Display candidate transaction variables for article
| Id | 676 | |
| Author | Evans G. | |
| Title | Participation and provision in arts & culture – bridging the divide | |
| Reference | Evans G.; Participation and provision in arts & culture – bridging the divide ;Cultural Trends vol:25.0 issue: 1.0 page:2.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84960219368&doi=10.1080%2f09548963.2015.1135528&partnerID=40&md5=ec963bc103208cbfdcdb5beb9df3792c |
| Abstract | ABSTRACT: Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public – and therefore achieve more equitable – funding. Rationales for such intervention generally reflect the policy and political regime operating in different eras, but widening participation, increasing access and making the subsidised arts more inclusive have been perennial concerns. On the other hand, culture has also been the subject of a supply-led approach to facility provision, whether local amenity-based (“Every Town Should Have One” – Lane, 1979. Arts centres – every town should have one. London: Paul Elek), civic centre or flagship, and this has also mirrored periodic growth in investment through various capital for the arts, municipal expansion, urban regeneration, European regional development and lottery programmes. Research into participation has consequently taken a macro, sociological, “class distinction” approach, including longitudinal national surveys such as Taking Part, Target Group Index, Active People and Time Use Surveys, whilst actual provision is dealt with at the micro, amenity level in terms of its impact and catchment. This article therefore considers how this situation has evolved and the implications for cultural policy, planning and research by critiquing successive surveys of arts attendance and participation and associated arts policy initiatives, including the importance of local facilities such as arts centres, cinemas and libraries. A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision. © 2016 Taylor & Francis. |
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| In this case the strategy was to both increase access and attendance and thus increase frequency of cultural engagement by local residents -new and established. . | They have become the portal to a whole range of material for education, entertainment and self-improvement. . | Welcoming social spaces are cited as one of the selling points of arts centres and one of the prerequisites for audience development. . | Local and regional arts funding has looked to strengthening the arts infrastructure as part of social amenity provision, as well as regeneration and economic development (Evans, 2005), and therefore as a prime mechanism for attracting arts participation and investment - both consumption and capital. . | A focus on cultural mapping approaches to accessible cultural amenities reveals important evidence for bridging the divide between cultural participation and provision. . | An interesting contribution to the place-cultural experience relationship has been provided by the introduction of live theatre screenings in cinemas by the National Theatre, Metropolitan Opera (New York), Covent Garden Opera House and other larger venue organisations such as the English National Opera. . | In some respects this forms part of the cultural capital which together with education directs the trajectories that influence personal taste and attitudes towards culture. . | ABSTRACT: Successive policies and efforts to increase participation in a range of arts and cultural activities have tended to focus on the profile and attitude of individuals and target groups in order justify public and therefore achieve more equitable funding. . | This means that local amenities are more important for these groups and serve dual social, cultural as well as economic purposes. . | They are key to social interaction between the people who work in, and use, the centre. . |
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