Contextualising Cultural Policy

Contextualising Cultural Policy

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nIntroduction

nCulture is to be an independent, challenging and dynamic force depending on the human right of expression. Human beings demonstrate their values via culture. All individuals have a chance to take part in cultural life. Institutions, corporations and public bodies have their own cultural values, which are expressed in their practices and policies (Schorlemer and Stoll 2012, p. 7). The development of a society needs artistic, diversity and creativity quality. Cultural policy intends to enhance opportunities for all people in order to experience culture and grow their creative capacities. In most cases, the states establish cultural policies at various levels such as at local, regional and national level (Bell and Oakley 2014, p. 5). In addition, they facilitate renewal of artistic and quality. Cultural policy enables a vibrant cultural heritage that is developed, used and preserved. Moreover, in the cultural sphere it supports intercultural and international cooperation and exchange (Paquette and Redaelli 2015, p. 10). Cultural policy regulates the conduct of individual, social group or institutions. The paper will analyse the scope of cultural policy and its importance in the society.

nPrior to the 21st century, most of the activities that are now contained in cultural policy were composed under the arts policy. Cultural policy contains a wide range of activities than in arts policy. Cultural policy address issues such as cultural identity. It also involves activities such as public humanities, visual arts, heritage and performing arts (Miller and Yúdice 2006, p.56). Culture is normally a public good, which benefits all people in the society. Cultural benefits therefore, should be accessible to all people irrespective of political affiliation, educational level, social class or place of habitation (Bennett, and Bennett 2008, p. 5). However, culture should provide quality so that all people can enjoy its benefit.

nSociety and Individual Opportunities

nEvery society requires a robust cultural life. Culture has an ability to inspire and move. Therefore, it plays a crucial role in developing society and strengthening a person. Art should be permitted to establish itself freely. Similarly, they should be scope for emerging perceptions on cultural heritage (Stevenson 2005, p.23). Protecting the potential of culture helps to make it more dynamic. Cultural policy also has a crucial role of safeguarding the independent, challenging and dynamic force of culture. Both freedom of opinion and expression are crucial requirements in a living democracy (Ahearne and Bennett 2007, p. 32). Therefore, cultural policy has an important mandate of protecting this freedom.

nCultural policy must offer conditions to help every individual to take part in cultural life irrespective of whether the objective is to participate in creative activities, or education. Furthermore, cultural policy should enable participation in cultural facilities that feature high standards and diversity (Bennett 2012, p. 87). In this regard, this is irrespective of individuals country or their physical disabilities.

nA vibrant society must have an innovative and creative thinking, which are the determining forces of development of culture. Additionally, these factors should be given space in order to growth. Economic and material considerations should be analysed against cultural, social and human values (Bell and Oakley 2014, p. 5). Therefore, cultural policy plays a critical part in supporting and spreading humanistic perspective of people in the society. Cultural expressions characterize a society regardless of the part where they live (Miller and Yúdice 2006, p.59).

nAll individuals should feel welcome to participate in cultural life and they must be allowed to influence and take part. Institutions of culture are essential vehicles and bearers of knowledge (Bennett and Bennett 2008, p.14). Different cultural expressions have a greater role in establishing contexts and offering emerging perceptions on events and occurrences in peoples lives across the globe (Ahearne and Bennett 2007, p. 37). In this regard, cultural policy has a beneficial part to play in cultural aspirations of the society.

nVarious types of creativity need to be encouraged and supported. Professional and amateur cultural performances are done under diverse conditions. In addition, they are conducted various starting points but they usually enrich each other. Therefore, there should be a chance for collaborations (Craik 2007, p.29).

nArtistic Creativity and Quality

nArtistic creativity is important because it helps to explore new areas, work differently and transgress boundaries. Cultural policy must ensure that there is existence of conditions for creative performances that would not be demonstrated in other ways. In particular, this must be in terms of development and renewal of culture (Bennett 2012, p. 90). In addition, it should vigorously enhance proper conditions that would encourage professional cultural developers in their artistic work (Lewis and Miller 2005, p.27).

nQuality changes from individuals, groups and genre. Cultural creators have a crucial part to play in the promotion of quality in cultural sphere (DeVereaux and Griffin 2013, p.36). Quality has a fundamental importance in cultural policy because it would not be subject to assessment from political spheres of influence (Ahearne and Bennett 2007, p. 78).

