Ever since the primeval forms of mass media, the dichotomy of mass civilization/popular arts and high culture/fine fine art has been a topic of debate. The discussion has focused on the value and use of different art forms and on unlike notions on and attitudes to the purpose of art. The concept of cultural democracy has adult equally a manner to acknowledge and support a variety of cultural activities. Despite attempts to develop a broader agreement of culture and to admit unlike ways of participating in and experiencing and valuing art and culture, cultural policy however seems to reproduce the dichotomies between high and popular culture, and to value the first over the latter. Fine art and culture are rarely understood as an contained way to experiences, significant creation and values in everyday life. In this article, we would fence for an expanded understanding of cultural republic, which not merely acknowledge different taste cultures, but also include the key perspective of giving voices and expression across interests and taste. Our goal is contribute to a new understanding of arts feel, which tin serve as the point of departure for a turn of perspective of arts advocacy and cultural policy. The perspective of what we might call an expressive cultural democracy.

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university of copenhagen

Academy of Copenhagen

The Value of Art and Culture in Everyday Life

Juncker, Beth; Balling, Gitte

Published in:

The Journal of Arts Direction, Law, and Society

DOI:

10.1080/10632921.2016.1225618

Publication engagement:

2016

Document Version

Peer reviewed version

Citation for published version (APA):

Juncker, B., & Balling, G. (2016). The Value of Art and Culture in Everyday Life: Towards an Expressive Cultural

Democracy. The Journal of Arts Direction, Police, and Society, 46(five), 231-242. DOI:

10.1080/10632921.2016.1225618

Download date: 03. Mar. 2017

one

The Value of Art and Cultureast in Everyday Life. Towards an expressive cultural republic.

Beth Juncker & Gitte Balling

University of Copenhagen, Copenhagen, Denmark

cmn844@hum.ku.dk, Gitte.balling@hum.ku.dk

Introduction

Ever since the earliest forms of mass media, the dichotomy of mass civilisation/popular arts and high

civilization/fine art has been a topic of debate. Thursdayis word focuses on the value and utilize of unlike

fine art forms and on different notions of and attitudes towards the purpose of art. Starting in the 1960s,

studies on the value of popular culture got more than attention, for example, from sociological studies

and from the new inquiry field of cultural studies (due east.chiliad. Willams 1958, Gans 1975, Escarpit 1958), a

development that created a growing interest in the users. Further, the late modernistic society and the

evolution of media and engineering science created discussions on cultural liberation (Ziehe, 1986) and

fluid identity (Giddens 1991; Bauman 2000) and in cultural policy, talk most cultural democracy

inverse the discourse in most countries (Duelund 2003). With the latest developments in

mediatization (Hjarvard 2010) and digitization of culture, we are experiencing a participation plow

(Jenkins & Bertozzi 2008; Simon 2010), which again expands and challenges the mode we call back and

practice cultural policy, cultural strategies and arts advocacy.

History has given u.s. a amend understanding of people's tastes and choices when it comes to fine art and

civilization (Bourdieu 1979; Gans 1974). It has further shown us, that despite this understanding, the

democratization of civilisation has only to a smaller degree dissolved boundaries or respected unlike

tastes when information technology comes to people'southward preferred forms of culture (Petterson & Kern 1996; Bennett et al.

2009; Mangset 2012).

2

Despite all these attempts to develop a broader understanding of culture and to acknowledge

different ways of experiencing, valuing and participating in art and culture, cultural policy

continues to reproduce dichotomies between high and popular culture, valuing the first over the

latter. In Denmark, where the authors are situated, an instrumental cultural policy has dominated

the twentyth Century and continues to rule on late mod media and digital atmospheric condition, especially, but

non exclusively, when it comes to children and youth. Exposure to high culture is yet considered an

educational way to foster children into capable, creative and adaptable citizens (Ministry of Culture

2014 a; 2014b; 2014c). The tendencies are also seen in the emphasis on social inclusion and

outreach, such every bit exists in the UK (Kawashima 2006; Stevenson et al. 2015; Belfiora 2010), where

outreach refers to strategies developed to reach vulnerable groups and thus contribute to social

policy. Art and culture are rarely understood equally independent ways of experiencing meaning cosmos

and creating value in everyday life.

When it comes to cultural institutions, cultural promotion and fine art advocates, some of the same

tendencies manifest themselves. The American advice professor Joli Jensen points at a

widespread consensus amidst American arts advocates in relation to what she calls an "instrumental

logic":

"I found calls for the arts to somehow turn everyday people into an American

populace that could exist trusted to self-govern. This deep-seated mistrust of the

American public as it currently exists leads to an inflated faith in the possibility of the

"right" kind of culture to create (or restore) the "right" kind of citizen." (…)" In this

way art is divers as the non-mass-mediated cultural form that intellectuals appreciate

and the masses ignore". (Jensen 2003, 68)

3

Cultural institutions and their dissemination strategies practice change, as they develop new methods to

nowadays and characterize the objects and stories they tell. This is for example seen in the aforementioned

participation turn (due east.thousand. Simon 2010), where cultural institutions develop a diverseness of options for

users to participate, oftentimes using new media to facilitate the interaction. Yet an instrumental logic every bit

described past Jensen seems to dominate the cultural policy field, which makes united states wonder. Why after

all these years of research, debate, turns and developments, do nosotros still rely on Cartesian

dichotomies and oppositions? Why practice we still maintain an instrumental cultural policy perspective,

which excludes the gustatory modality of the majority of the populace? When we take into consideration the

cultural institutions' loss of potency, the cultural liberation and the participatory turn caused by

media and digital technology, we might wait a cultural policy plough that points toward the

contribution to negotiations on pregnant, with value in our everyday life every bit an independent purpose.

Our everyday expressive life is ruled past private interests. The different interests assemble and

split u.s.a. as participants, audiences, readers, listeners, and viewers. Some adopt popular art forms

while others cull high culture. Weast each cull particular activities and experiences because they

make a difference to united states of america—they contribute value and meaning to our everyday lives.

