Arts Management and Cultural Policy Research
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1 Arts Management and Cultural Policy Research
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3 Arts Management and Cultural Policy Research Jonathan Paquette University of Ottawa, Canada and Eleonora Redaelli University of Oregon, USA
4 Jonathan Paquette and Eleonora Redaelli 2015 Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6 10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number , of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Paquette, Jonathan, author. Arts management and cultural policy research / Jonathan Paquette, University of Ottawa, Canada; Eleonora Redaelli, University of Oregon, USA. pages cm Summary: Presenting concepts, knowledge and institutional settings of arts management and cultural policy research, this book builds on two assumptions that are simultaneously propositions. The first is that arts management research and cultural policy research evolve in an academic space that is very loosely connected, but nevertheless federated. The second is that we evolve in a field where there is a greater diversity of knowledge producers than it is often assumed. Practising outside academia, many arts managers, policymakers, advocates, and other professionals still connect and mediate knowledge in spaces that are interconnected, and perhaps even more integrated than we would readily admit. This book offers a map, a representation of the concepts and spaces of knowledge production in the field. It constitutes an excellent introduction to students, and scholars and practitioners will find in it a renewed representation of the field and the seeds of an intellectua! l debate on our research community Provided by publisher. Includes bibliographical references. 1. Arts Management Research. 2. Cultural policy Research. I. Redaelli, Eleonora, 1970 author. II. Title. NX760.P dc Typeset by MPS Limited, Chennai, India.
5 À Linda Pannitti Ai miei genitori, Alice e Sergio
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7 Contents List of Tables Preface Acknowledgments ix x xi Introduction 1 1 Knowledge: Disciplines and Beyond Introduction Discipline and expertise: academic and professional knowledge Multidisciplinarity: ideas, institutions, and interests Interdisciplinarity: functions of management as disciplinary bridge Transdisciplinarity: understanding the field of knowledge production Conclusion 16 2 Academic Beginnings: Arts Management Training and Cultural Policy Studies Introduction Arts management training Cognate fields Cultural policy studies Conclusion 32 3 Functions of Management as Disciplinary Bridges Introduction Marketing: the arts and their audiences Fundraising: the arts and the necessary support Leadership: finding directions for the arts Programming: the arts come alive Entrepreneurship: the arts beyond functions of management Conclusion 42 4 More than Management: Organizational Perspectives Introduction Organizational analysis: three main conceptions 45 vii
8 viii Contents 4.3 Building from within: arts organizations research programs Conclusion 57 5 Cultural Policy as Conventional Public Policy Introduction Cultural policy as a public policy Rooting cultural policy in the policy cycle Comparative cultural policy Program evaluation Conclusion 75 6 Cultural Policy Research: Ideas, Institutions, and Interests Introduction Policy change and development Studying the rationale of cultural policies From cultural studies to critical cultural policy studies Conclusion 91 7 On Paradigms: From Epistemology to Epistemic Cultures Introduction Epistemology: five paradigms From epistemology to epistemic culture Conclusion Mapping the Field: Institutional Settings of Knowledge Production Introduction Academia Arts organizations Government Private organizations Conclusion: ethics of research 129 Conclusion 132 Notes 136 Bibliography 138 Index 159
9 List of Tables 1.1 Definitions Arts management handbooks History of cognate fields New institutionalism: a synthesis Conceptions of power in organizations Cultural policies as public policies: some definitions Cultural policies and the policy process: the stages Concepts of cultural policy development and change Democratization of culture vs. cultural democracy Summary of the main assumptions of five paradigms in the field Service organizations 126 ix
10 Preface This book presents concepts, knowledge, and institutional settings of arts management and cultural policy research, building on two assumptions that are simultaneously propositions. The first is that arts management research and cultural policy research evolve in an academic space that is very loosely connected, yet nevertheless federated. The second assumption is that we evolve in a field where there is a greater diversity of knowledge producers than those of us in the field often assume. Practicing outside academia, many arts managers, policymakers, advocates, and other professionals still connect and mediate knowledge in spaces that are interconnected, and perhaps even more integrated than we would readily admit. What we offer here is a map. We offer a representation of arts management and cultural policy research as a field, as an assemblage of people, concepts, institutions, and ideas that are somewhat related. We argue that this book is relevant for an international audience. However, we also acknowledge the limitations of many of the examples and insights brought forward in the following pages as being inherently rooted in the North American context. In many areas, this book is reflective of some changes that have occurred in the field over the last decades. We have tried to provide here an analysis and a reference where all agents who interact and associate in the field could recognize themselves. x
11 Acknowledgments We wish to thank our colleagues for their support and for their generous and helpful comments. Those comments, whether they were simple words of encouragements or whether they resulted in thorough theoretical discussions about the field, were all entirely helpful and motivating. In particular, we wish to thank Ann Galligan (Northeastern University), Kevin V. Mulcahy (LSU), Frédéric Poulard (Université de Lille), Evelyn Thorne (University of Oregon), Timothy Halkowski (University of Wisconsin-Stevens Point), Vincent Dubois (Université de Strasbourg), Dan J. Martin (Carnegie Mellon University), Sherri Helwig (University of Toronto Scarborough), and Jennifer Radbourne (Deakin University). Most importantly, this book would not have been possible without the relentless and insightful comments of our esteemed colleague Devin Beauregard, from the University of Ottawa. We would also like to thank the John Yeon Center and the School of Architecture and Allied Arts of the University of Oregon. They supported a retreat in Portland s heights that brought us together geographically, from the two sides of the North American continent, and intellectually from our respective points of origin in the field. We would like to thank Mark Wesner, caretaker of the Cottrell House, for also taking care of us during our stay as we were putting the last finishing touches on this book. xi
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