nCultural policy has a key role in enhancement of a vibrant cultural heritage. The cultural heritage of the contemporary society features diversity and history. In addition, it is as historically and multifaceted different as the society it represent (Bennett and Bennett 2008, p.49). Cultural heritage establishes a perception on society, which enriches and develops the lives of people. Cultural heritage experiences constant changes (Bell and Oakley 2014, p.25). Therefore, from the perspectives of citizens, it is crucial that an open dialogue is performed on these understandings and their representations.

nDynamic Cultural Heritage

nCultural heritage is for all people in the society. In this respect, it should be viewed as an asset that promotes renewal and development in the society. Citizens participation and involvement is an important factor for guaranteeing that cultural heritage still develops and live (Bennett 2012, p. 92).

nThe societys internationalization offers perfect opportunities for development of cultural life. For instance, the UK culture can spread across its borders. Similarly, culture from other parts can spread to the UK. It brightens cultural practitioners and audiences and can offer new viewpoints and knowledge (Bell and Oakley 2014, p.29). Therefore, the cultural policy should ensure that there in mutuality, artistic integrity, and quality. Moreover, cultural policy must facility sustainable international exchange (Bennett 2009, p. 21).

nDue to high rate of international interactions, many societies have become intercultural (Meredyth and Minson 2007, p.13). Furthermore, this interaction has produced a mixture of experiences and expressions at both the society and individual level (Craik 2007, p.31). Intercultural exchange has an essential role in cultural life development just like international exchange.

nYoung people and children in many occasions depend on their parents. Therefore, they have restricted chances to be responsible or influence the environment where they grow. In this respect, the adult and society has a significant role for young people and children through equal and better chances to participate in cultural life (Ahearne and Bennett 2007, p. 79). Cultural policy must offer the conditions that help young people and children to access the cultural activities and cultural decisions that feature quality and diversity in their society. When young people and children experience culture, they can establish independent and imagination thinking. Additionally, it helps them to devote themselves in innovative activities in their lives (Bennett 2012, p.103).

nCultural Policies and Creative Industries

nIn the recent past, the economic activities have made cultural policy to consider the creative industries. They refer to various economic activities that engage in exploitation or generation of information and knowledge (Bennett and Bennett 2008, p.34). In addition, they require good cultural policy that would stimulate their development. A wide range of governments across the world has realised the importance of investing in creative industries as the level of competition increases (Bell and Oakley 2014, p.33). There are various disciplines of creative industries, which include economic, arts management, and sociology and media studies.

nCultural policies affect the creative industries through the government actions. Since the late twentieth century, the UNESCO identified cultural dimension to economic and its effect on development (Schorlemer and Stoll 2012, p. 21). A number of issues exist in cultural policy for creative industries. For instance, the issues of scope and definition of culture remain unresolved. Some have argued that every industry is a cultural industry since an industry participates in production of services and goods (Bennett 2012, p. 104). However, the main idea in these industries is the artistic, aesthetic and symbolic nature of their production. In addition, their products have powerful effects on how the society understands them (Bell and Oakley 2014, p.44). The most comprehensible definition of cultural industries caters for boundaries between cultural production, and symbolic. The boundaries can be divided into both non-utilitarian and utilitarian functions of symbolic goods. Non-utilitarian relationships include entertainment, aesthetic and artistic outputs (DeVereaux and Griffin 2013, p.39).

nAccording to Stockholm conference, the scope of cultural policy must be broadened. In this regard, it must include the comprehensive emotional, intellectual, material and spiritual features that describe a social group or a society (McGuigan 2004, p.12). In addition, the cultural policy should not only include letters and arts but also beliefs and traditions, value systems, fundamental human rights and modes of life (Bennett and Bennett 2008, p.34). Cultural policy supports a wide range of activities and governs many sectors, organizations and individuals.

