Modelo de Planeación Participativa para la construcción de la política cultural de Cajicá

Consiste en el diseño de un modelo de participación política para planear la política cultural de Cajicá, que identifique las necesidades de los actores sociales. Específicamente se diseñará un proceso de planeación participativa con los actores políticos y sociales de Cajicá, el cual tendrá como resultado la formulación del plan decenal de cultura municipal.

Instrumentalism and the 'helping' discourse : Australian indigenous performing arts and policy

Indigenous arts are significant to the way Australia is represented to the world. Since the early 19705 Indigenous cultural policies, at both federal and state levels, have helped to shape the development of Indigenous performing arts in Australia. Over this period, cultural policies, in confluence with the aims of Indigenous artists and civil rights activists, have produced and reproduced instrumentalist rationales for the support of Indigenous arts. In particular, the sector has deployed <helping' rationales for cultural policies which focus on social and economic outcomes. This article addresses current debates around the instrumentalist purposes of cultural policy and the participation of Indigenous practitioners in reproducing the 'helping' discourse. The article, however, finds evidence of a recent break in the consensus which sees some Indigenous artists resisting the historical imperative for their arts practice to be exclusively focused on instrumentalist outcomes.

Australian cultural and innovation policies: never the twain shall meet?

 In recent years, Australian cultural policy-makers have begun to pay more attention to innovation policy. Several of the Australian states specifically address issues of innovation in their formal cultural policies, and the Australia Council for the Arts has published an Innovation Strategy which purports to constitute 'a coordinated approach to supporting creativity as one of Australia's most valuable assets' (Australia Council 2006).

However, despite this prima facie policy commitment to supporting and fostering innovation in the arts and cultural industries, there remains a disconnect between cultural and innovation policies in Australia. On the one hand, cultural policies in Australia are confused and incoherent in their approach to cultural innovation, and many policy settings as they apply to cultural industries are antithetical to the aims of fostering innovation and R&D. Meanwhile, innovation policies continue to pay only marginal attention to the creative arts and cultural industries. This disconnect will be briefly examined in three fields of cultural policy: arts and cultural funding; copyright and intellectual property policy; and broadcast media policy.

It is argued that rather than promoting innovation, existing policy frameworks in all three areas, when not specifically framed around the protection of vested interests, are often contradictory and inimical to the disruptive influence of innovative artists, technologies and firms. Possible reasons for the disconnect include pragmatic matters of busy ministers and low policy priorities, and conceptual confusion over the status and value of culture.

Growth in Cultural Participation in the City of Sydney: A Review for the City of Sydney

 Research Report commissioned by the City of Sydney

Expertise and the making of world heritage policy

This paper contributes to two emergent areas of scholarship: first, the role of expertise within the domain of cultural heritage practice; and second, international heritage institutions and their processes of governance. It does so by exploring expertise within the context of World Heritage Committee meetings. These forums of international heritage policy formulation have undergone significant changes in recent years, with larger geopolitical forces increasingly shaping process and decisions. This paper foregrounds the idea of these annual meetings as ‘locales’ in order to explore the inflows of expertise that help constitute authoritative decision-making, how expert knowledge is crafted for and by bureaucratic structure, and how the interplay between technical knowledge and politics via an ‘aesthetics of expertise’ bears upon future directions. In offering such an analysis, the paper seeks to add nuance and conceptual depth to our understanding of international conservation policy and the regulatory, governmental practices of organisations such as UNESCO.

Política e gestão cultural: Brasil, USA e Europa

Este estudo lida com política cultural, administração e financiamento das artes e do patrimônio histórico. Passa em revista a experiência brasileira, a partir da bibliografia disponível, e a contrasta com a de países adiantados. Embora com foco no presente, reconstitui seletivamente a história dessa política pública desde 1945, nos Estados Unidos, na Inglaterra e na França, e aponta impasses que hoje ela enfrenta no contexto neoliberal e globalizado. Questões como formação de dirigentes culturais, patrocínio empresarial, incentivos fiscais, diplomacia cultural, descentralização administrativa, tendências do consumo cultural, "espetacularização" de eventos e o papel das fundações são localizadas nas discussões que ocorrem dentro e fora da academia, nos países considerados.