Focus on the abovementioned studies has to a large caste concentrated on art forms and on user

groups. The concept of cultural democracy has worked as a fashion to acknowledge and back up a

variety of cultural activities (Mulcahy 2010; Duelund 2003). In this article, nosotros argue for an

expanded understanding of cultural democracy, which non but acknowledges different tastes and

cultures, but also includes the cardinal perspective of giving voice and expression beyond interests

and gustatory modality--the perspective of what nosotros might call an expressive cultural democracy.

Weste anticipate that the tenacious valuation of high civilisation equally being beneficial to all is widespread every bit

a way to legitimize the funding of cultural institutions, and contributes to a dearth of arguments

4

related to the contained value of art and culture itself. In this article, our goal is contribute to a

new understanding of arts experience, which tin can serve equally the point of departure for a turn of

perspective on arts advocacy and cultural policy. Our point of departure is Joly Jensen who was the

first to draw our attention to this paradox. Weastward and then include scholars who contribute to explicate the

paradox, but also aid usa develop a new understanding that points to the independent usefulness and

value of cultural experiences.

A new cultural policy perspective – an expressive logic

The instrumental logic every bit coined by Jensen has dominated not merely western cultural policy and arts

advocacy throughout the 20th century, but also fine art educational activity and art critique. It links the notion of

art with a notion of literacy, determining the very pregnant of cultural policy, arts advocacy and

cultural communication as educational and therefore primarily addressing the part of the populace

with popular, i.e. bad, tastes. Jensen points out that the instrumental logic leads to oppositions

between art and civilisation, and between elite and popular taste. Since the aristocracy taste belongs to the

educated elite, who are in charge of policymaking, arts education, and arts advocacy, their taste

ends upwards existence the scale on which participation in art and cultural habits are measured. When we rely

on this logic Jensen says, nosotros "insult the very people we most need and hope to persuade." (Jensen

2003, 71)

Cultural policy and arts advancement is thus turning fine art into what she calls 'cultural spinach , '

something we know nosotros ought to like, just that we (secretly) dislike. A literacy project turned against

the commonage Dionysus, devoted to the private Apollo. Every bit a conclusion and a vision she

proposes to let become of the instrumental logic and to develop what she calls an expressive logic.

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In her book, Is Art good for us? (2002) Joli Jensen combines her analysis with a radical strategy that

inverts not only the educational goal of cultural policy as a whole, but also the communication form

and the power and potency continued to instrumental thinking. Cultural dissemination, she claims,

is not a form of one-way communication in which professionals educate and inspire not-

professionals. Instead, information technology is a procedure wherepast pregnant and values are nether negotiation and where

all of the states are in charge. Inspired by the American philosopher John Dewey, she suggests a new

notion on art that emphasizes and respects a variety of artful experiences. Arts advocates and

arts critics must surrender instrumental logic, and supervene upon it with a more Deweyan expressive logic,

in which art and art experiences are valuable in themselves (Jensen 2003, 77). Art is, she says, far

from a ane-way form of communication in which the passive receiver uncritically assimilates ideas

and values from the sender. Instead, cultural participation is a conversation, a dialogue in which the

receiver interacts with the sender and negotiates meaning. " (…) arts are experiences, they are the

homo practice of communication, and therefore they are examples of valuable conjo int activity"

(Jensen 2002, 174).

By placing the users of art and civilisation and their different personal tastedue south and preferences in the

center of cultural policy, arts advancement and audience development consequently ways that the

archetype cultural arenas – theatres, concert halls, cinemas, museums and libraries - are regarded every bit

democratic participatory platforms for exchanging and negotiating meanings and values. This

perspective turns both cultural policy and cultural broadcasting away from an educational

instrumental perspective governed by professional experts and towards an expressive perspective

built on respect for, and the co-existence of, both elite and popular tastes.

6

"This is the way nosotros should think nearly the social function of the arts. An expressive view of the arts,

and so, is a view that does not try to erase notions of high and low, authentic and commercial, arts and

craft, sacred and profane. It presumes instead that these distinctions are of import because they are

important to the participants. Lines of demarcation between proficient and bad culture are endlessly

being constructed, sustained, repaired and transformed. These distinctions matter, but they matter

because they are part of an evaluative ritual – the ceremony of making and protecting worthiness.

The arts are function of our vital ongoing conversation about what is valuable, man, exalted, sacred,

pleasurable, challenging, and worthwhile and what is not. And that is why the arts are so important

and and then valuable." (Jensen 2002, 199)

Jensen is non simply challenging an instrumental logic. Her expressive logic is at the same time an

assault on the enlightenment tradition that developed both western cultural institutions and the

instrumental logics that accompany those institutions' educational practices. Both the instrumental

logic and the inherent oppositions and dichotomies stem from rational philosophy built on the

dichotomy between brain and body, reason and sense. To dissolve these dichotomies is not just a

question of wish, will and cultural strategy development. If expressive logic should exist able to guide

cultural policy and cultural institutions for the hereafter, both must be grounded in philosophy of

aesthetics and surrounded by theories and notions that produce the kind of thinking and arguments

needed to legitimize, implement and practice from them.

Joli Jensen points at an expressive logic as a starting point, but leaves u.s.a. wondering about the

perseverance of the Cartesian oppositions, and the dichotomies between high and depression. In guild to

strengthen our statement we include the philosopher and researcher Richard Shusterman, another

7

scholar who takes inspiration from Dewey (eastward.thou. Shusterman 1997), and studies the historical and

etymological basis for the valuation of different fine art forms and cultural experiences.

A new perspective on fine art and popular culture – a concept of entertainment

With his studies of artistic condition and general cultural value of pop fine art, starting in the early

1990' south, Richard Shusterman placed himself in the eye of the intellectual fight pro et contra fine art

and pop culture that has divided philosophers and academics since antiquity. His studies

illustrate why it is extremely hard to create new perspectives and a modify in perceptions about

oppositions and dichotomies. All over the western globe, we still think with and through them.

Even when we are directly confronted with them, they tend to reproduce themselves in new ways.

Reflecting on the many critical reactions to his work on popular fine art, Shusterman realizes that below

the historical hierarchy between high and pop art forms lies an even more solid contrast

between art versus entertainment (Shusterman 2003, 290). His analysis starts out with a focus on

the strategies that have formed theories and concepts of entertainment and pop art. The starting time,

Shusterman says, places amusement equally subordinate to the field of high culture. Amusement, or

pop culture, borrows from it, but besides corrupts it. The 2d places entertainment in opposition

to loftier art, in a sphere of its ain, with its own rules and norms. Neither seems adequate. Instead,

Shusterman proposes 'meliorism' every bit a middle way between condemnation and commemoration, a theory

of entertainment that steers between mere subservience to and sheer defiance of high civilization.

