Nordic Cultural Policy 2.0

TY - CONF

T1 - Nordic Cultural Policy 2.0

AU - Hansen, Louise Ejgod

N1 - Conference code: 13

PY - 2024

Y1 - 2024

N2 - ”Nordic cultural model” or ”Nordic cultural policy” are well-known terms in international cultural policy and its research. They were made famous by the established first-generation Nordic researchers of cultural policy (see e.g. Duelund 2003; Mangset et al. 2008). When international researchers speak about the ‘architect model’ or ‘patron model’ (or their hybrid) of cultural policy (Hillman-Chartrand & McCaughey 1989; see also e.g. Kangas & Vestheim 2011), the references to the Nordic cultural policy model with large public funding, welfare state objectives, and institutionalized position of arts councils are relatively common. Because of this close welfare state relation, some researchers also consider the Nordic model as a separate model of its own (Mulcahy 1998; Rius-Ulldemolins 2019). Features, which are seen typical for the Nordic model are high respect of the autonomy of arts (‘arm’s length principle’), cultural democracy and inclusion. Naturally these models have faced critique: they are caricatures, ideal types and often ideologically used, and thus they do not translate well to analytical tools for studying dynamic policy practices and processes. The latest comprehensive descriptions and characterizations of Nordic cultural policy are about 20 years old. A lot has happened in the Nordic countries (digitalization leap, ethnic and cultural diversification, the increase of the critique of welfare state etc.), and their policies and cultural sectors since. However, cultural policy systems, principles and practices have changed dramatically little. Some changes have of course occurred, but they have been mainly discursive; for instance, the economic value and economic importance of art and culture and their societal impacts are discussed more than before. In this panel, we take a critical look at what Nordic cultural policy is and means today, and what are its current trends and the most startling challenges in the near future. We observe different countries through the same perspectives and themes to enable comparison between countries; what differences and similarities can be found in the cultural policies of the different Nordic countries today? One of the main questions of the panel is, is there still such a collection of welfare state elements in cultural policy, on the basis of which we can talk about the “Nordic cultural model”? The panel bases on the ongoing book project, which goes on with the working title Nordic Cultural Policy 2.0. Chair of the panel is Sakarias Sokka. Panelists are: Associate Professor Louise Ejgod Hansen (Aarhus University), Professor Tobias Harding (University of South-Eastern Norway), Senior Researcher Ole Marius Hylland (Telemark Research Institute), Professor Miikka Pyykkönen (University of Jyväskylä) and Professor Njorđur Sigurjónsson (University of Bifrost).

AB - ”Nordic cultural model” or ”Nordic cultural policy” are well-known terms in international cultural policy and its research. They were made famous by the established first-generation Nordic researchers of cultural policy (see e.g. Duelund 2003; Mangset et al. 2008). When international researchers speak about the ‘architect model’ or ‘patron model’ (or their hybrid) of cultural policy (Hillman-Chartrand & McCaughey 1989; see also e.g. Kangas & Vestheim 2011), the references to the Nordic cultural policy model with large public funding, welfare state objectives, and institutionalized position of arts councils are relatively common. Because of this close welfare state relation, some researchers also consider the Nordic model as a separate model of its own (Mulcahy 1998; Rius-Ulldemolins 2019). Features, which are seen typical for the Nordic model are high respect of the autonomy of arts (‘arm’s length principle’), cultural democracy and inclusion. Naturally these models have faced critique: they are caricatures, ideal types and often ideologically used, and thus they do not translate well to analytical tools for studying dynamic policy practices and processes. The latest comprehensive descriptions and characterizations of Nordic cultural policy are about 20 years old. A lot has happened in the Nordic countries (digitalization leap, ethnic and cultural diversification, the increase of the critique of welfare state etc.), and their policies and cultural sectors since. However, cultural policy systems, principles and practices have changed dramatically little. Some changes have of course occurred, but they have been mainly discursive; for instance, the economic value and economic importance of art and culture and their societal impacts are discussed more than before. In this panel, we take a critical look at what Nordic cultural policy is and means today, and what are its current trends and the most startling challenges in the near future. We observe different countries through the same perspectives and themes to enable comparison between countries; what differences and similarities can be found in the cultural policies of the different Nordic countries today? One of the main questions of the panel is, is there still such a collection of welfare state elements in cultural policy, on the basis of which we can talk about the “Nordic cultural model”? The panel bases on the ongoing book project, which goes on with the working title Nordic Cultural Policy 2.0. Chair of the panel is Sakarias Sokka. Panelists are: Associate Professor Louise Ejgod Hansen (Aarhus University), Professor Tobias Harding (University of South-Eastern Norway), Senior Researcher Ole Marius Hylland (Telemark Research Institute), Professor Miikka Pyykkönen (University of Jyväskylä) and Professor Njorđur Sigurjónsson (University of Bifrost).

KW - kulturpolitik

KW - Nordisk kulturmodel

M3 - Paper

T2 - International conference on cultural policy research

Y2 - 19 August 2024 through 23 August 2024

ER -