A descentralização municipal do Rio de Janeiro contribuindo para a revitalização da vida cultural dos bairros e visando à dinamização do desenvolvimento sócio-econômico

O trabalho analisa a viabilidade de implementação de uma política pública na Cidade do Rio de Janeiro que leve em conta a descentralização municipal na área de Cultura O Brasil entra no Terceiro Milênio realizando a Reforma do Estado com reflexões de ações que estão sendo veiculadas no mundo inteiro. O fortalecimento do poder local apresenta-se como facilitador para a implementação de políticas públicas. A dinamização de uma política na área de Cultura baseada na descentralização municipal, visando à geração de maior emprego e renda nos bairros cariocas contribuirá, significativamente, para a redução de problemas sociais no Rio de Janeiro. No que tange à área Cultural, são propostas iniciativas inovadores que contemplem a realidade brasileira, valorizem talentos, reduzam custos supérfluos, proporcionem o incremento contínuo de público e platéia, disseminem cultura e o acesso popular à mesma. Devem ser modelos que contemplem as demandas das categorias profissionais afetadas às áreas de Arte e Cultura porém, o direcionamento de recursos públicos deve visar ao aumento do nível das comunidades da Cidade do Rio de Janeiro. O desenvolvimento de novos talentos ¿ de cunho popular ou erudito ¿ conjugado com a valorização de produtos culturais do folclore brasileiro e da arte popular devem ser permanentes estratégias da Política Cultural na Cidade do Rio de Janeiro.

Cultura, Comunicação e cidadania: o caso do Centro Cultural do Banco do Brasil de São Paulo

O artigo analisa as atuais políticas culturais e analisa empiricamente as ações da unidade paulistana do Centro Cultural Banco do Brasil (CCBB). O objetivo é interpretar como esta instituição opera o fomento à cultura no contexto da normatização cultural no Brasil. A articulação institucional entre Banco do Brasil e seu Centro Cultural enseja algumas particularidades no campo da difusão cultural, pois o status institucional do CCBB condiciona de maneira decisiva as formas como transcorrem as relações com produtores culturais, público consumidor e com seu respectivo mantenedor. Trata-se de estudo baseado em pesquisa bibliográfica, levantamento de campo e na abordagem dialética de análise. Conclui-se que, ao consentir um laissez-faire cultural, o Estado admite que o mercado imponha sua lógica à cultura, de modo que o objeto empírico pode ser caracterizado como um exemplo dessa dinâmica.

Política cultural no RN: uma avaliação das casas de cultura popular (2003/2010)

The issue of public policy for the culture area has experienced a significant increase of interest of academic researchers. The research "Cultural Policy in infants: an evaluation of the home culture (2003/2010)" aimed to evaluate the effectiveness of cultural policy in Rio Grande do Norte in the period 2003/2010. When was the program created and deployed the houses of popular culture. Specifically, he sought: a) mapping the major elements of cultural policy in the RN during the chronological period mentioned b) hold up in more detail in the description of the implementation process of the houses of popular culture, c) investigate cultural actions implemented by the houses of popular culture and its effectiveness. The methodological process consisted of a review of the literature on culture, cultural policy, public policy and public policy evaluation for the construction of the theoretical-analytical, documentary research in public and private institutions related cultural production; interview with managers and cultural producers in visits field research conducted in seven major houses of popular culture, taken as a sample of the total d 29 outlets installed during the chronological period mentioned. The survey found that the program houses RN popular culture in general was effective in meeting its objectives, among which the decentralization of cultural inclusion in the artist market cultural production, the promotion of folk traditions in the region , respect and support for new artists, respect and support for popular memory

Cultura e política no Brasil: contribuições para o debate sobre política cultural

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

The Protection and Promotion of Cultural Diversity in a Digital Networked Environment : Mapping Possible Advances to Coherence

