Table of Contents
Cultural Policy 101: Demystifying the US Ecosystem
- Introduction
Myth 1: The absence of a cultural ministry indicates that the United States does not value culture and does not take it seriously.- Constitutional Values and Identity
Myth 2: The National Endowment for the Arts (NEA) is the de facto Ministry of Culture.
Myth 3: The United States does not have national cultural policies.- The Federal Framework: Fostering Partnerships & Diversity
Cultural Policy at the State and Local Levels
Myth 4: Private and foundation investments in arts and culture are the prime source of income for the arts and cultural sector and provide more than a sufficient source of support.
Myth 5: Exported cultural products represent American cultural values and international cultural policy priorities.- Exporting Culture
International Priorities
On the Horizon
- Changing Demographics & Participation
Creative Sector
Conclusions
- Disadvantages
Advantages
All Resources
On the Horizon
Changing Demographics and Participation
Changes in demographics are likely to provoke a renewed debate on language policies and citizenship rights as American communities become more diverse and the United States considers its current policies on immigration. The U.S. continues to accept more legal immigrants than the rest of the countries of the world combined, however, traditional immigration gateways and demographics are changing. As a result of globalization (and technology) many individuals are embracing both their own culture(s) as well as choosing to participate in artistic disciplines and consume goods and services not of their own heritage. The previous dominant diversity paradigm of a “melting pot” has gradually been replaced by the idea of “multiculturalism” or a “mosaic.” However, all of these perspectives limit both the individual sense of identity and a thoughtful response that government will have to take in reconsidering how Americans live together.
In parallel to the identity changes fostered by increased diversity and globalization are the combined effects, along with new technologies, on arts participation. The U.S. takes a market-based approach to the consumption of culture, and new technologies as well as the Internet are allowing many creators and consumers to bypass traditional gate-keepers. Within the past few years, there have been several studies released (2002 NEA Survey on Arts Participation, Reggae to Rachmaninoff, Arts Participation: Steps to Stronger Cultural and Community Life, U.S. Cultural Policy—Its Politics of Participation its Creative Potential) that have examined cultural participation and audiences beyond traditional formats to include more community and commercial based types of participation and consumption.
Creative Sector
Technological and demographic change and the implications of a viable creative sector, as traditional jobs are exported, have sparked a debate about how to foster creativity and innovation for new generations. Arts education is seen as essential both for these reasons and to foster arts appreciation amongst youth. Higher education academic institutions are now considering both their role in educating cultural workers and the benefits of creative campus communities, an initiative spearheaded by the Association of Performing Arts Presenters (APAP.) New strategies will continue to link arts and culture not only to education and creativity but to health initiatives as the cultural sector becomes more interdisciplinary in order to survive.
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