Display candidate transaction variables for article
| Id | 141 | |
| Author | Bonet, L., ; Négrier, E., | |
| Title | The Participatory Turn in Cultural Policy: Paradigms, Models, Contexts. | |
| Reference | Bonet, L.; Négrier, E. (2018). The Participatory Turn in Cultural Policy: Paradigms, Models, Contexts. Poetics, 66(1): 64-73. |
Link to article | https://doi.org/10.1016/j.poetic.2018.02.006 |
| Abstract | There is a participative turn in the field of cultural policy. Nevertheless, far from being coherent and generalized, this new focus is bound up with one of the peculiarities of
cultural policies: namely, the coexistence of several paradigms that induce distinct versions of participation. Secondly, it faces three major changes that affect the
relationship between culture and society. Technological, societal and political trends explain the growing role of participation as a protagonist in today’s Western societies,
with significant consequences on how cultural behaviour and cultural institutional strategies are reconfigured. In order to clarify the plural dimensions of participation and
its results and consequences on cultural life, we propose a model showing the distinct proactive roles of current citizens. This will then allow us to critically examine the
arguments and organizational implications for the achievement of political goals as well as their relationship with stakeholders' positions and human behaviour. This discussion
will be inspired by the assessment of BeSpectACTive!, a European action research project whose objective is to analyze active citizen participation in the field of
performing arts. |
| Candidate transition variables |
|---|
| On the other hand, new technologies contribute to the aesthetics of cultural projects. . | Many initiatives are emerging today in the form of spectator collectives, citizen commissions for works, and co-creation through artistic and participatory residencies, to give art a new social vocation. . | During different stages of creative residencies, the artist team learns from audience reactions and discussions enriching the production and the artistic proposal. . | The possibility of transforming a creative yearning into a tangible reality gives individuals and communities independence while expanding the range of cultural expressions. . | At the same time, these captive audiences guarantee the economic viability of many of the business models driven by the paradigm of the creative economy. . | b) the expansion of cultural expression able to claim public support and the consequent adaptation of the criteria for quality and excellence used in such cases (and promoted by more eclectic or postmodern views). . | The role of audiences in this cultural and creative economy paradigm is linked to their role as consumers or users who make the business financially viable, whether directly or indirectly. . | The factors that facilitate participatory dynamics are: a good integration of the artistic operator into his social environment; the ability of the direction to lose some programming power in order to expand their cultural project; the quality of the management of the spectator groups. . | b) recognizing the creative capacity of citizens in high-quality artistic productions; and . | Individuals or audience groups participate in the process of creation and interpretation of a performing art piece proposed and lead by an artist, through a more or less intensive interaction process. . |
MESOC has received funding
from Horizon 2020 - the EU Framework Programme
for Research and Innovation (2014-2020) -
under Grant Agreement n°870935.
We take your privacy seriously and WE DO NOT process any personal data or any information that reveals personal identity or information that can be linked to such information to identify directly or indirectly.
2021 © CD