By Caroline Andrew, Monica Gattinger, M. Sharon Jeannotte, Will Straw
Accounting for tradition is a different selection of essays from top Canadian and overseas students that severely examines cultural citizenship, cultural signs, and governance within the context of evolving cultural practices and cultural policy-making. it is going to be of serious curiosity to students of cultural coverage, communications, cultural reports, and public management alike.
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Additional info for Accounting for Culture: Thinking Through Cultural Citizenship (Governance Series)
Filmmakers get tax breaks to maintain a filmmaking capacity in Canada. 2 This 3 kind of intervention in the cultural sector is typical of countries all over the world. Why do governments try to shore up economically non-competitive (or worse, economically competitive) industries? Would we not be better served by getting our culture from the cheapest producers like we do wheat and cars? Culture is clearly a good thing, providing as it does, pleasure, enlightenment, and self-actualization. But so does whiskey, and no one subsidizes it.
This is a research tool that is aimed not simply at evaluating the culture of a community, or region, or nation but also at locating culture in the context of sustainable development. As Amareswar Galla said, this is with the aim of: [M]ore sustainable and vibrant communities, more cohesive community networks, greater community confidence and direction founded in a sense of self and place, and an increased community capacity for holisticatty addressing its own needs.... It requires an inclusive framework that recognises the cultural aspirations of different sections of the community, including groups that may otherwise be marginalised culturally, socially and economically.
It further suggests the need for "mediators of developmental projects ... ' This argument about moving away from the "binary opposition of traditional and contemporary" and towards a more dynamic and interactive relationship between these cultural "poles" is crucial in the development of a cultural/creative industries agenda and momentum which will enable us to understand that a cultural policy can also be an economic policy without necessary contradiction. The World Music phenomenon (as it is known in the West/North) is an example of how this binary opposition between traditional and contemporary has been thrown into question and produced benefits for traditional/indigenous communities and creators from Mali, Senegal, Togo, South Africa, Cuba, and many other countries.