International Journal of Cultural Policy

The Convention on the Protection and Promotion of the Diversity of Cultural Expressions by the United Nations Educational, Scientific and Cultural Organisation (UNESCO) was first adopted by its member states in October 2005. The document defines UNESCO's general principles and conceptualisations regarding culture, cultural diversity and expressions. In order to better manage culture, cultural expressions refer above all to goods and services of the markets, but another, more universally humanitarian and participatory aspect is also present. For the United Nations member states and especially countries that ratified it, the Convention offers policy and legal guidelines to support all forms of cultural diversity and expressions and the actors working with them. By using Foucauldian discourse analysis and Foucauldian, Marxist/Frankfurtian, and Habermasian theoretical frameworks, this article considers the Convention's way of defining rationalities for culture and cultural diversity, and practices through which the goals embedded in rationalities are achieved. As a result, three different but intertwined discourses take shape: governmentalisation, commodification and democratisation.

Miikka Pyykkönen

UNESCO and cultural diversity: democratisation, commodification or governmentalisation of culture?

联合国教科文组织与文化多样性：文化民主化、商品化还是政府化？

This paper attempts to map how creative city policy emerged as a new form of urban politics in East Asia. It locates the emergence of creative city policy within the East Asian context, where the current political economic movement of neoliberalism intersects with the developmental state's historical legacy. By investigating institutional and economic practices and consequences of creative city policy in Seoul and Yokohama, this study focuses on how the urban place become carefully rearranged settings through certain procedural, institutional, and technical mechanisms implemented by various discursive and material practices of policy actors. Through this analysis, this research critically reexamines the key rationales of creative economy driven-development and considers the social costs and tensions between the state, capital and citizens that are embedded within the new creative city policy discourse.

Changwook Kim

Locating creative city policy in East Asia: neoliberalism, developmental state and assemblage of East Asian cities

定位东亚创意城市政策：新自由主义、发展型国家与东亚城市的集合

This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as 'industrial policies', it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state's management of cultural turn in the economy, both cases seem to present a 'paradox'. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK's creative industries policy engenders some space for 'cultural' policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification.

Hye-Kyung Lee

Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

在现实世界中制定创意产业政策：英国与韩国文化-市场-国家关系的不同构型

This paper chronicles some of the key policies pertaining to the arts and culture in post-independent Singapore. A brief summary is first provided of the early (1960s and 1970s) cultural policy focusing on the harnessing of arts and culture for nation-building purposes, followed by the subsequent (1980s) recognition that the arts and culture had tourist dollar potential. The paper then expands on the cultural/creative economy policy of the 2000s, in which arts, heritage, media and design are recognized for their economic value (beyond their role in tourism to include their export value and their importance in attracting global workers). The paper then turns to the most recent policy attention paid to the social value of the arts and culture. The more broadly 'cultural social policy' direction emphasizes the value and integral place of the arts and culture in everyday lives. This is in part in recognition of the fact that for Singapore to be a truly global city, there must be a lively arts and culture scene and high levels of participation by residents. Finally, the promises and challenges that Singapore faces in its efforts to realize its ambitions as a global (cultural) city are discussed.

Lily Kong

Ambitions of a global city: arts, culture and creative economy in ‘Post-Crisis’ Singapore

全球城市的雄心：“后危机”新加坡的艺术、文化与创意经济

Domenico Valenza

“Do not forget your pain”: identities, affect and emotions in Russian and EU cultural diplomacy in Armenia

“不要忘记你的痛苦”：俄罗斯与欧盟在亚美尼亚文化外交中的身份、情感与情绪

Victoria Durrer

Leila Jancovich

Negotiating between national and local policy on participation: local authority arts offices in Ireland

在国家与地方政策之间协商参与：爱尔兰地方政府艺术办公室

Physical and spatial presence has been regarded as a prerequisite in cultural participation and art mediation, vital for both the authentic art experience and for learning. The digital turn has challenged these truths. This article investigates the challenges and possibilities of participation and mediation when artists and art teachers, who normally meet their young audiences face-to-face in physical venues, reorient themselves and move to digital spaces. Using empirical data from Norway, and the concepts of emotional energy, present absence and liveness, it pursues how participation and mediation take place, and perhaps change, when cultural participation and art experiences move from their traditional physical moorings, and into various digital formats and platforms. Thus, it investigates both what is lost when cultural participation goes digital, what (new) possibilities arise, and how the cultural values associated with participation and mediation are transferred or challenged by digital formats and platforms.

Ola K. Berge

Åsne D. Haugsevje

Present absence: when cultural participation goes digital

当下的缺席：当文化参与走向数字化

By bringing together metadata from multiple collecting institutions, digital heritage aggregators offer the potential for diverse and dispersed audiences to engage with the collective cultural collections of a nation, state, or region. For institutions and policymakers, such endeavours promise greater value for public money, increased audiences, and democratised access to cultural heritage. This article explores how these idealised promises of digital heritage aggregators run up against the actual politics and practices of their implementation. This is grounded in a history of attempts to aggregate heterogeneous and geographically distant museum collections across Australia into a single 'distributed national collection'. Australia's landscape of museums has long been characterised by several major public institutions, which often play a coordinating role, and thousands of small (often volunteer-run) museums. We argue that aggregating cultural collections is not just a matter of standardising metadata but coordinating different needs, capacities, and priorities, particularly the divides between major museums and community collecting organisations. In response, we suggest a shift in the study of such collaborative endeavours, from the aggregation of cultural data to the coordination of data cultures. In practice, this approach eschews a top-down approach to bringing together heterogeneous organisations in favour of resolving tensions and disparities in divergent values, resources, and priorities.

Kieran Hegarty

Indigo Holcombe-James

From standardising cultural data to coordinating data cultures: the history and politics of digital heritage aggregation in Australia

从标准化文化数据到协调数据文化：澳大利亚数字遗产聚合的历史与政治

Amir Barjasteh

Justifying authoritarian practices: epistemic governance in two opposite interventionist policies on women’s attire in Iran’s pre- and post-revolution 1979

为威权实践辩护：伊朗革命前后两项相反干预女性着装政策的知识治理

Abbreviation	Int. J. Cult. Policy
Journal Impact	1.38
Quartiles(Global)	CULTURAL STUDIES(Q2)

ISSN	1028-6632, 1477-2833
h-index	58

Publication Information	Publisher: Routledge，Publishing cycle: ，Journal Type: journal，Open Access Journals: No
Basic data	Year of publication: 1997，Proportion of original research papers: 100.00%，Self Citation Rate:15.40%， Gold OA Rate: 31.87%

International Journal of Cultural Policy

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UNESCO and cultural diversity: democratisation, commodification or governmentalisation of culture?

Locating creative city policy in East Asia: neoliberalism, developmental state and assemblage of East Asian cities

Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

Ambitions of a global city: arts, culture and creative economy in ‘Post-Crisis’ Singapore

“Do not forget your pain”: identities, affect and emotions in Russian and EU cultural diplomacy in Armenia

“Do not forget your pain”: identities, affect and emotions in Russian and EU cultural diplomacy in Armenia

Negotiating between national and local policy on participation: local authority arts offices in Ireland

Present absence: when cultural participation goes digital

From standardising cultural data to coordinating data cultures: the history and politics of digital heritage aggregation in Australia

Justifying authoritarian practices: epistemic governance in two opposite interventionist policies on women’s attire in Iran’s pre- and post-revolution 1979