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Dr.

Giovanni Marco Scavelli PhD Candidate CEU University Budapest Department of Sociology and Social Anthropology 2004-2005 CULTURE AS HUMAN REVOLUTION, A NEW ETHICAL AND SOCIAL BUSINESS MODEL Topic of Research : Cultural policies analysis in Hungary from 1989 The potential of Arts as Social Sustainable Enterprise Model (ASSEM) Approach and Methodology: The definition of culture as human revolution and its implications for the creation of an open society will be the main guide of the research. Background area will be the analysis of relevant cultural policy documents, laws and projects proposed and executed in Hungary from 1989. Research proposal will aim to create the structure and the guideline for the constitution of an ethical and social cultural enterprise. It is envisaged that the study will cover:
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Activities identified in Hungarys National Cultural Strategy, which includes museums and galleries, arts festival Arts activities supported by the Hungarian Arts Council (theatre, opera, ballet, music, visual arts, major festivals). Creative or cultural industries as defined by Hungarian Enterprise in the Creative Industries Strategy (publishing, music recording, film and television, architecture and design). ASSEM open projects to be defined during the PhD research Evaluation of a multi-financing system for culture (public-private partnerships)

It is important, not least from a public policy perspective, to capture the effects of a wide range of cultural activities, and to compare multiplier values for different types of cultural organisations. For example I hope that the study will be able to compare the social and economic impact of different types of organisations (e.g. national and local cultural institutions), cultural organisation in different areas of Hungary (e.g. urban and rural, Budapest in details), the impacts of different cultural activities themselves (music, drama, film, ballet, etc.). ASSEM Summary Guide: 1. suitability of ASSEMs rationale (agendas, vision, design) 2. effectiveness of ASSEMs for management and promotional structures 3. effectiveness of ASSEM to promote and secure social inclusion 4. effectiveness of ASSEM in defining and portraying cultural diversity 5. impact of presenting a major arts programme alongside an international cultural event 6. ability of ASSEM to inform and stimulate youth perceptions of Arts as cultural social inclusion 7. value and sustainability of ASSEM international partnerships 8. other potential legacies in the short, medium and/or long term

The methodology will involve mainly qualitative techniques combined with a quantitative approach and developed in partnership with historical contextualisation. The emphasis placed on a qualitative approach is fully justified by the object of study, as the main aim is to explore and interpret patterns in the process towards sustaining a long term cultural policy model and legacy. This implies that the approach is mainly inductive and key concepts and theories will emerge during the data collection and analysis The main stages and methodology of the research are:
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Collecting and assembling basic data; Estimating the direct impact from these data; Using the NKA's modelling capabilities to estimate the indirect and induced impact; Deriving total impacts, in terms of Hungarian employment, income and output supported by the arts, and estimating multipliers for the same variables for the arts in Hungary; Comparing the arts with other industries; Using the research results to identifying policy responses concerning the development of the arts in Hungary. Evaluate general impact on cultural tourism

The collection and assembling of data will be achieved by undertaking a survey of organisations. Existing published data will also be reviewed and I will meet with the key agencies (Ministry of Cultural Heritage, C3, , Hungarian Museums Council, Hungarian Screen and Hungarian Enterprises, NKA,etc) to identify the material they hold and collect and to clarify with them the scope of the project. Data-gathering techniques for this research will involve a documentation and archival review, an extensive interviewing process with experts, a range of consultation meetings with relevant business and cultural groups. As in common practice in qualitative research, the analysis will be developed in parallel to the data collection. The research will approach encompasses expertise in the fields of arts and cultural policy, political sociology, urban planning, event and tourism studies, communication studies and historical analysis. Preliminary Conclusions: The Kingdom of Hungary was established in 1000. As a result of Ottoman expansion (1526 to 1686) and subsequent Austrian domination, it was doubtful whether the Hungarians would be able to retain their identity and autonomy. The 19th century, however, brought about a successful national revival, in which culture played a significant role. A considerable part of Hungary's current cultural institutions and traditions is rooted in the nineteenth century. Its typical East European social structure was also inherited from that period. A highly developed upper class strata of society with high cultural standards comparable to most developed countries, was opposed by a majority that was captured in backwardness. While a stable middle class formed the basis of democracy, economic and cultural development in Western Europe, more than half of the Hungarian society was made up of peasants until the middle of the twentieth century. Although the society gradually lost its