The present paper is the result of a four-year-long project examining the concept and the policies of cultural diversity and the impact of digital media upon the regulatory environment where the goal of cultural diversity is to be achieved. The focus of the project was primarily on the international level and in particular on the World Trade Organization (WTO) and the United Nations Educational Scientific and Cultural Organization (UNESCO), which also epitomise the often framed as opposing pair of trade and culture. In the broad context of the project, we sought to pinpoint the essential elements of an international trade-and-culture conducive framework that can also overcome the existing fragmentation in the field of international law and move towards more coherent solutions. In a narrower context, we sketched some possible improvements to the WTO law that can make it more suitable to the digital networked environment and to the objective of diverse media that some states aspire. . Our key messages are: (1) Neither the WTO nor UNESCO currently offers appropriate solutions to the trade and culture predicament and allows for efficient protection and promotion of cultural diversity; (2) The trade and culture discourse is overly politicised and due to the related path dependencies, a number of feasible solutions appears presently blocked; (3) The digital networked environment has profoundly changed the ways cultural content is created, distributed, accessed and consumed, and may thus offer good reasons to reassess and readjust the present models of governance; (4) Access to information appears to be the most appropriate focus of the discussions with view to protecting and promoting cultural diversity in the new digital media setting, both in local and global contexts; (5) This new focal point demands also broadening and interconnecting the policy discussions, which should go beyond the narrow scope of audiovisual media services, but cautiously account for the developments at the network and applications levels, as well as in other domains, such as most notably intellectual property rights protection; (6) There are various ways in which the WTO can be made more conducive to cultural policy considerations and these include, among others, improved and updated services classifications; enhanced legal certainty with regard to digitally transferred goods and services; incorporation of rules on subsidies for services and on competition.

The European Union, the World Trade Organization and Cultural Diversity

The chapter maps these trade versus culture developments in the WTO and the positions of the European Union (EU or the Union) and its member states, which were not always coherent. It also looks at the actual results of the trade versus culture contestation – that is, the rules on trade in goods and services in the WTO and how they reflect the need for more policy space in matters of cultural policy, which the EU so ardently pressed for. The chapter further analyses the evolution of both the international trade regulation and the discourse on cultural policy. This discourse has in fact undergone a major transformation in the last two decades, as it has moved from the ‘exception culturelle’ rhetoric, which dominated the Uruguay trade talks, towards a more positive but also more pro-active agenda under the slogan of cultural diversity. The EU has been a major driver of this transformation, which has succeeded in mobilising the international community and ultimately led to the adoption of the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The chapter concludes by appraisal of the current state of the debate situating it into the broader picture of contemporary global governance. It asks how the EU could effectively pursue its cultural policy aspirations and endorse its cultural diversity agenda in a world of complexity and rapid technological change, in particular in view of the affordances of digital media.

El incendio de Cromañón en la CABA : una bisagra en la gestión cultural

En este artículo se propone la reflexión acerca de la relación entre los campos cultural y político en la definición de las orientaciones de la política cultural en la Ciudad Autónoma de Buenos Aires (CABA) Argentina, en 2000-2010. Para ello se toma el incendio del local “República de Cromañón" ocurrido en diciembre del 2004, donde murieron 194 jóvenes y un número no determinado quedó afectado física y psicológicamente, y a consecuencia del cual fue destituido el Jefe de Gobierno Aníbal Ibarra. Se considera que la productividad de dicho acontecimiento resultó en un cambio de direccionalidad en la política cultural de la Ciudad Autónoma con consecuencias que excedieron el espacio local para proyectarse en el ámbito nacional. El análisis se realizó desde la perspectiva de la relativa autonomía de los campos (Pierre Bourdieu, 1995) y a partir de la hipótesis de la “autonomía variable" (Raymond Williams, 1982). En la máxima conducción del estado local, se encontraría una suerte de dominación de las instancias políticas sobre la gestión de la política cultural, en tanto que en la implementación de los programas, los técnicos y profesionales continúan desarrollan acciones que pueden resultar relativamente autónomas de las orientaciones del Ejecutivo de la CABA.