The Scottish dimension of British arts government: a historical perspective

Galloway, Susan; Jones, Huw David

doi:10.1080/09548961003695981

Cited by 15 publications

(7 citation statements)

References 7 publications

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“…The history of the Scottish Arts Council (SAC) and the impact of devolution are documented elsewhere (Galloway & Jones, 2010;Hibberd, 2009;Orr, 2008). Along with the establishment of the arms' length SAC in 1994 3 and devolution came the emergence of the traditional arts as a new area of Scottish cultural policy.…”

Section: Cultural Policy For the Traditional Arts In Scotlandmentioning

confidence: 99%

Traditional arts and the state: The Scottish case

McKerrell

2014

Cultural Trends

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Since Scottish devolution from the UK in 1999, there has been a sustained and growing commitment to Scottish traditional music, storytelling and dance -collectively defined in Scottish cultural policy as the "traditional arts". The public policy discourse of traditional arts is at once politically related to a growing Scottish confidence and intimately bound into a personal and national politics of identity. Today, in this transitional time around the referendum on Scottish independence, the potential for Scottish traditional arts to make a substantial and more sustainable contribution to cultural life in Scotland is within reach. However, there are some underlying problems that need to be addressed by the community of policy-makers and artists. In this paper, I examine the commodification and professionalization of Scottish traditional arts in broad terms and then go on to use this as a means to understand the recent emergence of a national cultural policy of intrinsic worth for the traditional arts since 1993. I finally consider the possibilities and opportunities for a more robust cultural policy for the Scottish traditional arts post-referendum. In recognizing that traditional music has entered a new and self-conscious period of commodification today, we open the door for a debate about the ways in which traditional arts in contemporary society can be performed and supported in a more equitable national cultural policy.

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Section: Cultural Policy For the Traditional Arts In Scotlandmentioning

confidence: 99%

Traditional arts and the state: The Scottish case

McKerrell

2014

Cultural Trends

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“…The process that brought CS into being merits particular attention and while this paper does not have the requisite scope, it is important to briefly recap key moments in the development of "arm's length" arts governance in Scotland (see Galloway & Jones, 2010 for a more extensive discussion of this history). In 1967 the SAC was established as a committee of the Arts Council of Great Britain.…”

Section: Cultural Policy and Governance In Scotlandmentioning

confidence: 99%

Tartan and tantrums: critical reflections on the Creative Scotland “stooshie”

Stevenson

2014

Cultural Trends

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On the 1 July 2010 a new cultural development body for Scotland was established. However, by 2013 the organisation was embroiled in a public dispute with a number of the individuals and organisations it was established to support. This short paper considers this "crisis" as a discursive event [Wodak, R., & Meyer, M. 2009. Methods of critical discourse analysis. London: SAGE], and informed by a discourse analysis of various texts, it identifies the core narrative as being one in which a distiguishable body of "artists" and their supporters are resisting a dangerous ideological power-grab by "non-artist" bureaucrats. It proposes that this relies upon the well-worn discursive knot of the instrumental versus the intrinsic, which facilitates a continuing obscuration of the prevailing power relationships within the network of publicly subsidised culture in Scotland. In its discursive focus on the relationship between an imagined egalitarian "cultural community" and Creative Scotland (CS), the narrative of the dispute overlooks the extent to which both CS and the majority of organisations it funds are primarily tools of governance by which the Scottish Government seeks to strategically shape the production and dissemination of culture in Scotland. It concludes that many of those individual artists arguing for various degrees of change were thus unwittingly complicit in supporting a status quo that makes the change they desire unlikely while simultaneously limiting public input into what sort of culture merits subsidy.

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“…The post-devolution focus of this paper is important as there have been on-going debates as to the extent to which UK devolution has influenced general social policy change (Mooney et al 2008). Galloway and Jones (2010) have claimed that Scotland and England have followed a path of convergence in governance and Schlesinger (2009) notes that Scottish Labour had 'imported' New Labour's cultural policies and terminologies 'without altering a comma or full stop' and this was then taken forward largely unaltered by the SNP. The abstracted cultural policy rhetoric from central and devolved governments has remained very similar in its ambitions and ambiguity throughout the post-devolution period for Scotland, England and Wales.…”

Section: Devolution and The Cultural Sectormentioning

confidence: 99%

“…In the wider context, this reinforces the idea that any divergence under devolution is only an illusion (Mooney and Poole 2006). Indeed, Galloway and Jones (2010) have argued that Scotland enjoyed more autonomy before devolution and there has been more convergence in arts policy since 1999. These findings show that workers had more in common (in regards to challenges, understandings of policy) than they did dissimilarities in the perceptions and implementation of cultural policy.…”

Section: Policy Practice and The Illusion Of National Policy Divergencementioning

confidence: 99%

Exploring the Gap between Museum Policy and Practice: a Comparative analysis of Scottish, English and Welsh Local Authority Museum Services

McCall¹

2017

Mus. Soc.

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This paper explores the gap between museum policy and practice in the UnitedKingdom (UK) by offering empirical evidence from a comparative street-levelanalysis of museum services in Scotland, England and Wales. Exploringdevolution in cultural services from the ground-level using Lipsky’s (1980) ‘streetlevel’approach gives new insights to the role of ground-level workers in culturalpolicy. It shows that museum workers had an awareness of national policies, butimplementation was mainly influenced by a mixture of challenges in the everydaydelivery of the museum services studied. Museum workers understood policy assomething symbolic rather than relating to action, which reinforced policy distance.Workers at the ground-level had more similarities than differences throughoutScotland, England and Wales and the structural challenges within museum servicesindicated a complex negotiation that increased agency at the ground-level. Thesefindings outline the potential limitations of written national and international policyin the cultural sector as it is the activities, values and behaviours at the front-lineof cultural services that ultimately creates policy in the cultural sector. 1Key words: Cultural policy; museum workers; UK devolution; policy distance; street-levelanalysis; Lipsky

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The Scottish dimension of British arts government: a historical perspective

Cited by 15 publications

References 7 publications

Traditional arts and the state: The Scottish case

Traditional arts and the state: The Scottish case

Tartan and tantrums: critical reflections on the Creative Scotland “stooshie”

Exploring the Gap between Museum Policy and Practice: a Comparative analysis of Scottish, English and Welsh Local Authority Museum Services

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