Cultures and Globalization: Cultural Expression, Creativity and Innovation by Helmut K Anheier

002f376f_medium.jpeg Author Helmut K Anheier
Isbn 141292085X
File size 87MB
Year 2010
Pages 488
Language English
File format PDF
Category art


20/10/2009 2:22 PM Page i WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd 0 DQ FK HV \ RI THE CULTURES AND GLOBALIZATION SERIES  8 QL YH UV LW CULTURAL EXPRESSION, CREATIVITY AND INNOVATION Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd 20/10/2009 2:22 PM Page ii 20/10/2009 2:22 PM Page iii 0 DQ FK HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd \ RI THE CULTURES AND GLOBALIZATION SERIES  8 QL YH UV LW CULTURAL EXPRESSION, CREATIVITY AND INNOVATION Edited by HELMUT ANHEIER YUDHISHTHIR RAJ ISAR Guest editor Christopher Waterman Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd 20/10/2009 2:22 PM Page iv Introduction and Editorial Arrangement © Helmut Anheier and Yudhishthir Raj Isar 2010, Chapters © Contributors 2010 First published 2010 Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers. SAGE Publications Ltd 1 Oliver’s Yard 55 City Road London EC1Y 1SP SAGE Publications Inc. 2455 Teller Road Thousand Oaks, California 91320 SAGE Publications India Pvt Ltd B 1/I1 Mohan Cooperative Industrial Area Mathura Road New Delhi 110 044 SAGE Publications Asia-Pacific Pte Ltd 33 Pekin Street #02-01 Far East Square Singapore 048763 Library of Congress Control Number 2009925322 British Library Cataloguing in Publication data A catalogue record for this book is available from the British Library ISBN 978-1-4129-2085-8 ISBN 978-1-4129-2086-5 (pbk) Typeset by C&M Digitals (P) Ltd, Chennai, India Printed in Great Britain by Ashford Colour Press Ltd Printed on paper from sustainable resources 20/10/2009 2:22 PM Page v HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd DQ FK CONTENTS RI 0 Foreword by Stuart Hall Acknowledgements Contributors List of boxes, figures, photos, plates and tables Introduction PART 1 \ Yudhishthir Raj Isar and Helmut K. Anheier ISSUES AND PATTERNS IN CULTURAL EXPRESSION LW Overarching Issues ix xiii xvi xxiv 1 17 19 Creativity: Alternative Paradigms to the ‘Creative Economy’ Rustom Bharucha 2 Recognition and Artistic Creativity Joni Maya Cherbo and Harold L. Vogel 3 Walking with the Devil: Art, Culture and Internationalization Gerardo Mosquera 47 4 … But What Is The Question? Art, Research and the Production of Knowledge Gilane Tawadros 57 5 Improvising in a World of Movement: Transit, Transition and Transformation Maruška Svašek 62 6 Diasporic Spaces: Migration, Hybridity and the Geocultural Turn Keith Nurse 78 7 Creativity and Intellectual Property Rights Jason Toynbee 86 8 Exile, Culture and Identity Rasoul Nejadmehr 99 9 The ‘Creativity’ of Evil? Dragan Klaic 8 QL YH UV 1 21 37 105 Regional Realities 111 10 The ‘Creator’ as Entrepreneur: An African Perspective Paul Brickhill 113 11 The Turn of the Native: Vernacular Creativity in the Caribbean Annie Paul 124 20/10/2009 2:22 PM Page vi HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd Creative Contemporary Design in the Arab World Huda Smitshuijzen AbiFarès 13 Cultural Policing in South Asia: An Anti-globalization Backlash Against Freedom of Expression? Laurent Gayer, Christophe Jaffrelot and Malvika Maheshwari The Struggle to Express, Create and Represent in the Balkans Zala Volcic 15 Creative Economy, Global City: Globalizing Discourses and the Implications for Local Arts Lily Kong \ RI 14 0 12 DQ FK vi  CONTENTS Genres and Issues 131 148 158 166 177 The Cycles of Creativity in the Music Industry Peter Tschmuck 17 Creative Communities and Emerging Networks Clayton Campbell 18 Creative Spaces Nancy Duxbury and Catherine Murray 19 Literary Hybrids and the Circuits of Translation: The Example of Mia Couto Stefan Helgesson 215 20 Emergences in Digital Culture Ivani Santana 225 21 Fashion and Ethics: Reinventing Models of Consumption and Creativity in a Global Industry Mo Tomaney and Julie Thomas 8 QL YH UV LW 16 179 189 200 235 22 Creativity and Innovation: The Role of Philanthropy Diana Leat 245 23 Digital Networks and Social Innovation: Strategies of the Imagination Eugenio Tisselli 261 24 Closing Reflections Christopher Waterman 273 Colour Plate Section 287 PART 2 299 2.1 INDICATOR SUITES Cultural Indicator Suites: An Introduction Helmut K. Anheier and Michael Hoelscher 301 20/10/2009 2:22 PM Page vii HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd Creativity Indexes Enrico Bertacchini and Walter Santagata 2.3 Measuring Creativity and Innovation Michael Hoelscher DQ 2.2 FK CONTENTS  RI \ Policy Regulatory Frameworks, Levi Brooks and JJ Kaye, designers Digest: Regulatory Frameworks Intellectual Property, Levi Brooks and JJ Kaye, designers Digest: Intellectual Property 0 Data Suites UV LW Investment Education, Luca de Sanctis Barton, designer Digest: Education Philanthropy, Leon Hong and Camile Orillaneda, designers Digest: Philanthropy Research & Development, Leon Hong and Camile Orillaneda, designers Digest: Research and Development vii 307 317 329 330 330 334 338 338 344 348 352 352 Creativity and Hybridity Creativity & Innovation Indices, design Christo Allegra, designer Digest: Creativity and Innovation Indices Hybridity Languages, Vincent Cordero, designer Digest: Languages The Blogosphere, Lindsay Harvey, designer Digest: The Blogosphere ECO Trends and Innovation, Derek Heath