(Shusterman 2003, 291)

Shusterman starts by studying 'entertainment' both in an etymological and a historical perspective.

Comparing the etymological meanings related to 'entertainment' in French, English and High german

8

languages, he finds a complexity. In all languages, he finds terms every bit 'amusement' and 'distraction'

continued to the concept. In Latin the concept is inter + tenere, which means to hold together or to

maintain. Shusterman argues that "The straightforward philosophical lesson implied by this

etymology is that a good, if non necessary way, to maintain oneself is to occupy oneself pleasurably

and with involvement" (Shusterman 2003, 293). Looking further in to the complication of the concept,

Shusterman finds that the English language and French terms of 'amusement', 'divertissement' and 'distraction'

betoken in the management of beingness absorbed in thought, to wonder, but as well to waste product fourth dimension. The concepts

seems to hold a dialectic of both focused attention (to maintain oneself) and distraction (to loose

oneself). Shusterman concludes that "To sustain, refresh and even deepen concentration, ane too

needs to distract it; otherwise concentration fatigues itself and gets dulled through monotony."

(Shusterman 2003, 293)

Amusement as a productive dialectic of focused attention and diversion, concentration and

lark, serious maintenance and playful amusement is the new notion he offers. Information technology makes it

possible to understand amusement not as opposed to, but as a vital part of art, popular culture and

everyday playing activities. Studying the concept's genealogy through a tour de force of texts from

those past Plato and Aristotle, to those past Hegel, Kant, and Adorno, to contemporary critics who

shape today'south understanding, he explains why this productive dialectic during the 18thursday, 19th and twentyth

centuries ended up simplifying oppositions and dichotomies. "Nearly cultural critics (…) sharply

dissimilarity fine art and amusement identifying the latter with idle pleasure seeking and lower-class

vulgarity". (Shusterman 2003, 301). Historically and traditionally, pleasance has been connected to

the pleasance of the flesh and therefore stands opposed to heed and thought. Shusterman argues that

with the secularization of the modern world, art increasingly became a place for sacral

contemplation. Poetics took over the role of the sacred texts and museums replaced churches every bit

ix

rooms for enlightenment and spiritual arousal. Equally entertainment connotes pleasure of the flesh and

earthly desires, it came in opposition to fine art and sacred contemplation.

Shusterman's arguments primarily rely on 'sound reason', only asouth an introduction to his critique of

Hannah Arendt's view on art and entertainment, the outlines of an underlying theory on play and

artful feel is subconscious. He underscores that pleasance "stands out from the ordinary flow of

perception as a special aesthetic feel (…) an experience that so absorbs our attention that it

likewise constitutes an entertaining distraction from the humdrum routine of life". (Shusterman 2003,

304). The characteristics of pleasance every bit Shusterman pinpoints them here, mirrors the definition of

play (east.g. Huizinga 1936). Entertainment/pleasure, we add, constitutes a break from everyday social

routines in the same way as play, and activates an aesthetic perception mode, which creates new

cultural experiences jump to movements in the moment – the here and now.

Shusterman farther claims that "pleasance is (…) inseparable from the action in which it is

experienced" (Shusterman 2003, 303). When we interpret his piece of work in the low-cal of Play Theory, it

involves a necessary dimension of active participation. If the activities are not framed and the interruption

from social life not fulfilled, full and focused participation in, and pleasure from these experiences

is not possible. Shusterman ends up with the special social dimension related to these kinds of

framed cultural experiences. He claims that: "Aesthetic experience gains intensity from a sense of

sharing something meaningful and valuable together and this includes the feeling of shared

pleasures" (Shustermann 2003, 304).

In his latest piece of worksouth, Shusterman argues that nosotros need to consider the body every bit an inseparable part of

all human perception. The body is a central part of human perception and operation, and should

10

be taken into consideration when we discuss art feel (Shusterman 2013). Shusterman has

developed what he calls somaesthetics as an interdisciplinary field that unites the cerebral and

sensuous perception:

"Fine art enchants u.s. through its richly sensuous dimensions, perceived through the bodily senses and

enjoyed through embodied feelings. Yet philosophical aesthetics largely neglects the torso's role in

aesthetic appreciation." (Shusterman 2012, i) "Edifice on the pragmatist insistence on the body'due south

cardinal part in artistic cosmos and appreciation, somaesthetics highlights and explores the soma –

the living, sentient, purposive torso – as the indispensable medium for all perception." (3)

By emphasizing the bodily perception, Shusterman besides challenges the great emphasis on

interpretation and discourse in mod society and philosophy. In relation to modes of cognition, he

suggests a distinction betwixt agreement and interpretation, where agreement is related to

immediacy and the unreflective, whereas interpretation is related to a more than reflective form of

perception (173).

Shusterman is here in line with the literary scholar Hans Ulrich Gumbrecht who follows the same

line of argument in his book Product of Presence. We are living in a globe dominated by

pregnant, Gumbrecht argues, where interpretation and hermeneutics are a central part of how nosotros

retrieve and talk most the world. The goal of his book is to "develop concepts that could allow us, in

the Humanities, to relate to the world in a style that is more circuitous than interpretation alone, that is

more complex than simply attributing pregnant to the world." (Gumbrecht 2004, 52)

In contrast to the widespread meaning culture, he introduces the concept of presence culture, a

tangible, spatial, actual perception of the earth. Every bit many of the others scholars included in this

eleven

article, he turns to medieval culture in order to find notions and understandings, which aid him

develop the concept of presence culture. He besides includes several scholars, especially Martin

Heidegger and his concept of Being-in-the-world (Dasein) equally "human existence that is e'er

already in – both spatial and functional – contact with the world" (71).

Gumbrecht does not contend for a cancellation of the hermeneutic meaning culture, just suggests a

residue betwixt the different modes of perception and noesis production. Every bit with Dewey and

Shusterman, Gumbrecht points to the aesthetic feel every bit an oscillation between presence

effects and meaning furnishings. Gumbrecht relates the understanding of presence to concepts as

moments of intensity and epiphany, and stresses that there is nil edifying in such moments.