nDemocratization of cultural Policy

nMost governments have democratized the cultural policy in order to serve all public interest. The main aim of cultural democratization is to facilitate development of education, dignity promotion and aesthetic enlightenment of the citizens (Schorlemer and Stoll 2012, p. 21). Since the democratic government is accountable to its citizens, it must develop cultural policy that caters for their needs. Cultural policy must provide for aesthetic quality. Additionally, cultural policy should make the culture widely available (DeVereaux and Griffin 2013, p.43). Therefore, cultural policy must be enabling the creation of cultural diversity. However, this view would create restricted boundaries between professional and amateur arts activities. In fact, the main aim is to offer chances to persons outside the professional mainstream (Paquette and Redaelli 2015, p. 12).

nCultural policy should promote high standards of quality from different aesthetic expressions. Similarly, cultural policy should be accessible to all persons from diverse geographical locations, educational background, and socio-economic status (Patel 2013, p.9). The development of a cultural policy should be viewed as a chance to offer alternatives that do not exist in the marketplace (Meredyth and Minson 2007, p.15). Therefore, the public cultural agencies would play a crucial role in complementing the work in private sector instead of duplicating their efforts. Additionally, the government through cultural agencies can enhance development of the community by assisting in artistic heritage. Furthermore, policy makers should develop cultural policies that support comprehensive varieties of excellences (Sarikakis 2007, p.19).

nPolicy makers should not come from the government but should incorporate persons from civil society, academics and lobby groups. Therefore, the government should have new ways of getting insights from different, alliances, and stakeholders. Since culture should accomplish potential for democratic, participative and inclusive policymaking, it should have wide public policy (Miller and Yúdice 2006, p.60).

nCurrently, cultural institutions are increasingly becoming market-driven because they need finances in order to provide public support. The public culture should facilitate the development of cultural activities and arts groups that assist in self-worth of an individual and community definition. Therefore, a good cultural policy should establish public spheres that are independent of commercial values or profit motives (DeVereaux and Griffin 2013, p.49). Most importantly, cultural policy should stand as an important public commitment in accomplishing their fundamental preconditions. Cultural policy should also ensure that there is reduction of taxes on all cultural services and goods (Meredyth and Minson 2007, p.16). For instance, reduction of taxes would increase consumption of cultural services and goods.

nConclusion

nCulture is an important factor in community development because it helps the people to express their values. Cultural policy enhances chances for all people to establish their creative capacities and experience culture. Moreover, it promotes accessibility to people of diverse socio-economic status, and educational backgrounds as well as geographical locations. The society needs strong cultural life because cultural policies strengthen persons and community development (Patel 2013, p.10). Most importantly, it should ensure quality in the cultural sphere. Creativity is a major issue that should be promoted through cultural policy. Therefore, policy makers should be take necessary care when formulating cultural policy.

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nReferences

nAhearne, J. and Bennett, O., 2007. Intellectuals and cultural policy. London: Routledge.

nBell, D. and Oakley, K., 2014. Cultural policy. London. Routledge.

nBennett, O., 2012. Cultural policy review of books. London: Routledge.

nBennett, T. and Bennett, T., 2008. Cultural policy and cultural diversity. Strasbourg: Council of Europe Pub.

nBennett, T., 2009. Differing diversities. Strasbourg: Council of Europe, Cultural Policy and Action Department.

nCraik, J., 2007. Re-visioning arts and cultural policy. Acton, A.C.T.: ANU E Press.

nDeVereaux, C. and Griffin, M., 2013. Narrative, identity, and the map of cultural policy. Farnham, Surrey, England: Ashgate.

nLewis, J. and Miller, T., 2005. Critical cultural policy studies. Malden, MA: Blackwell Pub.

nMcGuigan, J., 2004. Rethinking cultural policy. Maidenhead: Open University.

nMeredyth, D. and Minson, J., 2007. Citizenship and cultural policy. London: SAGE.

nMiller, T. and Yúdice, G., 2006. Cultural policy. London: Sage Publications.

nPaquette, J. and Redaelli, E., 2015. Arts management and cultural policy research. Basingstoke: Palgrave Macmillan.

nPatel, K., 2013. The Cultural Politics of Europe. London: Sage Publications.

nSarikakis, K., 2007. Media and cultural policy in the Europea Union. Amsterdam: Rodopi.

nSchorlemer, S. and Stoll, P., 2012. The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Berlin: Springer.

nStevenson, N., 2005. Cultural citizenship. Maidenhead: Open University Press.