and Katherine Wu, designers Digest: ECO Trends and Innovation Music, Alok Jethanandani, designer Digest: Music New & Syncretic Religions, Christopher Tuyay, designer Digest: New and Syncretic Religions Dance, Sheriah Altobar, designer Digest: Dance Forms 374 374 8 QL YH Diversity Institutions, Mylinh Trieu Nguyen, designer Digest: Institutions Membership in Organizations, Donnie Luu, designer Digest: Membership in Organizations Practices & Participation Events, Jono Brandell, designer Digest: Events Places: Indicators for six cities, Ryan Weafer, designer Digest: Places Migration, Fei Liu, designer Digest: Migration 356 360 366 370 378 382 386 390 394 398 20/10/2009 2:22 PM Page viii HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK viii  CONTENTS 0 Creativity, Innovation, Globalization: What International Experts Think Helmut K. Anheier and Michael Hoelscher RI 2.4 DQ Hip Hop, Alyssa Wang, designer Digest: Hip Hop Reality TV, Jason Hanakeawe, designer Digest: Reality TV Body Art, Tiffany Payakniti, designer Digest: Body Art Web 2.0, Stephen Sulistiawan, designer Digest: Web 2.0 \ References: Data Suites & Digests 8 QL YH UV LW Index 403 406 410 414 421 437 453 20/10/2009 2:22 PM Page ix WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd HV FOREWORD DQ FK Stuart Hall 8 QL YH UV LW \ RI 0 This collection of essays follows through the line of inquiry opened up by the two previous volumes in The Cultures and Globalization Series. The aim of the series is to track the complex inter-relations between globalization and culture in its many forms in the contemporary world. Volume 3 identifies a particular site of such interactions defined by the inter-relationships between three aspects of the wider question: creativity and innovation, cultural expressions and globalization. The essays and papers collected here offer, from a variety of perspectives, a rich exploration of this field. They present a diverse set of examples and deepen our understanding and conceptualization of the complexities involved in these relationships. The three terms are fully defined in the wide-ranging introductory essay which frames the volume. Here, we try to set the stage for that investigation by looking briefly at the way the concepts have undergone significant changes of meaning in recent years and how these shifts affect their field of operations in the contemporary period. Creativity refers to the capacity, through imagination or invention, to produce something new and original (hence its close relationship to innovation). Innovation underscores the role which the idea of novelty has come to play in modern creative practices and the high value accorded to originality, Modernism’s injunction to ‘make it new’, the significance placed on breaking traditions and the construction of radically new forms. Cultural expressions refer to the many forms in which the values, experiences, ideas, identities, beliefs, hopes, achievements and aspirations of a people or social group find expression and take significant – and signifying – form. Globalization marks the emerging inter-relationships and inter-dependences – economic, political, cultural – between different societies and parts of the world. Its contemporary form defines the new terrain on which cultural practices interact and the ‘global’ character which creativity, innovation and cultural expressions assume in their contemporary form. In western culture, much reinforced by Romanticism, creativity has been associated with the gifted individual, touched by genius, who is uniquely capable of bringing aesthetic expression to a high pitch of excellence. This excludes many of those civilizations in which the association of creativity with the individual is not so strong (which, 20/10/2009 2:22 PM Page x FOREWORD FK x  HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd 8 QL YH UV LW \ RI 0 DQ of course, does not mean that individual practitioners have not been of significance in cultural practices and expression). In western societies, creativity implying a social group, rather than an individual authorship, is relatively new. More recently the terms creativity and innovation have been expanded to include many fields other than the aesthetic; and, more recently still, assimilated to technological, commercial, managerial practices, in self-inflating and commodified ways which make them virtually unusable. All these terms have been significantly redefined in recent decades and in general the principal shift of direction is from the individual to the social and collective. This reflects the application of sociological and anthropological concepts to cultural fields, originally thought of primarily in aesthetic terms. It entails the shift from ‘culture’ as the sum of particular works, texts and objects which constitute an ideal order against which universal judgements of value can be made – what Matthew Arnold once called ‘the best that has been thought and said’ – to what Raymond Williams called the social definition of culture: ‘a particular way of life which expresses certain meanings and values not only in art and learning but also in institutions and ordinary behaviour’1: culture as ‘ways of life’. This has shifted the location of cultural creativity and expressions, from the domain of high culture to the terrain of the popular, collective and everyday life. The redefinition also has to do with the