Book contents
- Frontmatter
- Contents
- Preface
- Acknowledgments
- Abbreviations
- 1 Introduction
- 2 The scope of cultural policy
- 3 The policy process
- 4 Arts policy
- 5 Cultural industries
- 6 Cultural heritage
- 7 Culture in urban and regional development
- 8 Tourism
- 9 Culture in the international economy
- 10 Cultural diversity
- 11 Arts education
- 12 Culture in economic development
- 13 Intellectual property
- 14 Cultural statistics
- 15 Conclusions
- References
- Name index
- Subject index
2 - The scope of cultural policy
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Acknowledgments
- Abbreviations
- 1 Introduction
- 2 The scope of cultural policy
- 3 The policy process
- 4 Arts policy
- 5 Cultural industries
- 6 Cultural heritage
- 7 Culture in urban and regional development
- 8 Tourism
- 9 Culture in the international economy
- 10 Cultural diversity
- 11 Arts education
- 12 Culture in economic development
- 13 Intellectual property
- 14 Cultural statistics
- 15 Conclusions
- References
- Name index
- Subject index
Summary
… having faith in the progress of humanity towards perfection, … we grow to have a clearer sight of the ideas of right reason, and of the elements and helps of perfection, and come gradually to fill the framework of the State with them, to fashion its internal composition and all its laws and institutions conformably to them, and to make the State more and more the expression, as we say, of our best self …
(Matthew Arnold, Culture and Anarchy, 1869)Introduction
In days gone by, when cultural policy was concerned primarily or solely with the creative arts, a definition of its scope was straightforward. The goods and services produced and consumed were easily recognisable – works of art and literature, music compositions, theatre performances, and so on – and the individuals and organisations that might be targets for cultural policy occupied an identifiable corner of the economic and social landscape – artists, performing companies, music ensembles, etc., on the supply side, and the ‘arts audience’ on the receiving end. The value of what was being done in the name of art was taken for granted as the motivation for cultural policies designed to nourish and improve society. Responsibility for cultural policy within government rested quite naturally in a ministry for the arts or culture or in an arts funding agency of some sort.
The expansion in the reach of cultural policy that we discussed in the previous chapter has changed all that.
- Type
- Chapter
- Information
- The Economics of Cultural Policy , pp. 14 - 31Publisher: Cambridge University PressPrint publication year: 2010