Problematising participation

Jancovich, Leila; Bianchini, Franco

doi:10.1080/09548963.2013.783158

Cited by 37 publications

(15 citation statements)

References 3 publications

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“…The sector has been placing strong emphasis on examining the 'sociological determinants of cultural activity' (Evans 2016: 3). As a result, efforts to engage the public have often involved top-down audience development policy and funding initiatives that place the onus on the individual to improve their engagement, rather than the arts and cultural organization and policy-maker to consider the contribution their own 7 perspectives or positions make to this lack of engagement (Jancovich and Bianchini 2013). These management and programmatic practices have thus far failed to broaden the range and reach of audiences for publicly funded arts and cultural activity (Northern Ireland Assembly [NIA], Culture, Arts and Leisure Committee 2016; Warwick Commission 2015).…”

Section: Cultural Participation and Capacity Buildingmentioning

confidence: 99%

‘Let’s see who’s being creative out there’: Lessons from the ‘Creative Citizens’ programme in Northern Ireland

Durrer

2017

Journal of Arts &Amp; Communities

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Policy critiques indicate that strategies aimed at fostering participation in publicly funded arts have focused too heavily on individuals' capacity for engagement, rather than on the capacity of the sector to engage individuals. Programmes like 'Creative People and Places' (CPP) see this capacity as shared, community networks, ideas, infrastructure and skills. Through analysis of one local council's Arts Development Service, specifically Mid and East Antrim Borough Council (MEABC) in Northern Ireland (NI), this article brings the role and position of local government work to light within this broader understanding of capacity as a community-wide phenomenon. Through focusing on the assumptions, operations and experiences regarding cultural participation held by MEABC's arts staff, the article enhances the learning about community capacity more formally underway in the CPP projects and supports the notion that capacity building is a multidirectional process. In taking a new approach to programme delivery, the team's assumptions and beliefs about cultural participation and infrastructure have been challenged. This change in perception has impacted the development of their practice to promote and develop arts and cultural participation in their locality. The study has implications for what more democratic practices of participation might mean to the strategic decision-making processes of local cultural policy 2 development and governance. As a result, the article advocates for more and deeper consideration of local government as a key actor in the arts and cultural sector and cultural policy-making. Keywords local government cultural participation Northern Ireland cultural governance cultural policy arts centres Introduction Perceived levels of participation in publicly funded arts have been cause for concern in the UK arts and cultural sector. Efforts to broaden access and tackle psychological, economic, social and spatial barriers to engagement remain key policy goals for Creative Scotland as well as the Arts Councils in England, Wales and Northern Ireland (NI)

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Section: Cultural Participation and Capacity Buildingmentioning

confidence: 99%

‘Let’s see who’s being creative out there’: Lessons from the ‘Creative Citizens’ programme in Northern Ireland

Durrer

2017

Journal of Arts &Amp; Communities

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“…It is possible that these neoliberal agendas may reduce community projects to opportunities that impact perceptions of archaeology by local stakeholders and government officials, and in turn, simply further sustain financial support for the subject. Yet many public archaeology projects are undertaken because of a commitment to education, community well-being, and a strong sense of social justice amongst its practitioners -it is considered unethical to exclude stakeholders from research that might impact their perception of their own heritage, their local community, or even their financial situation (Jancovich & Bianchini 2013: Marshall et al 2002: Neal 2015.…”

Section: Introductionmentioning

confidence: 99%

Reflecting on evaluation in public archaeology

Ellenberger¹,

Richardson²

2019

AP Journal

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As heritage professionals, our community-facing projects are embedded in the politics of cultural heritage and reverberate throughout the communities where we work. The only way to know if archaeological outreach and community engagement are working is to ask stakeholders, and there is growing support in our community of practice to further develop this aspect of the field. There is also increasing pressure to use evaluations, particularly standardized impact assessments motivated by neoliberal political critiques, to argue that archaeological projects are legitimate uses of economic resources. As the field continues to develop more robust mechanisms of self-assessment, we urge further reflection on whether our assessment of successful outcomes balances differing expectations and definitions of success, requirements of funding institutions, willingness of the participants, and needs of the practitioners. Are we working towards assessments of our own satisfaction with work done, the satisfaction of the dominant political forms of cultural value, the formal procedures of our funding streams, or the experiential and educational needs of the non-professional with whom we engage? We present a picture of the institutional contexts of US and UK public archaeology evaluation up to this point and propose ways to move forward that address the ethical underpinnings of public archaeology practice while strengthening the institutional visibility of public archaeology work.

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“…The reflection on people participation, and its implications for governmental cultural policies is becoming particularly relevant in contemporary debate (Pawley, 2008;Jancovic & Bianchini, 2013). Two reasons might explain this.…”

Section: Introductionmentioning

confidence: 99%

The participative turn in cultural policy: Paradigms, models, contexts

Bonet

Négrier

2018

Poetics

107

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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.

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Problematising participation

Cited by 37 publications

References 3 publications

‘Let’s see who’s being creative out there’: Lessons from the ‘Creative Citizens’ programme in Northern Ireland

‘Let’s see who’s being creative out there’: Lessons from the ‘Creative Citizens’ programme in Northern Ireland

Reflecting on evaluation in public archaeology

The participative turn in cultural policy: Paradigms, models, contexts

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