transformation – one might even say the collectivisation or ‘massification’ – of social processes, which emerged in developed western societies at the end of the nineteenth/beginning of the twentieth centuries. This process has given us such terms as mass production, mass society, mass politics – and of course, mass media, mass communication and mass culture. It marked the reorganization of social production and consumption along more ‘Fordist’ lines, and was facilitated by the rise to dominance of the new mass technologies of culture. In his famous essay, ‘The Work of Art In The Age Of Mechanical Reproduction’, Walter Benjamin, anticipating the explosion in visual culture which was to come in the twentieth century, saw film as one of the earliest manifestations of this collective and technological transformation. He identified this not only in terms of the collective nature of cultural production and its relationship to its audiences but also in terms of the effects he predicted this would have in destroying what he called the ‘authenticity’ associated with the idea of ‘originality’ in art, the detaching of the work from, and the shattering of, tradition, and the destruction of the ‘aura’ of the individual artist and the individual work of art, still very much alive and kicking today. Theodor Adorno called these new technologies ‘the cultural industries’ but he intended to contrast these typical products of an ‘administered’, one-dimensional mass society with the critical and dialectical function which he thought could only be performed by the individual artist and the work of art. Though the tensions between high, mass and popular culture continue to resonate in cultural debates, few would find it possible these days not to regard these new media and technologies as potential sites of creativity and innovation. So when we say creativity, innovation or cultural expressions today, we must be conscious of the fact that we say them, as it were, after these great transformations in meaning, technologies and relationships have occurred. Globalization is the most radically transformed and transforming of all the terms. Ever since the moment of European exploration and conquest at the end of the fifteenth century, (which Marx identified as the beginning of a struggle to make the globe ‘a world market’), there have been successive waves of what can only be called ‘globalizations’. And since they involved, in different forms, conquest and the crossing of frontiers, the clash of cultures and traditions and the exercise of power in the ‘conscription’ of traditional cultures to modernity, they still have something important to tell us about what happens to cultural processes when distances, societies and economies are brutally condensed. However, there is nothing to compare with the scale and depth of contemporary globalization. The time–space condensations, the new global division of labour, the speed of the flows of capital, investment, profits, goods, services, images, messages 20/10/2009 2:22 PM Page xi HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK FOREWORD  8 QL YH UV LW \ RI 0 DQ and stories, the driving power and trans-national reach of the new cultural industries, the emergence of a ‘global’ consumer market inter-connected with the permeation of cultural models, information, goods, symbols, stories and languages across frontiers, the collision when different cultures, traditions, religious systems and forms of life are convened in the same space and struggle for rights and recognition, and – the dark underside of globalization – the trans-national character of migration and the movement and displacements of peoples: these constitute, if not an absolutely new historical reality, then a momentous epochal shift in global relations, which leave no relationships untouched. One feature is the way culture has become part and parcel of, harnessed to and mediating economic, geo-political and social relationships; and consequently the way the exercise of creativity, innovation and cultural expression has become intensely related to and caught up with the ‘play’ of power. These new features of contemporary globalization have transformed the meanings of these concepts out of sight. Globalization has therefore created new sites and arenas which, on the one hand, provide and enhance creative expressive possibilities, with groups and communities functioning as innovators in the role which the Introduction calls ‘social authorship’; at the same time – and for the same reason – they mark arenas of huge tension, resistance and difficulty. One powerful tendency in contemporary globalization follows from the permeation of cultural expressions in the flows across boundaries and frontiers. This is sometimes said to be a precondition of that ‘one world’ towards which globalization is supposed to be pointing us. It is sometimes argued that, in the post-colonial, free trade world, cultural globalization now operates on an ‘even playing field’; that the new global culture has no centre. This is to suggest that the one-way cultural flows characteristic of the imperial and colonizing moments have been surpassed. The most powerful tendency is certainly towards a kind of one-directional cultural homogenization, powered by trans-national flows, the cultural industries of the developed world and the new digital means of communication. It tends to favour