Politiques publiques de la culture et des arts

Une politique publique de la culture et des arts est une politique publique dont l'objet est l'encouragement ou l'interdiction de la production, de la diffusion ou de la consommation de biens et services de nature culturelle ou artistique. Le fondement essentiel des politiques publiques de la culture et des arts est l'idée selon laquelle la production et la consommation de biens et services culturels présentent des externalités positives, bénéficiant à l'ensemble de la société, ainsi qu'un doute sur la capacité des consommateurs à choisir les biens culturels présentant les plus fortes externalités . La justification des politiques publiques s'appuie ainsi sur la double nature de bien public et de bien tutélaire de certains biens culturels. L'étude des politiques publiques de la culture et des arts est le domaine de la science politique, de l'économie de la culture et de la sociologie des organisations. Histoire Jusqu'au début du , les politiques culturelles ont le plus so

Ambiguïtés de la « ville créative »

Mischa-Sébastien Piraud

Art and culture have a renewed role in the contemporary city. Theories relative to the creative class, the creative economy and the creative city are both descriptive and prescriptive; they focus on the role of culture in the urban production process and, as operational programs, prescribe the integration and incorporation of artistic and cultural projects into urban development. The emergence and adoption of these theories by public authorities follows the evacuation of numerous squats and marks an inflection in Geneva: the end of a series of political and counter-culture struggles opened between 1998 and 2007 and the beginning of a double phenomenon of repression and promotion of a horizon of (new) counter-cultural practices. In this light the âcreativeâ city is like a distillation of the ideology that underlies the urban and cultural policies in and of the creative city. In this PhD Dissertation we will look at how the theories of this creative capitalism incorporate artistic and cultural practices into the neo-liberalization process currently underway. While citiesâ role in neo-liberalism is often cited, the creative economyâs integration of art and culture is unprecedented. This integration is nonetheless ambiguous: though art participates in both the urban production process and, more transitively, processes of neo-liberalization, it is nonetheless the breeding ground of criticism in action and urban struggles. This paper identifies the shifting of lines established by artâs role in the urban production process. It aims to show that this âcaptureâ redefines that classic contradictions between institutional art and emerging art. Several studies on the spatializing of art in Geneva (art districts, museums, workshops, demonstrations and street art) will serve as case studies for exploring these ambiguities. Our investigation isbased on direct and participatory observation, interviews and the analysis of archives, and helps us to better understand the urban condition of art in the era of late capitalism.

EPFL2017

Nurturing the socialist spiritual civilization: Interplay between anthropology and politics

Florence Graezer Bideau

Since the 1940s, rural traditional dance of the North-West region plays a pivotal part in the making of cultural policy in RPC. Transformed and politized by cultural cadres at Yan'an, social and recreational practices such as yangge dance became propaganda tools for addressing revolutionary issues among local population. Compulsory supervised activity in work-units, it embodies the New China promoted by Mao Zedong until the Cultural Revolution in 1966. In the 1990s, yangge dance reappears in the form of everyday urban carnivals. Groups of neighborhood dancers, so-called spontaneous or religious/traditional, revive this tradition of gathering for ritual or profane occasions. Yangge fever takes hold of society and such dancing practices are gradually recuperated to breathe new life into official narrative: the Chinese socialist spiritual and material civilization promoted by Deng Xiaoping. Major cultural surveys on folkloric practices carried out in the 1980s across the country have paved the way for the revival of inventorying projects on cultural heritage alongside interests for Chinese presence and visibility on the international UNESCO arena. The paper build on empirical case studies from Beijing and Shaanxi Province that reveals conflictual modalities of the interplay between various stakeholders involved in the promotion of such dancing activities. Issues related to transmission modes and legitimate recognition of “authentic” practices are discussed to better understand the selection criteria that endorse a new “healthy” civilized lifestyle within the Chinese population. This also includes the role played by anthropologists on the ground as both as sustainer and disrupter of the performative meaning assigned by the cultural authorities.

2021

Ambiguïtés de la « ville créative »

Mischa-Sébastien Piraud

EPFL2017