old traditions, it was unable to join new ones. Compared to the West, the working class and the intelligentsia remained meagre, the bourgeoisie weak. At the same time, being a Central European country, Hungary constituted a "Western" kind of transition as opposed to the Balkans and the East. After the First World War, cultural policy played a strategic role in helping the country overcome its national trauma, with just a fragment of its former territory left. Similarly after the Second World War, broad support was given to cultural policy in the physical and political reconstruction of the country. At the same time the bourgeois, conservative, national and civic traditions were initially being pushed into the background, then increasingly toughly eradicated. By the late 1940s, all progressive elements were eliminated from the cultural policy of the Bolsheviks, and a crude, schematic course, slavishly imitating the Soviets, dominated the scene up to the revolution of 1956. After the suppression of the revolution, cultural dogmatism began to melt away in the early 1960s. Up to 1989, similar to other areas of life, a rather protracted process of revision was in progress and the most gradual transition of the entire Communist bloc had taken place. As a consequence of the weakening of the Communist system, public resources were gradually depleted and parallel to the withdrawal of political control, the state also pulled out of subsidising culture. In the 1980s, the commercialisation of culture moved ahead, and the Soros Foundation of Hungary obtained an important role in the emerging vacuum of finances. During the decades of socialism, state subsidies enabled low cost access to cultural life and increased the rates of cultural consumption (e.g. reading scientific literature and fiction, going to the theatre, cinema, concerts, museums and exhibitions). Under the period of dictatorship, art acquired a specific political significance. When this period came to an end, many viewed culture as one of the losers of transition. The main influences shaping a new cultural policy following the political turn of 1989-1990, were national traditions preceding the Communist period as well as modern western models/examples. During the first few years, this transition took place under great economic difficulties. By the time the system change had been completed and organisationally consolidated, a world wide recession prevented the government from spending more funds on culture. Today, one of the main factors influencing the development of cultural policy in Hungary is the country's accession to the European Union in May 2004. Within the last decade, a new (postmodern) emphasis has centered on place marketing and the reconfiguration of declining industrial landscapes into new arenas for culture, the arts, tourism, and leisure. Cultural strategies rely upon the manipulation of urban images to generate public support and marshal public resources for the creation of re-imaged city regions (Holcomb 1993). For local governments, the salience of cultural strategies has increased significantly in the last decade, as industrial cities and regions in EU (such as Barcelona, Amsterdam, Glasgow, Berlin ) have recognized that there is consumptive value in the abandoned industrial landscape, a landscape that is unlikely otherwise to be reclaimed by functioning economies in the foreseeable future. European context has been analyzed precisely because national debates over cultural policies have centered on their implications for city regeneration. (In contrast, the recent cultural wars in the U.S. reflect a broad moral debate over the appropriate role of federal public investment in the arts and culture, while local cultural policies tend to be advanced primarily by private sector