the transmission of standardised products, standardized western models and meanings, using standardized western technologies and reflecting standardized western forms of everyday life. This has the effect of eroding local particularities and differences, producing in their place a western-oriented ‘world culture’, which bears the strong imprint of its sources of origin. The interplay between new cultural expressions and the rise of new consumer markets are part and parcel of the same process. The fact that cultural globalization has no one centre certainly does not mean that somehow cultural power has ceased to operate and that the power of the industrial and technological forces of modernity mediated by the western cultural industries have been suspended. The cultural field is not open or equal. It is not an ‘even playing field’. Contemporary globalization in all its aspects is a process of ‘combined and uneven development’ – ‘combined’ because it draws huge differences, disparities, historical divergences and temporalities together; ‘uneven’ because it creates greater disparities and inequalities – in resources, wealth, income, health, welfare, material well-being and cultural power – greater even than the differences and inequalities it claims to be surpassing. Paradoxically, however, creativity itself is not mal-distributed in this way. Those most marginalized in the global pecking order can, precisely, use their powers of creativity and innovation to describe and protest against the grim conditions of life these inequalities impose. The cultural fields into which these global forces penetrate are not an open, unstructured terrain either. They are densely constructed of impacted traditions, aesthetic values, belief systems, ways of life and creative forms and expressions which have long histories and coherences of their own. Though often represented as fixed and unchanging, they have in fact been modified over time, evolving and appropriating new materials. The consequences of the homogenizing processes, like the economic processes they mirror, are neither uniform nor are their effects as easy to predict as the power and xi 20/10/2009 2:22 PM Page xii HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK xii  FOREWORD 8 QL YH UV LW \ RI 0 DQ reach of their economies and technologies would suggest. They have generated powerful defensive responses and resistances – fundamentalist or progressive – in the development of which creativity and innovation are necessary ingredients. In many places, the ‘debased’ cultural forms can and have been appropriated to local uses and meanings, borrowed, translated, indigenized and ‘vernacularized’ so as to express a very different kind of outlook and reality. To take just two examples: in what sense can the ‘soap opera’ about daily life, now a ubiquitous global popular form, any longer be said to be exclusively an ‘American’ form (though, in another perspective, it was indeed one of the great forms of American popular radio and television)? Or, to take another case: that great practitioner and innovator of reggae music, Bob Marley, used the most modern technological means of production (the sound system) and distribution (vinyl, the transistor radio) to make local rhythms ‘global’ and to transmit the styles, ways of life and troubles of Trench Town, a tiny, poverty-stricken and unknown urban community in the little-known island of Jamaica, familiar across the globe. Creative practitioners and innovators have been busy making the same forms and technologies speak of other different worlds. Diasporas where different peoples and cultures meet, occupy the same space and are often obliged to struggle against discrimination and racialized marginalization are, paradoxically, highly productive spaces, creatively producing a variety of new cultural forms and expressions which mark creative cross-overs. By translating between cultural languages, they create genuinely novel forms which, because they are hybridized, cannot be reduced to the original cultural sources and traditions which went into their making. Are these diasporas not also places where groups and communities can gradually lose touch with their authentic cultural origins and roots? This is never quite the zero-sum game which the beneficent term ‘creativity’ suggests. These crossings of cultural forms and models, the samplings and ‘versionings’, emerging where people are obliged to live together, struggle for space and speak across cultural languages are some of the most creative sites in the contemporary world. They may be the only places where displaced traditions – which in any event are not fixed forever in amber, but are more like what Paul Gilroy has called ‘the changing same’ – lose their absolute authority and inner certainties, and become more negotiable, translatable and open-weave. Perhaps this is indeed the nature of culture in modern global conditions: where that which seems unalterably fixed in the past, becomes an opening to the future. All displacements of peoples and migrations, as they say, ‘free’ or forced, always involve gains and losses. Indeed, to take the paradox one step further, the finding of significant form and voice for this sense of ‘loss’ and the ways memory intervenes to give it shape, are some of the most powerful sources of contemporary creative cultural expression. The terms creativity and innovation