Why then, do nosotros seek and value aesthetic experiences, he asks? Considering information technology gives us something

which we cannot experience in our everyday world, because we lose control, and because our desire

for presence is "an reaction to an everyday surround that has been get so overly Cartesian

during the past centuries, it makes sense to hope that aesthetic experience may help united states of america recuperate

the spatial and bodily dimension of our beingness (…)." (Gumbrecht 2004, 116)

Both Shusterman and Gumbrecht contend that nosotros need a new epistemology, and that nosotros ultimately

must secede from the legacy of Decartes. Another reason why this is not only interesting but also

necessary in relation to cultural policy, cultural institutions and arts advancement, is the development in

the pop culture, more specific in new digital media.

The digital challenges

In the article Creative Expression in the Age of Participatory Civilisation, media scholar Henry Jenkins

and program manager Vanessa Bertozzi refer to "a series of interviews – conducted face to face,

12

with video, and over instant messaging, email and phone – with seven young artists" (2008). They

sum up the results of their studies as a new participatory civilisation:

"A participatory culture might be defined as one where there are relatively depression barriers to artistic

expression and civic engagement, where at that place is stiff support for creating and sharing what one

creates with others, and where at that place is some kind of informal mentorship whereby what is known

by the most experienced is passed along to novices. It is likewise a culture where members feel that

their contribution matter and where they feel some degree of social connection with each other at

least to the degree to which they care what other people think about what they accept created."

(Jenkins & Bertozzi 2008, 174)

Although this clarification does non differ from descriptions of children and young people's classical

play cultures and playing communities, the authors conclude that these new participatory online

communities and their experiences "may be reshaping what is meant past fine art and by participation in

the twenty-first century." (Jenkins and Bertozzi 2008, 175) The commodity serves as a alarm for

policy makers and cultural institutions. The online participatory civilisation is characterized by blurred

lines between commercial and non-commercial art, between producer and user, betwixt

professional person and apprentice. According to the authors, arts institutions need to keep upwardly with these

changes, they need to redefine art, to redesign art worlds, to reconsider the digital and to remake

arts institutions (Jenkins & Bertozzi 2008)

What is going on in young peoples' creative and expressive online communities is non only

considered a challenge, but a threat against the classic cultural institutions. Jenkins and Bertozzi's

portrait and definition of these new types of participatory culture has been seen as both an

xiii

inspiration and a claiming by researchers. In the commodity In and Out of the Dark. A Theory nigh

Audience Behavior from Sophocles to Spoken Word, theater scholar Lynne Conner identifies "an

e'er-widening interest gap betwixt passive forms of high culture (…) and more agile types of

amusement (…) that are either inherently participatory or are connected to opportunities that

invite participation before and after the arts event." (Conner 2008, 4) The gap means that the live

arts have lost touch with the pop or mass audience: "In theatres and symphony halls across

America, it is said; the audience has left the building" (2008, 103). In full general, researchers'

caption for this evolution has pointed to a shift in consumer patterns. Conner does non

support this explanation. "America audience"", she argues,"are very much as they have always

been: looking for similar kinds of satisfaction from thursdayeir cultural sources." (2008, 103) What has

inverse are not taste and consumer patterns, but "the civilization surrounding arts participation – what I

label the arts experience" (2008, 103). Jenkins and Bertozzi are warning arts institutions, whereas

Conner follows up with an explanation on the gap between passive forms of high culture and more

active types of entertainment that point to the entire traditional arts manufacture. The industry, she

claims, "has abandoned responsibleness for providing – or fifty-fifty acknowledging – the importance of

larger opportunities for date with arts events, particularly those that encourage an

interpretive human relationship" (Conner 2008, 104).

In order to back up this thesis and to develop new guidelines for the traditional arts industry, Conner

takes her readers on an informed historical transformative journeying. From the active participatory

audiences in artifact and during the Elizabethan Period, in which the quality and value of theater

performances was a conclusion fabricated by the participating audiences, to the evolution of the passive

attending audiences dominating the 19thursday and 20th centuries. At that time professional person reviewers of

the printing had the authority to choose, hash out, evaluate and recommend on behalf of the passive

14

audiences. Further to the future, she predicts the rise of new types of young active audiences that

expect to co-author, interpret, hash out, negotiate, and evaluate meanings and values from the

cultural experiences offered.

The lesson she takes from the history of audience cultures and presents as a challenge to the non-

profit arts industry, is not just to reinvent and remake the old participative audience patterns. Such a

return to former models is not possible, but some kind of institutional alignment would be

necessary. Co-ordinate to Conner, the problem with existing attempts to create agile involvement, is

that they are based on the same us/them position every bit mentioned by Jensen (twelvemonth), in which experts

guide the illiterate.

As with Jensen and Shusterman, Conner challenges both the old authority of the experts, the

educational one-style communication form betwixt experts and users/audiences, and the

dichotomies between high and low art and culture. Her concept of late modernistic participatory

audiences and her communication on opening possibilities for co-authorizing and cooperation betwixt

experts and users in cultural institutions are modeled on Jenkins and Bertozzi's definition of late

modern young participatory cultures.

"Today's consumption patterns make it articulate that adult audiences – similar their forebears - seek

entertainment promoting the interplay of ideas, experience, information, feeling, and passion. They,

too, seek the cognitive satisfaction that comes from the opportunity to formulate and limited an

opinion in a public context. Simply put, today's audiences are willing to spend their money and

leisure fourth dimension on alive entertainment that puts them in the position to participate in, through and

around the arts event itself." (Conner 2008, 117) (…) "To compete in the cultural marketplace of

the twenty-first century, the not-profit alive arts community must concede that an audience-driven

fifteen

cultural transformation is already under manner – with or without permission or approving. American

audiences of the 20-first century, especially younger patrons, are busily and happily engaged in

the process of redemocratizing the arts." (2008, 120)

Both Jenkins & Bertozzi and Conner describe our attention to the change in cultural behavior caused

past new digital media. The digitalization and the mobility of media has resulted in a democratization

of civilisation in relation to art forms, taste, creativity and product. Online activities allow people not

just to have access to all kinds of artwork only also to use the technology to remix and interact with

both high and popular art. People participate considering it is fun, information technology is entertaining, and it creates value

for them in their everyday lives. Moreover, and most importantly, it takes place without any

gatekeepers telling people what to practise. In our opinion, this does not mean that people necessarily

should have the same opportunities in cultural institutions, but information technology ways that people have a dissimilar

approach to art and culture and to the part it plays in their lives.

