and outline future research to either confront, embrace, or cope with its existence.
{"title":"The paradox of impact measurement in cultural contexts","authors":"Andrew Anzel, H. Beer, G. Currie","doi":"10.1080/09548963.2022.2081487","DOIUrl":"https://doi.org/10.1080/09548963.2022.2081487","url":null,"abstract":"ABSTRACT The cultural sector has increasingly adopted practices of impact measurement to justify public investment. While scholars have investigated the (de)merits of this cultural trend, literature on its rationale, development, and evolution is limited. We address this oversight by uncovering the intellectual history of impact measurement in cultural contexts. We reveal how measurement justification and practice became misaligned over time, creating a latent paradox of impact measurement in cultural contexts. We argue that current practices of impact measurement both strengthen and weaken the justification for public cultural investment. In the short term, impact measurement strengthens investment justification by providing cursory evidence of produced outcomes. In the long term, current practices weaken this justification by failing to produce counterfactual accounts for how cultural spend achieves funding objectives. We problematize this paradox and outline future research to either confront, embrace, or cope with its existence.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45876899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-02DOI: 10.1080/09548963.2022.2082865
Miikka Pyykkönen, Sakarias Sokka, Ari Kurlin Niiniaho
ABSTRACT In this article, we examine the views that young (under 35 years) freelancers and entrepreneurs who work as professional artists in Finland have of their work. We refer to them as artrepreneurs. Our data sample is composed of the responses of entrepreneurs and freelancers (n = 209) from a survey data on young artists (n = 565) collected in 2017. By using a set of quantitative methods we study the impact of different factors on the job satisfaction experienced by freelancers and entrepreneurs, the nature and motivation factors of their work, as well as their status and livelihood. In our interpretative framework, central concepts are the “hybridity” and “precarity” of artists’ work and “autonomy paradox”. The most important results of our study are that artrepreneurs’ work is more multidisciplinary and they have more sources of income than other young artists. They also handle the uncertainties of precarious working life better than other artists.
{"title":"Artrepreneurs and the autonomy paradox","authors":"Miikka Pyykkönen, Sakarias Sokka, Ari Kurlin Niiniaho","doi":"10.1080/09548963.2022.2082865","DOIUrl":"https://doi.org/10.1080/09548963.2022.2082865","url":null,"abstract":"ABSTRACT In this article, we examine the views that young (under 35 years) freelancers and entrepreneurs who work as professional artists in Finland have of their work. We refer to them as artrepreneurs. Our data sample is composed of the responses of entrepreneurs and freelancers (n = 209) from a survey data on young artists (n = 565) collected in 2017. By using a set of quantitative methods we study the impact of different factors on the job satisfaction experienced by freelancers and entrepreneurs, the nature and motivation factors of their work, as well as their status and livelihood. In our interpretative framework, central concepts are the “hybridity” and “precarity” of artists’ work and “autonomy paradox”. The most important results of our study are that artrepreneurs’ work is more multidisciplinary and they have more sources of income than other young artists. They also handle the uncertainties of precarious working life better than other artists.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":" ","pages":""},"PeriodicalIF":3.1,"publicationDate":"2022-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47498837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-30DOI: 10.1080/09548963.2022.2081488
Caitlin Vincent
ABSTRACT With the onset of the COVID-19 pandemic, performance venues worldwide were shuttered, and many arts organisations “pivoted” to digital performance platforms. While existing literature has explored the impact of such strategies on organisations and audiences, there has been limited consideration of the role of digital initiatives in either alleviating or exacerbating the negative impacts of the pandemic on professional classical musicians. This article examines one such initiative, the Melbourne Digital Concert Hall in Australia, and maps the extent to which it may have functioned as a positive intervention for participating musicians during a period of extreme career insecurity. Using survey data from 63 musicians who performed on the platform, I find the initiative partially addressed three negative impacts caused by the pandemic—the losses of work, identity, and community. However, the initiative was unable to counteract a fourth negative impact—the loss of audience—due to its digital format.
{"title":"The impacts of digital initiatives on musicians during COVID-19: examining the Melbourne Digital Concert Hall","authors":"Caitlin Vincent","doi":"10.1080/09548963.2022.2081488","DOIUrl":"https://doi.org/10.1080/09548963.2022.2081488","url":null,"abstract":"ABSTRACT With the onset of the COVID-19 pandemic, performance venues worldwide were shuttered, and many arts organisations “pivoted” to digital performance platforms. While existing literature has explored the impact of such strategies on organisations and audiences, there has been limited consideration of the role of digital initiatives in either alleviating or exacerbating the negative impacts of the pandemic on professional classical musicians. This article examines one such initiative, the Melbourne Digital Concert Hall in Australia, and maps the extent to which it may have functioned as a positive intervention for participating musicians during a period of extreme career insecurity. Using survey data from 63 musicians who performed on the platform, I find the initiative partially addressed three negative impacts caused by the pandemic—the losses of work, identity, and community. However, the initiative was unable to counteract a fourth negative impact—the loss of audience—due to its digital format.","PeriodicalId":51682,"journal":{"name":"Cultural Trends","volume":"32 1","pages":"247 - 263"},"PeriodicalIF":3.1,"publicationDate":"2022-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43267972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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