may soften or disguise the degree to which, in cultural collision of this kind, questions of identity, recognition and power are always ‘in play’. In this globalization ‘game’ there are no absolute winners and losers. Neither homogenization nor diversity can capture its contradictory movement and character. We lose everything if we force the contemporary forms of creativity and cultural expression into one or other end-point of this binary schema. Cultural globalization, like other aspects of the process, is profoundly and unalterably contradictory. We must continue to ‘speak it’ in this way. This volume of essays, in all their diversity of contents and theoretical perspectives, demonstrates the rich value of this paradoxical, oxymoronic approach. Note 1 Williams, Raymond (1945) The Long Revolution. Harmondsworth: Penguin. 20/10/2009 2:22 PM Page xiii HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd DQ FK ACKNOWLEDGEMENTS LW \ RI 0 The Cultures and Globalization Series has relied on the support, advice and contributions of numerous individuals and organizations. We would endeavour to acknowledge and thank all of them here. In the ultimate analysis, however, the co-editors alone are responsible for this final version of the publication. 8 QL YH Hugo Achugar (Uruguay) Arjun Appadurai (India/USA) Benjamin Barber (USA) Hilary Beckles (Barbados) Tony Bennett (United Kingdom) Craig Calhoun (USA) Georges Corm (Lebanon) Mamadou Diouf (Senegal) Yehuda Elkana (Israel/Hungary) Yilmaz Esmer (Turkey) Sakiko Fukuda-Parr (Japan/USA) Mike Featherstone (United Kingdom) Anthony Giddens (United Kingdom) Nathan Gardels (USA) Salvador Giner (Spain) Xavier Greffe (France) Stuart Hall (Jamaica/United Kingdom) Seung-Mi Han (Korea) David Held (United Kingdom) Vjeran Katunaric (Croatia) Nobuku Kawashima (Japan) Arun Mahizhnan (Singapore) Achille Mbembe (Cameroon/South Africa) Candido Mendes (Brazil) Catherine Murray (Canada) Sven Nilsson (Sweden) Walter Santagata (Italy) James Allen Smith (USA) Prince Hassan bin Talal (Jordan) David Throsby (Australia) Jean-Pierre Warnier (France) Margaret Wyszomirski (USA) Yunxiang Yan (China/USA) George Yudice (USA) UV International Advisory Board 20/10/2009 2:22 PM Page xiv HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK xiv  ACKNOWLEDGEMENTS Additional Support DQ Text Boxes 0 Karin Becker, Meghan Corroon, Todd Lester, Mailyn Machado, Ricardo Mbarkho, Peter Moertenbock, Helge Mooshammer, Ari Seligmann, Cylena Simonds, Nicole Vazquez, Indrasen Vencatachellum, Tereza Wagner Research Coordination for Indicator Suites LW \ RI Meghan Corroon, Michael Hoelscher and Tia Morita Research Assistance Antje Groneberg, Manar Nidah, Simon Scholtz, Nicole Vazquez, Elise Youn, Filip Zielinski, David Zimmer Design and Production Students Sheriah Altobar, DMA Vincent Cordero, DMA Jason Hanakeawe, DMA Lindsay Harvey, DMA Derek Heath, DMA Alok Jethanandani, DMA Tiffany Payakniti, DMA Stephen Sulistiawan, DMA Christopher Tuyay, DMA Alyssa Wang, DMA Katherine Wu, DMA YH 8 QL Alumni Christo Allegra, DMA MFA 2010 Jono Brandell, DMA 2008 Levi Brooks, DMA 2006 Luca de Sanctis Barton, DMA 2008 Leon Hong, DMA 2007 JJ Kaye, DMA 2007 Fei Liu, DMA 2008 Donnie Luu, DMA, 2008 Camile Orillaneda, DMA 2008 Mylinh Trieu Nguyen, DMA 2007 Ryan Weafer, DMA 2006 UV In this issue, indicator suites were designed by students and alumni of the Design and Media Arts programme (DMA) at UCLA under the direction of Willem Henri Lucas Cover, chapter and divider artwork Emilia Birlo with input provided by Paul Kästner, Rudolf M. Anheier, Manual Birlo and Stella Birlo Administration Jocelyn Guihama 20/10/2009 2:22 PM Page xv HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK ACKNOWLEDGEMENTS  We would also like to acknowledge the support of: LW \ RI Asia Research Fund The Bank of Sweden Tercentenary Foundation Compagnia di San Paolo The Fritt Ord Institute The London School of Economics The Prince Claus Fund for Culture and Development The Sasakawa Peace Foundation Swedish International Development Agency UCLA International Institute UCLA School of the Arts and Architecture UCLA School of Public Affairs 0 We gratefully acknowledge the financial support of the following institutions: DQ Financial Support YH UV • Henrietta Moore and the faculty and staff of the Centre for the Study of Global Governance at the London School of Economics; • Stuart Cunningham and the entire faculty and staff of the Australia Research Council Centre of Excellence for Creative Industries and Innovation; • Sarah Gardner and Diane Dodd of the International Federation of Arts Councils and Culture Agencies; • Ursula Fischer of the Centre for Social Investment at Heidelberg University; • the University of Turin. 