corporations and philanthropy.) Although academic and policy discussions of cultural strategies for urban regeneration over the past decade have noted their increasing prominence throughout mid-sized cities and even small towns in Europe (Bassett 1993; Griffiths 1995), most critical attention in the United States has focused on megacities such as New York, Los Angeles, and Miami, along with the upper elitist fringes of high fashion, the performing and visual arts, and debates over major public art. Griffiths (1995) outlines three emerging models of cultural policy. In the first, cultural products are used to revive a sense of civic identity and shared belonging, therefore raising expectations about the potential quality of city life. The second model focuses on the production and dissemination of cultural products as an important form of wealth creation in its own right. This model considers not only on the high arts, but also commercial cultural industries, such as audiovisual production, publishing, and fashion design. The third model, which Griffiths labels the city boosterism model, uses the arts as an instrument of civic promotion, and is oriented primarily towards attracting consumers and business investments to cities by projecting images of a high quality of life. These models are not necessarily mutually exclusive, of course, but Griffiths notes that it may be more instructive to look at how each of these approaches have been used strategically by cities to address the dilemmas of cultural policy. ASSEM will aim to orientate Cultural strategies towards investors, tourists, and consumers from outside the city as well as to serve the cultural needs of resident populations. ASSEM is aiming to reshape the local environment for economic regeneration enhanced by the EU membership in May 2004. Future research and middle term goals: Currently there are 21 Hungarian Cultural institutes in operation all over the world whose mandate is to promote Hungarian culture abroad through exhibitions, lectures, concerts etc. ASSEM is willing to increase the accessibility for more projects to more artists and to facilitate the creation of an ethical arts management model that involve and preserve cultural identity and promote the social sustainability of a Cultural Business. Future goal: Creation of specific Cultural information Agency that inform about funding, structure&business plan guide, EU cultural policy and programmes. Institution of University MA in Arts Management , NGO , Social and Cultural Enterprise. The study is aiming to aid in the development of city planning and reaffirm the role of the cultural sector in urban and social regeneration.

Web initial Bibliography


Culture/arts portals Cultural pages of the government portal http://www.ekormanyzat.hu/english? kateg=english:1256 Music magazine, Festival agenda http://www.musicmagazin.hu/ Cultural Ship arena

http://www.a38.hu/ Promotion of the Hungarian cinematography throughout the world. http://www.filmunio.hu/ Center for culture and communication http://www.c3.hu/ Government Portal

http://www.magyarorszag.hu/angol/orszagi nfo/alapadatok

Initial list of Arts organizations

Grant-giving bodies Fine Arts in Hungary http://www.kfki.hu/~arthp/keptar/index2.h tml Hungarian culture homepage search engine http://www.port.hu/kultura/index_a.htm National Cultural Fund http://www.nka.hu European Bank for Reconstruction and Development http://www.ebrd.org/

Cultural policy making bodies Cultural pages of the government portal http://www.ekormanyzat.hu Ministry of Cultural Heritage http://www.nkom.hu Joint venture between the Council of Europe and ERICarts realised with a community of practice of independent cultural policy researchers, NGOs and national governments http://www.culturalpolicies.net

Cultural statistics and research Budapest Observatory (Regional Observatory on Financing Culture in EastCentral Europe) http://www.budobs.org Central Statistical Office http://www.ksh.hu/pls/ksh/docs/index_eng .html MEK (Magyar Elektronikus Knyvtrban; Hungarian Electronic Library) With a virtual anthology of Hungarian literature. http://www.mek.iif.hu

Virtual Galleries Fine Arts in Hungary from the Beginning to the Mid 20th Century Gallery of Balla Demeter Gallery of Sndor Kligl Mrta M. Nmeth Textile Designer's Gallery Morvay Lszl Art Gallery SZTAKI Gallery Artpool Art Research Center - Budapest Hungarian Artists (Fine Art - Artnet) Institute of Contemporary Art Dunajvros Studio of Young Artists Association www.kfki.hu/~arthp/keptar w3.datanet.hu/~balladem www.tiszanet.hu/galeria/kligl/KliglGB.htm www.nexus.hu/marta/marta_en.htm www.datanet.hu/morvayartgallery/index_en.htm www.sztaki.hu/gallery www.artpool.hu www.datanet.hu/artnet/artnet/e/arti.htm www.ica-d.hu

Organizations of Fine and Applied Art, Artists

International Ceramia Studio - Kecskemt www.ftech.net/~carrog/ics.htm www.c3.hu/fkse/english/index.html

