Search Results

You are looking at 1 - 10 of 12 items for :

  • "cultural industry" x
  • Refine by Access: All content x
  • Refine by Content Type: All x
Clear All Modify Search
Restricted access

Sakha Music Business

Mission, Contracts, and Social Relations in the Developing Post-Socialist Market Economy

Aimar Ventsel

This article is about the Sakha music business and the people involved in it. It discusses different strategies of making music and shows that different music genres have their own setting of social relations. Due to the specific economic and social situation, social relations in the music business are often informal. The classic theory of the cultural industry states that producing music is a calculated market economy-oriented activity. This article questions such an approach and shows that social and cultural ideas are present in the music-making process. The Sakha music business cannot be seen as only a profit-oriented sphere. Whereas producers and musicians are interested in formal, contract-based relations in purely economic cases, the informality maintains its importance. Ideas of solidarity and mutual support are linked to the perception of being in one music community, which uses different elements of Sakha culture in their music. As is demonstrated in the article, incorporation of Sakha motives is not only a marketing strategy but also a way for musicians and producers to act as carriers of the Sakha culture whose mission is to develop it.

Open access

The Cultural Industries of the North through the Eyes of Young Russians

A Report on the Experience of Network Collaboration between Universities

Marina Maguidovitch and Lena Sidorova

Beginning in the late 1920s, the central driving force responsible for the preparation of specialists for work in the Northern, Siberian, and Far Eastern regions of the Russian Federation has been the Herzen State Pedagogical University of Russia, St. Petersburg (Herzen University), primarily led by the Institute of the Peoples of the North. Here, linguists are trained in twenty-three languages of Northern indigenous minorities. Notably, several languages of these minority groups—such as Nganasan, Dolgan, Itelmen, Enets, Ul’ta—are taught only here. The university also provides training in the field of traditional cultures of indigenous peoples (methods of traditional applied arts and crafts of the peoples of the North; dance and musical folklore; museology, etc.).

However, not all experts in Northern studies are aware of the educational programs and scientific schools within the Department of Theory and History of Culture at Herzen University, under which the committee for the defense of doctoral and candidate dissertations has been working jointly with the Institute of the Peoples of the North for thirty years. The chairman of the council, doctor of arts, Professor L. M. Mosolova is the founder of the department and the head of the scientific school for the study of the culture of the regions of Russia, the countries of Northern Europe, and Eurasia. A significant amount of research completed by students—from undergraduate to postgraduate levels—is dedicated to the history and current issues of the various regions of Russia, including Siberia, the Far East, and Northern Europe.

Open access

Critique, Dialogue, and Action

Museum Representation in Black Panther

Susan Dine

concerns align with those of the general public, which is increasingly interested in the role of the museum as a resource but also as a shaper of cultural industry? In recent decades, society at large has looked more closely at the histories of institutions

Restricted access

Why Curate Live Arts?

Responses from TURBA’s Editorial and Advisory Boards

Bertie Ferdman, Ken Takiguchi, Funmi Adewole, Gordana Vnuk, Gustavo Fijalkow, Lieven Bertels, Ashley Ferro-Murray, Brandon Farnsworth, Gurur Ertem, Sigrid Gareis, and Nicole Haitzinger

To Discover Meaningful Ways to Be Together by Bertie Ferdman

In the Era of Context by Ken Takiguchi

The Cultural Industries in Africa by Funmi Adewole

Some Observations on Terminology by Gordana Vnuk

National Dance Platforms: Building Danceland or Curating the Nation? by Gustavo Fijalkow

A Reflection on the Start of It All: Festival Curation as the Artist’s Liberation of Divulgation by Lieven Bertels

When Curatorial Practice in the Performing Arts Meets Production by Ashley Ferro-Murray