8 QL Special thanks are owed to individuals and institutions in Sweden, who made it possible for the co-editors to organize the authors’ meeting for this volume at the Museum of World Culture in Gothenburg on 11–12 April 2009. On 10 April, the Series was presented at a public symposium on ‘Cultural Policy and Globalization’ held at the Museum, where participants were welcomed by Dr Lars Nordström, President of the Cultural Committee of the Västra Götaland region, where the city is located. The idea of such a symposium-cum-authors’ meeting was first discussed with Anna Thelin, then working at the Museum, at the 2008 Gothenburg Book Fair, where the Series was presented under the aegis of the Swedish International Development Agency (SIDA); the idea came to fruition thanks to the support of the Director of the Museum of World Culture, Margareta Alin, David Karlsson, then Secretary of Sweden’s Commission on Cultural Policy, and Mats Rolén of the Bank of Sweden Tercentenary Foundation. Catharina Bergil and Anna Thelin expertly coordinated the Museum’s support team which provided flawless logistics. Finally, the co-editors are most grateful to Tereza Wagner, Senior Programme Specialist in the Culture Sector of UNESCO. Formerly responsible for that organization’s activities in favour of artistic creation, she played a key role in helping us identify authors from around the world as contributors to the present volume (see also her text box, 20.1). xv 20/10/2009 2:22 PM Page xvi HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd DQ FK CONTRIBUTORS LW \ RI 0 Huda Smitshuijzen AbiFarès is founder and director of the Khatt Foundation, Center for Arabic Typography. She is the author of Arabic Typography: A Comprehensive Sourcebook, Experimental Arabic Type, Typographic Matchmaking, and many other articles on multilingual communication in the Middle East. She holds degrees in graphic design from Yale University’s School of Art and the Rhode Island School of Design and specializes in bilingual typographic research and design. She has taught typography and graphic design at the American University of Beirut. She was chair of the Visual Communication Department for three years at the American University in Dubai where she is Associate Professor of Graphic Design. UV Helmut Anheier (PhD Yale University, 1986) is Professor of Sociology at UCLA and Heidelberg University. He is the academic director of the Center for Social Investment at Heidelberg University, and director of the Center for Civil Society at UCLA’s School of Public Affairs. From 1998 to 2002 he was the founding director of the Centre for Civil Society at the London School of Economics, where he now holds the title of Centennial Professor. Prior to this he was a senior research associate at the Johns Hopkins University Institute for Policy Studies, and Professor of Sociology at Rutgers University. Before embarking on an academic career, Dr Anheier served as a Social Affairs Officer with the United Nations. 8 QL YH Rustom Bharucha is an independent writer, director, and cultural critic. His publications include Theatre and the World; The Question of Faith; In the Name of the Secular; The Politics of Cultural Practice; Rajasthan: An Oral History and Another Asia. He is a leading authority on interculturalism and has been a consultant for the arts service organization Leveraging Investments in Creativity, New York, sponsored by the Ford Foundation. He was on the consultancy team of a report on cultural diversity commissioned by the Arts Council in Ireland. In India, he is the Project Director of Arna-Jharna: The Desert Museum of Rajasthan, committed to the traditional knowledge systems of the desert. Karin Becker is Professor of Media and Communication Studies at Stockholm University and was previously a professor at the National College of Art, Craft and Design (Konstfack) in Stockholm. She began her career in the mass communication and journalism programme at the University of Iowa, specializing in documentary photography and photojournalism, and moved to Sweden in the mid-1980s. Her research focuses on cultural histories and contemporary contexts of visual media practices, in the press, in museums, in private settings and in ethnographic research. Her English publications include Dorothea Lange and the Documentary Tradition (Louisiana State University Press, 1980), Picturing Politics: Visual and Textual Formations of Modernity in the Swedish Press (JMK/Stockholm University, 2000), as well as numerous journal articles and anthology contributions, and she is co-author of Consuming Media: Communication, Shopping and Everyday Life (Berg, 2007). Enrico Bertacchini is a researcher at the Department of Economics ‘Cognetti de Martiis’ at the University of Torino and a fellow of the EBLA Center and NEXA Center for Internet and Society. His main research interests are cultural economics, law and economics and economic issues concerning intellectual property rights and knowledge 20/10/2009 2:22 PM Page xvii HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd FK CONTRIBUTORS  DQ sharing, with a particular focus on biodiversity and biotechnologies. He has recently worked as an external advisor for the Italian Ministry of Culture on the report on the role and impact of creative and cultural industries on the Italian economy released in May 2008. LW \ RI 0 Paul Brickhill has worked continuously for twenty-eight years in African arts and culture. In 1997, he established Book Café, Zimbabwe’s largest performing arts programme, and founded African Synergy in 2002 which focused on intra-African cultural exchange and media. He also co-founded Luck Street Blues in 1995, a jazz band in Zimbabwe, playing tenor sax. He has worked at a senior policy level in book policy in Tanzania, Zimbabwe, Zambia and Mozambique. He has co-authored a 13-country study on African textbook provision (published 2005) and has written about 250 features on the performing arts and publishing. He helped set up the Zimbabwe International Book Fair 1990, the African Publishers’ Network (37 countries) in 1992, and the Pan-African Booksellers Association (14 countries) in 1997. UV Clayton Campbell is Artistic Director of the 18th Street Arts Center, Santa Monica; Artist Residency Advisor at United States Artists; Consultant to the Rockefeller Foundation Bellagio Residency Center; and a past President of the International Network of Residential Arts Centers (Res Artis). He has curated and organized over 250 artist residency projects within 26 countries. A visual artist himself, he also writes extensively for a range of arts journals. In 2002 he was named Chevalier de Arts et des Lettres by the French government for his work in international cultural exchange. 