Spear-carriers or speaking parts?: arts practitioners in the cultural policy process
Spear-carriers or speaking parts?: arts practitioners in the cultural policy process
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持矛者还是说话者？：文化政策过程中的艺术实践者
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发表时间：
2005
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通讯作者：
Jane Woddis
中科院分区：
文献类型：
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作者：
Jane Woddis
本文探讨了艺术实践者在文化政策活动中的作用，既作为文化政策研究的一般关注点，也是战后英国文化政策的特定竞技场。在这样做的过程中，它挑战了一种普遍的看法，即艺术从业者没有这样的参与，并试图发现他们的活动的程度和形式。它探讨了从业人员参与文化政策制定和实施的历史;他们面临的障碍以及如何更好地促进他们的参与;以及重要的是，为什么他们参与很重要。这些问题在文化政策研究者中基本上没有得到承认。
论文的第二部分通过对英国新剧本创作政策的案例研究来探讨这一主题。利用未出版的原始文献、访谈和观察，它特别关注剧作家的组织和他们自我指导活动的历史。这些组织和其他与戏剧写作有关的机构被嵌入到跨越政策和创作实践界限的网络中。本文认为，艺术从业者可以通过自己的行动来提高他们在政策过程中的地位，参与这些网络增加了他们对政策的投入和影响的机会。
至关重要的问题是，为什么从业人员参与文化政策活动具有任何意义。论文提出的观点，艺术从业者和他们的组织可以被看作是民间社会的结构的一部分，他们在政策活动的参与有助于维护和扩大民主生活。因此，这不是一个边缘问题，也不仅仅是艺术关注的问题，而是关于在21世纪维持民主参与和公民竞技场的更广泛辩论的组成部分。
This thesis investigates the role of arts practitioners in cultural policy activity, both as a general concern for cultural policy studies and in the specific arena of post-war cultural policy in Britain. In so doing it challenges a common perception that arts practitioners have no such involvement, and seeks to discover the extent and form of their activity. it explores the history of practitioners’ participation in cultural policy formation and implementation; what obstacles they have faced and how their involvement could be better facilitated; and, importantly, why it matters whether they are involved. These issues have remained largely unrecognised among cultural policy researchers.
Part II of the thesis examines the subject through a case study of new playwriting policy in England. Drawing on unpublished primary documents, interviews, and observation, it pays particular attention to playwrights’ organisations and their history of self-directed activity. These organisations and other agencies concerned with theatre writing are embedded in networks which cross the boundaries of policy and creative practice. The thesis argues that arts practitioners can enhance their place in the policy process through their own actions, and that participation in these networks increases their opportunity for policy input and influence.
Of key importance is the question as to why the involvement of practitioners in cultural policy activity is of any significance. The thesis puts forward the view that arts practitioners and their organisations can be seen as part of the fabric of civil society, and their participation in policy activity as contributing to the maintenance and enlargement of democratic life. It is, then, not a marginal issue, nor of concern to the arts alone, but integral to a wider debate about sustaining democratic engagement and the civic arena in the twenty-first century.