Toward the End of Innocence in Programming Live Arts by Brandon Farnsworth

Curatorial Practice as a Claim to Public-ness by Gurur Ertem

Some Aspects from a European Perspective by Sigrid Gareis and Nicole Haitzinger

Restricted access

Edward Larkey

Culture in the German Democratic Republic (GDR) is often characterized as isolated from that of the West, with artists locked behind the Iron Curtain, having no opportunities to interact directly with global trends. While this may be true to a great extent for the general population, we should not close our eyes to the actual cross-border movements of artists and art forms that did take place in that regime. Many producers of artistic texts interacted with the West—not just well-known writers and theater directors like Christa Wolf or Bruno Besson, but also rock bands. Indeed, a few privileged GDR bands, belonging to the group of Reisekader (travel functionaries) were granted permission to travel to the West. An analysis of their interactions with their domestic audiences and with audiences in the West gives a more nuanced view regarding the nature of cultural globalization that continues into the 21st century, and provides insights into the role of cultural industries in cultural and political change today. The story of these bands contributes to our knowledge on how GDR authorities were unable to perceive and manage cultural creativity in an era of networked, flexible, and relatively autonomous creators.

Full access

Jean-Louis Fabiani

Durkheim's Aesthetics: A Neglected Argument? For quite some time now, Durkheimian sociology has been viewed as paying scant attention to art. Indeed, one can imagine that Durkheim was too busy establishing the fundamentals of his discipline to indulge in the more recreational aspects of social life. Sociologists build theories and consider serious topics (e.g. capital, division of labour, rationality and so on) and do not give extra-time to what's happening after the working day. If we look at indices and textbooks, this lack of interest is obvious. The upgrading of culture as a central feature of sociological investigation is a rather recent phenomenon (Alexander 2003, Fabiani 1993). In many ways this has to do with the emergence of cultural industries, which forced sociologists to analyze, first in a very critical manner, social changes brought about by the mass consumption of symbolic commodities. Today the sociology of art and culture has moved from the periphery to the centre. In France in particular, these topics have been taken up so as to renew theories and build intellectual reputations. Durkheim, of course, never planned to draw up any sociological aesthetics, as Bourdieu attempted to do in Distinction (1979). Although from today's perspective Bourdieu's book may be considered as a partial failure, one cannot deny the panache and inventiveness it involved, largely based as it was upon the recognition of the high sociological significance of cultural and artistic matters. Bourdieu's interest in art and literature was central from the very beginning of his career, and one of his first attempts to define the concept of field (champ) appeared in a paper devoted to literature (Bourdieu 1967). Things are obviously very different with Durkheim.

Open access

Sara Selwood

the United Kingdom. ” International Journal of Cultural Policy: The Cultural Industries and Cultural Policy 11 ( 1 ): 15 – 29 . https://doi.org/10.1080/102866 . 10.1080/10286630500067606 Grant Thornton , Ecorys , Loughborough, University

Restricted access

Pascal Wallisch and Jake Alden Whritner

the Judgement of Taste . Cambridge, MA : Harvard University Press . Cameron , Sam . “ On the Role of Critics in the Cultural Industry .” Journal of Cultural Economics 19 ( 4 ): 321 – 331 . 10.1007/BF01073994 Child , Ben . 2016 . “ Is the

Restricted access

Motorcycling in 1980s Athens

Popularization, Representational Politics, and Social Identities

Panagiotis Zestanakis

-1990s. Furthermore, public anxiety was fueled not only by the media landscape but also by cultural industries. 27 Motorcycles, especially street and enduro bikes, were portrayed both as objects of desire for young men belonging to fringe groups and as

Restricted access

Designing a New Method of Studying Feature-Length Films

An Empirical Study and its Critical Analysis

Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma

.” In The Social Science of Cinema , ed. James C. Kaufman and Dean Keith Simonton , 123 – 137 . Oxford : Oxford University Press . Dempster , Anna M. 2006 . “ Risky Business: The Art of Managing Creative Ventures .” In Cultural