8 QL YH Joni Maya Cherbo is an independent educator, writer and researcher who specializes in the arts and cultural policy. Dr Cherbo has had teaching positions at Hunter College, Columbia Presbyterian Hospital, the State University of New York and Purchase, and New York University, Arts Administration Program. She was the research director for the American Assembly’s think tank meeting, ‘The Arts and the Public Purpose’, developed the National Arts Policy Roundtable for Americans for the Arts, and is currently engaged in an initiative to enhance international cultural diplomacy efforts. Meghan Corroon is the research coordinator for The Cultures and Globalization Series. She recently obtained her Master’s degree in urban planning from the University of California, Los Angeles, and is pursuing a second Master’s degree in public health. Her research and professional interests are focused on global city networks and the effects of urbanization on health outcomes in Sub-Saharan Africa. She has worked on several international development projects for both USAID and the World Bank. Additionally, she has conducted research for organizations such as WaterAid UK, the International Medical Corps, and the International Council for Science. Nancy Duxbury is an adjunct professor in the School of Communication at Simon Fraser University, Vancouver, Canada. From 2005 to 2008 she was the executive director of the Centre of Expertise on Culture and Communities, a three-year research project on cultural infrastructure in Canadian cities and communities. Prior to that, she was Director of Research of the Creative City Network of Canada, and Cultural Planning Analyst at the City of Vancouver’s Office of Cultural Affairs. Her research has focused on cultural infrastructure, cultural policy, cultural indicators, the involvement of municipalities in cultural development, and book publishing. She is the lead author of Under Construction: The State of Cultural Infrastructure in Canada, and editor of Making Connections: Culture and Social Cohesion in the New Millennium (2005). xvii 20/10/2009 2:22 PM Page xviii CONTRIBUTORS FK xviii  HV WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd 0 DQ Laurent Gayer is a research fellow at the Centre National de la Recherche Scientifique (CNRS), attached to the Centre D’études et de Recherches Administratives et Politiques de Picardie (CURAPP), and a research associate at the Centre D’études de l’Inde et de l’Asie du Sud, Paris. He recently co-edited, with Christophe Jaffrelot, Milices Armées d’Asie du Sud: Privatisation de la Violence et Implication des Etats. LW \ RI Stefan Helgesson is a research fellow in the Department of Literature at Uppsala University. He has published widely on South African literature, lusophone literature, postcolonial theory and theories of world literature. He is the author of Writing in Crisis: History and Ethics in Gordimer, Ndebele and Coetzee (UKZN Press, 2004) and the editor of Volume 4 of Literary History: Towards a Global Perspective. His latest book, Transnationalism in Southern African Literature (Routledge), appeared in 2009. Michael Hoelscher is a lecturer in the Department of Sociology, Heidelberg University, Germany, and senior research fellow at the University of Oxford. His main fields of interest are cultural sociology, economic sociology, globalization processes, especially European integration, higher education and quantitative comparative methods. His publications include Wirtschaftskulturen in der Erweiterten EU (2006). QL YH UV Yudhishthir Raj Isar is Professsor of Cultural Policy Studies at the American University of Paris and Maitre de Conférences at the Institut d’Etudes Politiques de Paris (Sciences Po). An independent cultural advisor and public speaker, he also serves on the boards of several international cultural institutions and writes on a range of cultural topics. From 2004 to 2008 he was president of the international association Culture Action Europe. Previously, at UNESCO, he was Executive Secretary of the World Commission on Culture and Development; in 1986–87 he was Executive Director of The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology. 