Expressive lives – towards a new class of cultural democracy

Both Jenkins & Bertozzi and Conner's manufactures stalk from the book Engaging Art. The Adjacent Great

Transformation of America's Cultural Life, edited past Steven J. Tepper, professor of art and design

at Vanderbilt University, and Beak Ivey, folklorist and former chairman of the National Endowment

for the Arts. In his introduction to the volume, Bill Ivey stresses that: "the book is an endeavor to

accost the question of how to ameliorate understand the irresolute landsca pe of cultural participation."

(Ivey 2008,2) "How take technological, cultural and demographic changes affected non-profits, and

how might they reply to contemporary challenges? (…) How tin we best conceptualize

participation to make art, art making, and connections with fine art organizations part as a high quality

of life for all Americans?" (Ivey 2008, ix)

16

Bill Ivey has in several publications been occupied with these questions and offers a concept, which

seems productive for united states, "expressive lives". In his contribution to the British cantankerous-party think tank

Demos pamphlet, "Expressive Lives," (2009) he characterizes the term expressive lives as "nothing

new nether the sudue north:"

"The phrase draws in role on my preparation as a folklorist and the sense of community, heritage,

connectedness and history, embodied in the folklorists' sense of tradition. Thus 'heritage' constitutes

one half of expressive life: the part that is about belonging, continuity, community and history; it is

expressed through fine art and ideas grounded in family, neighborhood, ethnicity, nationality and the

many linkages that provide securing cognition that we come from a specific identify and are not

alone. 'Voice', the other half of our expressive life, is quite unlike: a realm of individual

expression where we can exist democratic, personally accomplished and cosmopolitan – a space in

which we tin at times even challenge the conventions of community or family heritage. (…)

'Heritage' reminds us that we belong, 'voice' offers the promise of what we can get." (Ivey

2009, 27)

Ivey coins the term 'expressive life' as a critique of the famous concept of culture created by the

British cultural critic, Raymond Williams. Williams divers the concept of culture every bit the dialectic

betwixt ii notions of civilization: the anthropological notion encompassing the whole style of life

(heritage, traditions, and habits) and the aesthetic notion cogent fine arts (culture with capital C).

Ivey'south trouble with this concept in a cultural policy context is start, that users and their experiences

with and within the arts are excluded from the equation. 2dly, he considers Williams' notion of

the arts to exist experimental, and argues that information technology excludes experiences with and participation in popular

arts and civilisation. Ivey'due south reply to the claiming is to reframe the dialectic. He places fine art and civilisation

17

as part of the anthropological notion every bit 'heritage' and he places peoples 'voices' equally the activity that

ensures and qualifies meaning with art and civilization in everyday life.

In the Demos pamphlet "Expressive Lives" (2009) the editor and head of culture at the British call back

tank Demos, Samuel Jones, summarizes the challenges created by 'expressive life' and the possible

perspectives on a cultural policy level. Like-minded with Lynne Conner, he claims that "We utilise new-

plant powers of access to do things we accept e'er liked doing. New and older forms of behavior

and preferences are office of the same continuum." (Jones 2009, 9) He takes as a prerequisite that

"Technologies and the invigorated will of the public to participate, shape and personalize have

inverse the nature of cultural date." (2009, 9) The combination of the same preferences and

this new will not only to attend, merely likewise to participate claiming both cultural policy and the

cultural institutions. Both have to move from a model of provision to a model of enabling.

"If our cultural policy and institutions exercise not facilitate expression by enabling us to participate in

shaping and personalizing the civilisation of which we are a part, then they miss the bespeak. Rather than

simply communicating our culture and our heritage, our cultural and creative policy and institutions

should help united states of america to make use of them and create new values for the present and the future." (Jones

2009, 10)

Consequently, this renewed cultural policy will have the potential: i) to reestablish the meanings

and values of fine art and culture in everyday life; and 2) to restore the meaning of cultural democracy to

society.

xviii

"From the foods that we consume, to the images that we run into, cultural forms and the creative choices we

make are expressions of what we value and how we see the world. Like no other, the cultural and

creative sector reflects and generates the values that make up our society." (Jones 2009, eleven)

Ivey, Jenkins & Bertozzi, Conner, Shusterman, and Gumbrecht all observe inspiration and

understanding in history in order to identify cultural conceptions, which are not simply adequate with

todays mediatized and digitized culture, merely that also assistance us reconceptualize fine art and culture as

something that is valuable in everyday life. They take their point of difference from a time, when

culture was part of everyday life, or from an agreement of culture (folk culture) where culture

and participation were inseparable. Ivey'due south notion of expressive lives connects history, community

and belonging (heritage) with individual lives in the nowadays. In our point of view, 'Phonation'

represents the individual, who is participating in cultural activities and cartoon meanings and

values from the heritage, which makes sense in his or her life. The claiming seems to be that the

development in social club, acquired by emerging media formats, gradually has created a more nuanced

and beholden view on all kinds of fine art forms, on crossover formats, fora for participation, and

ways of creating meaning. Still, these aforementioned developments have not institute their manner into arts

education, art criticism and fine art institutions to the same degree as in pop culture.

Discussion

Westwardeast started out intending to develop a new understanding of culture and cultural democracy, which

could office equally an statement that cultural experiences are valuable in themselves. Our goal was to

contribute to the decomposition of the instrumental logic that withal characterizes cultural policy and

cultural advocacy. In this concluding paragraph, we would like to summarize and hash out some

points in our argument.

