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CULTURAL POLICY David Bell and Kate Oakley survey the major debates emerging in cultural policy research, adopting an approach based on spatial scale to explore cultural policy at city, national and international level. They contextualise these discussions with an exploration of what both ‘culture’ and ‘policy’ mean whentheyarejoinedtogetherasculturalpolicy. Drawing on topical examples and contemporary research, as well as their own experience in both academia and consultancy, Bell and Oakley urge readers to think critically about the project of cultural policy as it is currentlybeingplayedoutaroundtheworld. Cultural Policy is a comprehensive and readable book that provides a lively, up-to-date overview of key debates in cultural policy, making it ideal forstudentsofmediaandculturalstudies,creativeandculturalindustries, andartsmanagement. David Bell is Senior Lecturer in Critical Human Geography at the University ofLeeds. KateOakley isProfessorofCulturalPolicy attheUniversityofLeeds. KEY IDEAS IN MEDIA AND CULTURAL STUDIES TheKeyIdeasinMediaandCulturalStudiesseriescoversthemainconcepts,issues, debatesandcontroversiesincontemporarymediaandculturalstudies.Titlesinthe seriesconstituteauthoritative,originalessaysratherthanliterarysurveys,butarealso writtenexplicitlytosupportundergraduateteaching.Theseriesprovidesstudentsand teacherswithlivelyandoriginaltreatmentsofkeytopicsinthefield. CulturalPolicybyDavidBellandKateOakley Forthcoming: RealityTelevisionbyAnnetteHill CulturebyBenHighmore CelebritybySeanRedmond RepresentationbyJennyKidd MediatizationbyAndreasHepp CULTURAL POLICY David Bell and Kate Oakley Routledge Taylor & Francis Group LONDON AND NEW YORK Firstpublished 2015 byRoutledge 2ParkSquare,MiltonPark,Abingdon,OxonOX144RN andbyRoutledge 711ThirdAvenue, NewYork,NY10017 Routledge isanimprint oftheTaylor&Francis Group,aninformabusiness ©2015DavidBellandKate Oakley TherightofDavidBellandKateOakleytobeidentifiedasauthorsofthis workhasbeenassertedbythem inaccordancewithsections77and78of theCopyright, DesignsandPatentsAct1988. Allrightsreserved.Nopartofthisbookmaybereprintedorreproducedor utilisedinanyformorbyanyelectronic,mechanical,orothermeans,now knownorhereafterinvented,including photocopyingandrecording,orin any informationstorageorretrievalsystem,withoutpermission inwriting fromthepublishers. Trademark notice:Productorcorporatenames maybetrademarksor registeredtrademarks,andareusedonlyforidentificationandexplanation withoutintenttoinfringe. British LibraryCataloguinginPublicationData Acataloguerecordforthisbook isavailablefromtheBritishLibrary LibraryofCongressCatalogingin PublicationData Bell,David,1965February12- Culturalpolicy/DavidBellandKateOakley. pagescm--(Keyideas inmediaandcultural studies) 1.Culturalpolicy.2.Culturalpolicy--Research.I.Oakley,Kate.II.Title. CB430.B4362014 306--dc23 2014003127 ISBN:978-0-415-66500-1 (hbk) ISBN:978-0-415-66501-8 (pbk) ISBN:978-0-203-12997-5 (ebk) Typeset inGaramond byTaylorandFrancisBooks C ONTENTS List of tables vi Acknowledgements vii 1 Introducing Cultural Policy 1 2 The Culture of Cultural Policy 16 3 The Policy of Cultural Policy 45 4 Urban Cultural Policy 76 5 National Cultural Policy 109 6 International Cultural Policy 141 Index 170 T ABLES 1.1 Categories of cultural consumption in the Eurobarometer report 2 1.2 Categories of artistic activities in the Eurobarometer report 3 2.1 UK creative industries 29 5.1 Models of national support for the arts 116 5.2 Typology of public cultures and systems of cultural patronage 118 A CKNOWLEDGEMENTS David: Thanks to all the students and teachers with whom I have discussed cultural policy over the years, especially those on the module Cultural Policy and Institutions at Staffordshire University, whichiswherethiswholethingbeganforme.AlsoatStaffs,thanks to CTU colleagues for adventures in consultancy. To family and friends, especially Daisy, for keeping the cultural studies flame alight, and Corin, for introducing me to whole new worlds of culture. Thanks also to Natalie Foster, Sheni Kruger and all at Routledgewhohelpedgetthisbookmade.Andfinally,toKate–the perfect co-author. Kate: First, thanks to David, whose project this was initially and who has been an excellent companion throughout. Second, thanks to all colleagues at the Institute of Communications Studies in Leeds for making it such a conducive place to work. To cultural policymatesGrahamHitchenandTomCampbellforbreakfastand good chats. And finally, thanks to Pete for everything else. This page intentionally left blank 11 INTRODUCING CULTURAL POLICY Getting to know cultural policy and intervening in it is an important part ofparticipating inculture. (MillerandYudice2002:34) In the final stages of writing this book, two new publications landed in our inboxes. Both have a lot to tell us, in different ways, about the project of cultural policy as it currently stands. Both also have things to tell us about the stuff of cultural policy; indeed, they are the stuff of cultural policy – they are both members of that sometimes loose category, ‘policy documents’ – and they are equally the stuff of cultural policy research: they are underpinned by the work of researchers (some named, others anonymous), they deploy empirical research in order to build a case for culture, and they quickly become the source text for further research, critique and discussion (this chapter included). The two publications are UNESCO’s Creative Economy Report, billed as a 2013 Special Edition and subtitled Widening Local Development Pathways, and another ‘special’, this time from the European Commission: Special Eurobarometer 399, Cultural Access and Participation.