Budapest The Association of Fine- and Applied Arts Kapos Art - Kaposvr Galleries Art Gallery - Oroshza Bartk 32 Gallery - Budapest Bolt Gallery El Kalszi Gallery - Budapest Mai Man Photo Gallery - Budapest Parti Gallery - Pcs jliptvros Gallery - Budapest Vaszary Gallery for Contemporary Art Kaposvr www.oroshaza. hu/oroshaza/angol/keptar/keptara.html www.datanet.hu/artnet/artnet/e/batroke.htm www.c3.hu/~bolt/index2.htmlb www.datanet.hu/artnet/artnet/e/kalas_e.htm www.c3.hu/~fotomuz/mano/index.htm www.sfact.com/partnerek/parti/index_e.html www.c3.hu/~artbox13/indexan.htm www.tabulas.hu/egyud/vaszary/index.html www.hunpro.hu/mmf/Kapos_art_eng.html

International Intelligence on Culture www.intelCULTURE.org For a compendium of excellent pro forma information on machinery of government and cultural policy in a number of European countries (this work appears to be ongoing) Council of Europe Cultural Co-operation www.culture.coe.fr For information on machinery of government and cultural policy in Finland www.minedu.fi/minedu/culture For information on machinery of government and cultural policy in The Netherlands www.minocw.nl/english/ For access to the two cultural framework

documents in Northern Ireland www.dcalbi.gov.uk For good reference materials on the debate around the White Paper and hotlink to the text of the Arts Bill, 2002, Arts Council of Ireland www.artcouncil.ie Americans for the Arts www.artusa.org For access to interesting comparative studies on these issues, Center for the Arts and Culture, Washington www.culturalpolicy.org Cultural Policy Center, University of Chicago www.culturalpolicy.uchicago.edu

Brief initial Bibliography Becker, Heidede, Johann Jessen, and Robert Sander (Eds.). 1999. Ohne Leitbild? Stdtebau in Deutschland und Europa [Without Visions? Urban Development in Germany and Europe]. Zurich. A comprehensive survey on the up-to-date discussion about leading concepts of urban planning in Germany and Europe and a beautiful book with excellent pictures, graphics, and plans. Six chapters with more than 40 essays deal about pro and contra of leading concepts, actual trends and future prospectives, planned and realized projects, the exchange of experiences in different European cities in Germany, the Netherlands, Sweden, France, Great Britain and Switzerland (more's

a pity: only one short essay on Eastern European towns). [architectural discourses on contemp. problems (late 1990s)] Bhme, Helmut. 1989. Stadtgestaltungslehre vs. Stadtplanungswirtschaft. Zu den Anfngen der wissenschaftlich begrndeten Stadtentwurflehre [Town Shaping Versus Town Planning. To the Beginning of Scientific Urban Planning]. Die Alte Stadt, 16: 141163. During the last decades of 19th century architects and town planners tried to solve the problems produced by industrialisation and urbanisation. This essay describes the way how the wide spread reform discussion was established as a discipline in German universities reflecting the different approaches from urban development as a matter of technical infrastructure, a matter of housing or a matter of art. Balancing Act: 21 strategic dilemmas in cultural policy, Francois Matarosso and Charles Landry, Council of Europe 1999. ISBN 92-871-3862-1. Available from the Council of Europe Sales Unit, F-67075, Strasbourg and via its website. Cultural Policy, A Short Guide, Simon Mundy, Council of Europe 2000. ISBN 92-8714301-3. Available from the Council of Europe Sales Unit, F-67075, Strasbourg and via its website. Choosing the Right Tools for the Task, chapter 7 in Preserving the Built Heritage, Tools for Implementation, J Mark Schuster, University Press of New England 1997. ISBN 087451-831-8. Available from amazon.com The governance of culture: approaches to integrated cultural planning and policies, Anthony Everitt, Council of Europe 1999. ISBN 92-871-3862-1. Available from the Council of Europe Sales Unit, F-67075, Strasbourg and via its website. Whos to Pay for the Arts, The International Search for Models of Arts Support, edited by Milton C Cumming Jr., American Council for the Arts, New York, 1989. Public Money and the Muse, Essays on Government Funding for the Arts, edited by Stephen Benedict, WW Norton New York and London 1991. ISBN 0-393-96135-4. Available from amazon.com

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