19

Outset, this telephone call for change in the fashion we understand and practice cultural policy and advancement is

closely linked to technological developments. Not because people necessarily look tablets and

touch screens at museum, merely because our perceptions, cognitions and behaviour changes co-ordinate

to the new modes of engagement enabled by new digital media. Both Jenkins & Bertozzi and

Conner (and many others) points to this fact. As argued by Conner, information technology is not the culture itself, but

rather the civilization surrounding us that has changed. This change in behaviour does non only apply to

immature boys playing computer games. Information technology applies to all of the states, for whom interaction, amusement,

play and connection, is a office of our everyday life. Moreover, this digital culture is for the most

part a civilization that takes place outside teachingal institutions, outside cultural institutions, and

without gatekeepers and mediators. It is an interconnected, peer-driven participatory civilisation, which

is voluntary and pleasurable. While this new media culture may seem modernistic, information technology bears many

similarities with before forms of culture characterised past pleasure, interaction, participation,

collaboration and community. We need to consider this civilisation and develop cultural policies and

arts advocacies that permit some of the aforementioned kinds of interaction and collaboration, which

characterize media culture. We need to acknowledge the way in which media civilisation creates values

in people's lives, and develop ways in which all forms of art and culture can reassume a central

position in our lives.

Many of the scholars we have included in the article depict inspiration from historical examples or

from folk culture in gild to discover comparable cultural communities. They seek times and places

when participation and perception was integrated into everyday life, and when the ideas of

entertainment, movement, trunk and activity were embedded into definitions of civilization. John Dewey

and his concept of art as feel is central to our statement. Dewey emphasizes that the

20

experience that happens between the bailiwick and the artwork, is the work of art (Dewey 2005, 1).

What Dewey—and the scholars quoted in a higher place—argues, is that in their view, aesthetic experiences

are characterised by combining cognitive and sensuous perceptions. Further, the aesthetic

experience takes identify exterior of everyday life, not equally a sacral experience, just as something, which

is situationally framed. Finally, aesthetic experiences are meaningful and valuable, intensely

experienced, and ones to which we surrender. Gumbrecht and Shustermanorth would say that we lose

ourselves for a moment. This definition of aesthetic experience is non necessarily connected to art,

which many of scholars also stresses, and, in relation to the media argument, could just as readily be

applied to estimator games or participation in online communities. What we can larn from the

concept of aesthetic feel, is an accent on both the framed state of affairs in which information technology takes place,

and the degree of absorption or immersion which characterise the experience.

Finally, the entertaining approach to artful experiences draw our attending to the very moment

and mode of perception. Both Shusterman and Gumbrecht argue that nosotros need to consider the

aesthetic experience (the presence upshot) equally a not-hermeneutic status, which we experience

with our trunk and senses. Aesthetic experiences are non a cognitive interpretive action solitary. As

participants, we are e'er in-the world, participating with our body, mind, and with all of our

senses. The insistence that the body is a central part of the feel, invites cultural institutions to

stimulate non only the heed and the cognitive perception way, but to include communicative and

narrative strategies, which stimulate all senses. Here it is of import to betoken out that both Dewey,

Shusterman and Gumbrech view aesthetic experiences equally a combination of presence and meaning,

of understanding and estimation, and of heed and torso. They do not dismiss the interpretive

approach, only insist on the sensuous bodily perception every bit being not just relevant, but significant for

the art experience if information technology is to have meaning in our lives.

21

In summary, we suggest that the concept of expressive cultural democracy unifies different

concepts of culture and non just acknowledges just further stimulates an integrated employ and

understanding of high and popular culture. Amend notwithstanding, this works for a cultural sector, in which

hierarchies are non-existent. Nonetheless, an expressive agreement of civilization also means that art

and cultural institutions must create mental infinite for people to not but create their own significant,

but besides create opportunities to apply the 'heritage' as a foundation for creating values in our everyday

lives. Finally, an expressive cultural democracy acknowledges both body and mind as vehicles for

artful experiences. An expressive cultural democracy is thus a mental expansion of cultural

democracy, which allows people to create significant in cultural activities in relation to their own life

and their own creative activities inside so-chosen high culture institutions. Accordingly, cultural

institutions and their collections should be seen as, and organized according to a democratic

platform for exchanging and negotiating meaning, equally arenas in which both heritage and voice can

collaborate.

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... In fact, the ii concepts may be conflicting as democratizing culture by policymakers is either accepted or rejected by citizens, artists or communities. Cultural democracy implies a reverse bottom-upwardly process of enacting cultural policies by giving the public the right to participate in decision-making to achieve more deliberative decisions which, in plough, enhance legitimacy of cultural programs (Mulcahy 2006;Duelund 2003, Juncker andBalling 2016;Creighton 1992). Even so, how this process occurs or what mechanisms enable cultural republic is not well understood. ...

... Calls to sympathize improve the process of cultural republic and investigate its impact on cultural policies (Paquette and Redaelli 2015;Mulcahy 2006;Juncker and Balling 2016) become hand in hand with increasing testify that collective mobilization plays a significant role in driving a bottom-upwards institutional change (Lounsbury 2005;Rao, Monin, and Durand 2003). Enquiry on collective mobilization and institutional change (Schneiberg and Lounsbury 2008;Lounsbury 2005;Rao, Monin, and Durand 2003) suggests that social groups use networks, resources, and political support to put force per unit area on states or other agencies for or confronting certain policy practices in order to create, resist, or change new or existing arrangements. ...

... Afterwards on, the fence went further to demand public participation in cultural policymaking, because democratization of culture is based on an invalid assumption that cultural preferences of all society's members are the same (Mulcahy 2006;Juncker and Balling 2016). Through public participation and deliberation, cultural democracy enhances legitimacy of state policies especially with regards to funding cultural institutions as the public who are the source of legitimacy participate in making these policies (Duelund 2003;Adams and Goldbard 1995). ...

While previous studies have examined cultural democracy in connexion with cultural policies enacted by policymakers, they have overlooked the role of public participation and mobilization. This study explores how cultural democracy is achieved by commonage mobilization. Our case study of Guggenheim Helsinki shows that ascent cultural globalization triggered a social movement to resist diminishing representation of national identity. A bottom-up process of commonage mobilization created pressures on policymakers to straight cultural policies toward maintaining the dominance of local culture. In particular, cultural democracy was delivered through public participation in the control of civilisation while rejecting cultural globalization.

... (Kelly, 2016, p. 199) Since the 70s, questions of cultural commonwealth take been explored from many different points of view, including customs arts (Jeffers & Moriarty, 2017;Kelly, 2016), participatory policies (e.g. Bonet & Négrier, 2018;Juncker & Balling, 2016), diverseness (Bonet & Négrier, 2018;Gross & Wilson, 2020), cultural rights (eastward.thousand. Baltà Portolés & Dragićevic Šešić, 2017;Pakulski, 1997), cultural citizenship (e.g. ...