8 Christophe Jaffrelot is director of CERI (Centre d’Etudes et de Recherches Internationales) at Sciences Po (Paris), and research director at the CNRS (Centre National de la Recherche Scientifique). He teaches South Asian politics to doctoral students at Sciences Po. His most recent publications include The Hindu Nationalist Movement and Indian Politics, 1925 to 1990s; India’s Silent Revolution: The Rise of the Lower Castes in North India; and Dr. Ambedkar and Untouchability: Analysing and Fighting Caste. He has also edited Pakistan: Nationalism Without a Nation; Hindu Nationalism: A Reader and, with Alain Dieckhoff, Revisiting Nationalism. Dragan Klaic is a theatre scholar and cultural analyst. He serves as a permanent fellow of the Felix Meritis Foundation in Amsterdam and is a professor of the arts and cultural policy at the University of Leiden’s Faculty of Creative and Performing Arts. He lectures widely at various universities, speaks at conferences and symposia, and serves as advisor, editor, researcher and trainer. His fields of engagement are contemporary performing arts, European cultural policies, strategies of cultural development and international cultural cooperation, interculturalism and cultural memory. Lily Kong is a professor of geography at the National University of Singapore. She is a social and cultural geographer who has published widely in a number of areas, ranging from cultural policy and creative economies, to music, religion, place histories and national identities. Her work has focused on the Asian cities of Singapore, Shanghai, 20/10/2009 2:22 PM Page xix WH Anheier & Isar-3927-Prelims:Anheier-Prelims.qxd HV FK CONTRIBUTORS  DQ Hong Kong, Taipei and Beijing. Her recent books include: Creative Cities, Creative Economies: Asian-European Perspectives; Singapore Hawker Centres; Landscapes: Ways of Imagining the World; and The Politics of Landscapes in Singapore: Constructions of ‘Nation’ LW \ RI 0 Diana Leat is a visiting professor at the Centre for Charity Effectiveness, Cass Business School, London, and a visiting research fellow at UCLA. Diana has held research and teaching posts at a number of universities and research centres in the UK, the USA and Australia. Most recently, Diana has been Research and Development Director at the Carnegie UK Trust. She is the author of over 100 articles and books on the non-profit sector and social policy. She is a trustee of the Diana, Princess of Wales Memorial Fund in the UK. UV Todd Lester is the founding director of freeDimensional. He is currently a fellow at the Gerhart Center for Philanthropy and Civic Engagement in Cairo and is a candidate for a doctorate on public and urban policy at the New School for Social Research from which he received a Film Production Diploma. He is a project leader at the World Policy Institute and a member of both the 21st Century Trust and Think Tank 30. He serves on the international advisory committee of the Club of Rome and was recently named an Architect of the Future by the Waldzell Institute. Todd is an adjunct instructor in media studies at the New School. QL YH Willem Henri Lucas (designer) is a professor in the Design  Media Arts department at UCLA. He studied at the Academy of Visual Arts in Arnhem, and did his post academic studies at the Sandberg Institute (Rietveld Academy), in Amsterdam, the Netherlands. He works for clients mostly based in the fields of Culture and the Arts. From 1990 to 2002 he served as a professor and chair of the Utrecht School of the Arts’ graphic design department. He won several ‘Best Book’ awards in the Netherlands and the US. 8 Mailyn Machado is an art critic, curator and academic. She has a degree in Art History from the University of Havana, Cuba and was also awarded a Diploma in Art Criticism by the University of Girona, Spain. She currently teaches Art Theory at the University of Havana and is the editor of the Cuban magazine La Gaceta de Cuba. Her essays have appeared in many national and international publications. Malvika Maheshwari is a doctoral candidate in Political Science at CERI, Sciences Po, Paris working on the Hindutva movement and freedom of expression of artists in India. Ricardo Mbarkho was trained at the Ecole Nationale Supérieure des Beaux-Arts and Ecole Supérieure d’Etudes Cinématographiques, Paris and Institut Supérieur des Beaux-Arts, Beirut. He also completed an exchange study program at Carnegie Mellon University, Pittsburgh, PA, USA. He currently lives in Lebanon and teaches art, video, and new media at the Académie Libanaise des Beaux-Arts, Beirut. Peter Mörtenböck is Professor of Visual Culture at the Vienna University of Technology and visiting fellow at Goldsmiths College, University of London. His recent practical and theoretical work has focused on spatial conflict, urban informality, models of networking and relational theories. He is author/co-editor of Die virtuelle Dimension: Architektur, Subjektivität und Cyberspace (2001), Visuelle Kultur: KörperRäume-Medien (2003) and Networked Cultures: Parallel Architectures and the Politics of Space (2008). xix

Author Helmut K Anheier Isbn 141292085X File size 87MB Year 2010 Pages 488 Language English File format PDF Category Art Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare ‘In the globalization ‘game’ there are no absolute winners and losers. Neither homogenisation nor diversity can capture its contradictory movement and character. The essays and papers collected here offer, from a variety of perspectives, a rich exploration of creativity and innovation, cultural expressions and globalization.     Download (87MB) Deleuze and the Body (Deleuze Connections EUP) Color and Empathy: Essays on Two Aspects of Film Women And The Arts: Dialogues In Female Creativity Playful Identities: The Ludification of Digital Media Cultures (MediaMatters) Making Artist’s Tools Load more posts

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