Arts Council England accounts for and explains their decisions to government through the Department for Culture, Media and Sport, Parliament and the general public. Again, this reinforces the need to look at unintended consequences of cultural policy and to realize that regardless of the implicit norms or "interests" of a policy, its practice is always contested and redefined; and thus an important subject for policy research.
After an early focus on capital projects, the government made changes to enable funding to go to smaller community projects and make the Lottery more accessible to communities and responsive to people's priorities. It is basically in "the presence of cultural conflict and uncertainty" - when certain cultural domains are being challenged - that the question of cultural policy arises.
In other words, if there is broad public consensus about the public value of a cultural good, then policy is principally about how best to distribute or allocate the good in question. Down under they are not afflicted by the global financial malaise to the same extent that we are, but they are clearly looking to the future, and asking where societies and economies are going.
Lloyd Webber has worked with producer Cameron Mackintoshlyricist Tim Riceactor Michael Crawford originated the title role in The Phantom of the Operaactress and singer Sarah Brightmanwhile his musicals originally starred Elaine Paige originated the role of Grizabella in Cats and had a chart hit with " Memory "who with continued success has become known as the First Lady of British Musical Theatre.
This process can, in turn, be a driver for cultural change and regeneration with widespread economic, social and cultural impacts. Winning the title and hosting a year of cultural events will help to: That relevance is a two-way street: For example, a dominant norm in the history of cultural policy making has been to equate "culture" with cultivation.
One participant asked, "To what extent are we just talking about the production of cultural products or artifacts? One participant noted that governments are empowered to make certain kinds of decisions, and when we study those decisions, we are studying public policy.
There may be little room for policy intervention, for example, when we talk about the unintentional effects of decisions made by the publishing industry on the evolution of a certain genre of novels.
The Royal Shakespeare Theatreopened in Stratford-upon-Avon in From its formation inthe United Kingdom has had a vibrant tradition of theatre, much of it inherited from England and Scotland. Regional arts associations were primarily intermediate organisations, acting as a link between the Arts Council and the regions.
Perhaps what is most striking about the UK cultural environment are the extensive and continuing changes to policies and structures over the past 20 years. This would enable children from lower- and middle-income families to hear live music.
Those with long memories will recall that the impetus for much of the increased funding, energy and new thinking about culture and the creative industries that we saw in the UK at the end of the s was prompted by an Australian policy paper. These attitudes about a public cultural responsibility stand in marked contrast to much of the rest of the world, where culture is a question of historic patrimony, or the national identities of peoples, whether in independent states or regions within more powerful states.
It was suggested that instead of concerning ourselves with the normative goals of cultural policy, perhaps it's more fruitful to examine how cultural policies are constantly negotiated and contested, regardless of their explicit objectives.The cultural production part clearly falls into the "arts" mission of the Center, and the cultural analysis part seems to fall outside the Center's interests partly because it is too broad (just about all areas of public policy have a cultural component).
United Kingdom/ 1. Historical perspective: cultural policies and instruments. Author: Rod Fisher in cooperation with Andrew Ormston.
The United Kingdom is made up of four nations - England, Wales, Scotland and Northern Ireland, each with its own distinct culture and history. British cultural policy developed and changed dramatically during the period between the end of the Second World War and the mids.
Until the war.
This is a copy of a document that stated a policy of the to Conservative and Liberal Democrat coalition government. the scope for harnessing digital technology in cultural. United Kingdom/ 1. Historical perspective: cultural policies and instruments. Author: Rod Fisher in cooperation with Andrew Ormston.
The United Kingdom is made up of four nations - England, Wales, Scotland and Northern Ireland, each with its own distinct culture and history. Cultural Policy & Major Events. The Cultural Policy & Major Events research strand looks at national and international policy frameworks for culture and places a particular emphasis on their application in the context of large-scale cultural interventions.Download