... In addition, the impact of technology and digitalisation have become an important topic in the discussion effectually participation and other dimensions of cultural democracy (e.g. Juncker & Balling, 2016). Cultural republic has also been criticised for cultural relativism, neglecting artistic and aesthetic values and criteria, and lack of support for professional artists (Bonet & Négrier, 2018;Simjanovska, 2011). ...

  • Jenni Pekkarinen Jenni Pekkarinen

In June 2021, the city of Oulu was selected to host the European Capital of Civilization (ECoC) 2026. For the former engineering city located in the remote, Northern corner of Europe, the designation offers a great opportunity to develop what Oulu2026 calls Cultural Climate change. However, besides opportunities, the ECoC is besides faced with new challenges brought about by the Covid-19 pandemic and the looming hazard of youth disillusionment. This qualitatively driven mixed case study research focuses on the challenges and opportunities related to young adults' cultural participation in Oulu2026. The aim of the report is to explore and understand if and how Oulu tin can address the run a risk of youth disillusionment past fostering cultural participation in the context of the ECoC project. The research pays special attending to questions of marginalisation and disadvantage, the importance of which is besides highlighted by the ECoC initiative. The report adopts an interdisciplinary approach and operates mainly in the fields of cultural planning, cultural policy, and arts management. The chief data consists of a survey among immature adults in the Oulu2026 region, iii semi-structured interviews with representatives of Oulu2026 and the metropolis of Oulu, and document analysis focusing on the Oulu2026 bid book. The findings suggest that youth disillusionment is a real upshot in the Oulu2026 region and that a link between cultural participation and youth disillusionment exists. Oulu2026 was found to address and answer to many real and existing cultural participation challenges among immature adults in the region. However, an awareness of the diverse diverseness of immature adults nonetheless appeared to be lacking. The study suggests enhancing a cultural citizenship approach to participation and embracing a pluralist and intersectionally enlightened arroyo at all stages of cultural planning processes.

... La apuesta por la democracia cultural ha supuesto una superación de la restrictiva y jerárquica agenda de las políticas de democratización, incorporando temáticas como nuevas institucionalidades, bienes comunes, participación ciudadana en el ciclo completo de las políticas culturales, ciudadanía cultural,... etc. (Juncker y Balling 2016;Barbieri 2014;Virolainen 2016). En este contexto, el giro curatorial en artes performativas articula estas agendas con iniciativas de innovación en la gestión de instituciones escénicas y con la reforma del contrato teatral (Sellar 2019;Malzacher 2017aMalzacher , 2019. ...

  • Alfredo Ramos Alfredo Ramos

p>El giro curatorial tiene una historia muy reciente en el campo de las artes performativas. Este giro curatorial plantea importantes debates para cambiar cómo hemos entendido hasta ahora la gestión de las artes escénicas, ya bounding main en festivales, teatros u otros equipamientos. Este trabajo presenta cuáles son los ejes de trabajo que se plantean desde el giro curatorial, su relación con la agenda de la democracia cultural y cómo la experiencia de Naves Matadero, en Madrid, ilustra algunos de estos ejes.</p

  • Lénaïg Lozano

Les pratiques en amateur dans le spectacle vivant occupent fréquemment les scènes médiatiques et juridiques depuis la seconde moitié du XXe siècle. Elles y sont traitées au regard de la concurrence économique qu'elles exercent sur les pratiques professionnelles, dans une approche qui tend à occulter les enjeux sociaux et artistiques qu'elles recouvrent pourtant. Évalué à l'aune du professionnel, l'artiste apprentice éveille les soupçons d'incompétence autant que ceux de concurrence et peine à south'affranchir du référentiel binaire qui encadre nombre de pratiques culturelles : apprentice versus professionnel. À 50'heure des droits et de la diversité culturelle, ce travail s'attache à analyser 50'ancrage de cette relation duelle et observe ses manifestations dans les pratiques et les représentations sociales des artistes du spectacle. Par la conduite de cent-cinquante entretiens menés auprès d'artistes et d'intermédiaires, la thèse vise à observer les rémanences du cloisonnement amateur / professionnel dans le quotidien d'artistes impliqués dans trois scènes finistériennes : le fest-noz, le rock et le théâtre. La pertinence de ce système classificatoire, mobilisé tant par la loi que par les structures accompagnantes, sera évaluée au moyen de la théorisation ancrée, permettant le cas échéant de mettre au jour des typologies plus diversifiées rendant compte de la pluralité des manières de faire et de penser les pratiques artistiques, et sera éprouvée au moyen de recherches exploratoires et comparatives faisant valoir d'autres schémas de catégorisation, notamment par le biais d'une comparaison internationale.

  • Sandra Gattenhof
  • Donna Hancox
  • Helen Klaebe Helen Klaebe
  • Sasha Mackay

More than thirty years of focused research in Commonwealth of australia and internationally tells us that the majority of arts and cultural appointment improves connection, wellbeing, knowledge cosmos and knowledge extension, cultural maintenance, artistic problem-solving, imaginative responsiveness and awareness of self in concert with others. Predictably, the COVID-19 pandemic has incited enormous discussion about the value of the arts in our lives. It is tempting, especially in a time of relentless doubt, to continue to revert to established arguments or accepted ways of doing rather than taking this opportunity to nowadays new means in accounting for arts, civilisation and inventiveness. This chapter outlines how value and impact are oftentimes used interchangeably and as proxies for each other. It argues the demand for relatable and gimmicky language frameworks to business relationship for a multiplicity of understandings related to the value and bear upon of arts and culture beyond diverse communities.

  • Kennedy C. Chinyowa

From his in-depth study on cultural industries in Ghana and Burkina Faso, Christiaan De Beukelaer (2012 De Beukelaer, Christiaan. 2012. Developing Cultural Industries: Learning from the Palimpsest of Practice. Riksbankens: European Cultural Foundation. [Google Scholar]) observed that the surge in digital piracy, usually regarded every bit a violation of intellectual property rights, had actually created new possibilities for increased distribution and consumption networks for the African music industry. Joe Karaganis (2011 Karaganis, Joe, ed. 2011. Media Piracy in Emerging Economies. Mountain View, CA: Social Scientific discipline Research Council. [Google Scholar]) further argues that digital piracy should not be regarded as a 'law-breaking' only 'a global pricing trouble'. The high prices that are charged for media products such every bit music, film and video games do not friction match the low incomes of most consumers in less developed countries. This article argues for a revisiting of intellectual property rights (IPR) in contemporary African contexts, with detail focus on the question of 'digital piracy'. If the shift toward cultural democracy is meant to promote cultural capabilities for everyone to create and express their ain possibilities, so new approaches to intellectual property rights are needed.

  • Vera Borges Vera Borges
  • Célia Caeiro

This article takes an exploratory approach and seeks to draw the experience of a cultural "encounter" with theatre audiences. Inspired on the contempo debates around cultural participation and the assumptions of the European Be SpectACTive! program, this experience staged a frame of interaction between a set of individuals with heterogeneous profiles and professionals from the theatre company Novo Grupo - Teatro Aberto in Lisbon. The history of this theatre and the specific characteristics of its artistic piece of work were shared over the class of this "see". We conclude that encounters with the public provide micro-moments of dialogue and cultural participation that may integrate both into the missions, objectives and current activities of theatrical organisations and into the practices and motivations of their leaders. This commodity deploys fieldwork notes, the declarations of those responsible for the theatre and a sequence of photographs that illustrate the path taken by these participants when backstage in the theatre.

  • Vera Borges Vera Borges

Este artigo apresenta every bit linhas gerais dos paradigmas das políticas públicas europeias para a cultura, eastward discute quais são as novas missões east geografias dos equipamentos culturais. Um breve snapshot de trabalho sociológico recente contribui para ilustrar as relações microdinâmicas das trajetórias individuais de carreira e das organizações culturais. Mostra-se a cultura como ferramenta produtiva capaz de revelar não só as motivações intrínsecas e os recursos pessoais dos atores envolvidos, como também as implicações destes enquanto agentes produtores da visão do mundo inerente às políticas públicas.

  • Ben Walmsley Ben Walmsley

Co-creative activities have now become an integral part of creative experiences, equally audition engage and are engaged in cognitive, emotional, and imaginal practices to advisable and make sense of cultural products and experiences. This chapter investigates why and how audience expectations and behaviours are changing, and explores emerging theories, concepts and practices of co-cosmos, including active spectatorship, co-product, participation, play, interpretation, and facilitation. The affiliate reviews the drivers behind co-creation and argues that artists and arts organisations take a strategic, artistic and social responsibility to develop their audiences' co-artistic skills. It investigates how co-cosmos can be used to generate and extract meaning in a collaborative way, and illustrates how this collaboration can have a positive bear on on audition engagement.

  • Richard Shusterman Richard Shusterman

This essay examines how somaesthetics is related to the field of fine arts, though the telescopic of somaesthetics is indeed wider, extending into all practices of life in which we can enhance our perception and operation through improved somatic self-utilise and self-knowledge. I get-go explain the project of somaesthetics and why it is needed to counterbalance the strong tendencies in modern aesthetics, showtime with its founder Alexander Baumgarten, to neglect or reject the body'south function in aesthetic feel. Because Hegel is a crucial figure in this anti-somatic tradition, I then critically examine his ranking of the arts in terms of their relation to material embodiment. Using his classificatory scheme heuristically to highlight the body's broad-ranging function in the different arts, the essay demonstrates how somaesthetics can better our agreement and performance of that function and thereby improve the arts and our aesthetic experience.

Europe has a 'problem'; it is becoming a 'less cultural continent' as fewer Europeans are 'engaging in cultural activities'. This conclusion has been reached due to the findings of the latest cantankerous national cultural participation survey. This paper questions the existence of this 'problem' and instead suggests that there is a shared problematisation beyond Europe sustained past common discursive archæology that employs diverse discursive strands in relation to a dominant institutional discourse. The argument is that the 'problem' of 'non-participation' legitimates a 'solution' that predates its emergence: the land subsidy of arts organisations. The paper recaps the comparable problematisations that the researchers take previously identified in the policy texts of their respective countries. Information technology progresses to consider three distinct only interwoven discursive strands upon which the problem representation in both countries, and potentially across Europe, appears to rely.

  • Stig Hjarvard Stig Hjarvard

Mediatization has emerged equally a fundamental concept to reconsider old, yet fundamental questions about the role and influence of media in culture and society. In detail the theory of mediatization has proved fruitful for the analysis of how media spread to, get intertwined with, and influence other social institutions and cultural phenomena like politics, play and organized religion. This book presents a major contribution to the theoretical understanding of the mediatization of culture and society. This is supplemented by in-depth studies of: The mediatization of politics: From party press to opinion industry; The mediatization of religion: From the faith of the church to the enchantment of the media; The mediatization of play: From bricks to bytes; The mediatization of habitus: The social character of a new individualism. Mediatization represents a new social condition in which the media have emerged as an important institution in social club at the same time as they take become integrated into the very fabric of social and cultural life. Making use of a broad formulation of the media equally technologies, institutions and aesthetic forms, Stig Hjarvard considers how characteristics of both old and new media come up to influence human interaction, social institutions and cultural imaginations. https://world wide web.routledge.com/products/9780415692373

  • Richard Shusterman Richard Shusterman

This volume provides a richly rewarding vision of the burgeoning interdisciplinary field of somaesthetics. Composed of fourteen wide-ranging but finely integrated essays by Richard Shusterman, the originator of the field, Thinking through the Body explains the philosophical foundations of somaesthetics and applies its insights to fundamental issues in ideals, education, cultural politics, consciousness studies, sexuality, and the arts. Integrating Western philosophy, cerebral scientific discipline, and somatic methodologies with classical Asian theories of body, listen, and action, these essays probe the nature of somatic existence and the role of body consciousness in knowledge, memory, and beliefs. Deploying somaesthetic perspectives to analyze key aesthetic concepts (such as style and the sublime), he offers detailed studies of embodiment in drama, dance, architecture, and photography. The volume also includes somaesthetic exercises for the classroom and explores the ars erotica as an art of living.