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This paper seeks to make realize out an appraisal to public culture policies on Municipality on Novo Hamburgo, tracing a panorama between the historical-social contexts, through its political-administrative processes, the institutionalization of the Municipal System of Culture and implementation of its components and mechanisms, in order to analyze the participatory management established in the relationship between public power and civil society, from the perspective of co-creation of value. For this purpose, it used exploratory research through literature review, documentary research and qualitative analysis. Among the results it was possible to observe that the collaborative processes demonstrate to be effective ways for the full development of the creative sectors, in order to generate qualified and immutable cultural policies. [ABSTRACT FROM AUTHOR]

Arts and culture are central to the political struggles of people with disabilities and have the potential to transform how societies relate to disability and to realize the human rights model of disability enshrined in the Convention on the Rights of Persons with Disabilities. Yet, low levels of participation in arts by people with disabilities are reported in many countries. We also lack research to support policy making that promotes positive measures. This article presents some of the findings from a large qualitative study across 28 European countries addressing factors perceived as facilitative of cultural participation by people representing organizations of people with disabilities. Identifying these factors is a step in supporting the deployment of policies aiming to end the exclusion of people with disabilities from the cultural sphere both as audiences and artists and to realize the human rights model of disability. In particular, findings point to the need to change the knowledge base and ethos of cultural bodies and to reform, amongst other issues, funding mechanisms, governance structures, and consultation processes. We argue that making disability inclusion more intrinsic to cultural policy has the potential to enhance diversity and ultimately to foster the participation of people with disabilities in society more broadly. [ABSTRACT FROM AUTHOR]

The comparative study of cultural policies in the Arab region remains a relatively underexplored domain, particularly in how these policies influence nation branding and nation-building efforts. This exploratory study seeks to contribute to this nascent field by adopting a comparative lens to examine the cultural policies of three Arab nations: the United Arab Emirates (UAE), Saudi Arabia and Egypt. Through a document analysis of key policies from these countries, this research unveils the intricate ways cultural strategies are employed to articulate and disseminate national, ethical and political ideologies. The article articulates how each country's approach to cultural policy—commodification in the UAE, securitisation in Egypt and religionisation in Saudi Arabia—reflects and is shaped by unique local, regional and global power dynamics. By contextualising these policies within broader frameworks of market forces, security concerns and religious influences, the study offers insights into the complex interplay between cultural policymaking and nation branding in the Arab world. [ABSTRACT FROM AUTHOR]

Arts and culture are central to the political struggles of people with disabilities and have the potential to transform how societies relate to disability and to realize the human rights model of disability enshrined in the Convention on the Rights of Persons with Disabilities. Yet, low levels of participation in arts by people with disabilities are reported in many countries. We also lack research to support policy making that promotes positive measures. This article presents some of the findings from a large qualitative study across 28 European countries addressing factors perceived as facilitative of cultural participation by people representing organizations of people with disabilities. Identifying these factors is a step in supporting the deployment of policies aiming to end the exclusion of people with disabilities from the cultural sphere both as audiences and artists and to realize the human rights model of disability. In particular, findings point to the need to change the knowledge base and ethos of cultural bodies and to reform, amongst other issues, funding mechanisms, governance structures, and consultation processes. We argue that making disability inclusion more intrinsic to cultural policy has the potential to enhance diversity and ultimately to foster the participation of people with disabilities in society more broadly.

Este artículo tiene como objetivo analizar el desarrollo y la gestión de las políticas culturales locales, con un enfoque específico en la red de Bibliotecas Públicas de Barcelona. Esta nueva mirada en la política cultural busca integrar la cultura local y movilizar comunidades, impulsada por la priorización de la gobernanza del sistema cultural. Dentro de este contexto, entre las iniciativas que abrazan esta nueva perspectiva, se destaca el papel que desempeñan las bibliotecas como espacios privilegiados para fomentar una “cultura común”, fortaleciendo la cohesión social y generando valor en el ámbito social. El desafío que implica para estas instituciones adaptarse a nuevos roles, como centros de “hacedores de cultura” y promotores del consumo digital, es esencial. Para el análisis, se plantean dos enfoques principales. Primero, se examina el valor social de las bibliotecas desde la perspectiva de su gestión directiva, explorando cómo este concepto se integra en su día a día y su relevancia como puntos de encuentro comunitario en Barcelona. Segundo, se evalúa el impacto de las políticas institucionales y las demandas laborales en el funcionamiento de estas bibliotecas, considerando su aplicación en el contexto específico de estas instituciones culturales. Para llevar a cabo este análisis, se emplea una perspectiva cualitativa. Como resultado, se ha podido concluir que la política pública de bibliotecas en Barcelona debe contar con una participación ciudadana activa y real para ser efectiva, entendiendo que la democratización cultural implica no solo el acceso físico, sino también un compromiso activo de la comunidad. Se observa que la administración pública implementa una política “top down” muy marcada, contrastando con el trabajo cotidiano de gestión de las bibliotecas. A pesar de los esfuerzos para fortalecer el valor social de estos equipamientos, surgen desafíos, como la precariedad en presupuesto y recursos humanos, que limitan el desarrollo efectivo de la política. Los bibliotecarios desempeñan un papel vital como mediadores culturales, pero la brecha entre la proyección pública y la realidad operativa destaca la necesidad de abordar los desafíos laborales y sociales que enfrentan las bibliotecas en su funcionamiento diario = This article aims to analyze the development and management of local cultural policies, with a specific focus on the Public Libraries network in Barcelona. This new look at cultural policies seeks to integrate local culture and mobilize communities, driven by the prioritization of the governance of the cultural system. Within this context, among the initiatives that embrace this new perspective, the role of libraries as privileged spaces for fostering a “common culture”, strengthening social cohesion, and generating value in the social sphere stands out. The challenge for these institutions to adapt to new roles, such as being centers of “culture makers” and promoters of digital consumption, is essential. For the analysis, two main approaches are considered. First, the social value of libraries is examined from the perspective of their management, exploring how this concept is integrated into their day-to-day work and their relevance as community meeting points in Barcelona. Second, it assesses the impact of institutional policies and labor demands on the functioning of these libraries, considering their application in the specific context of these cultural institutions. In order to carry out this analysis, a qualitative perspective is used. As a result, it has been possible to conclude that the public policy of libraries in Barcelona must have an active and real citizen participation to be effective, understanding that cultural democratization implies not only physical access, but also an active commitment of the community. It is observed that the public administration implements a very marked “top down” policy, contrasting with the daily work of library management. Despite efforts to strengthen the social value of these facilities, challenges arise, such as the precariousness of the budget and human resources, which limit the effective development of the policy. Librarians play a vital role as cultural mediators, but the gap between public projection and operational reality highlights the need to address the labor and social challenges faced by libraries in their daily operations.

With the innovation movements on music and institutions in the 19th century, the Alaturka-Alafranga distinctions have become evident in Turkish music. This has caused dilemmas, debates and disputes in the field of music. Classical music, Turkish music, Enderun music, so-called art music, the city-centered style of music, which is transmitted between generations through the meshk method, has caused it to be considered as a museum and archaeological material. With the establishment of the Republic, the modernization movement also made itself felt in music policies, and efforts to create new-contemporary Turkish music based on Western music began, and the understanding of harmonizing local musical elements according to Western music procedures was born. Although folk music is not targeted, this approach and policies have enabled urban music intellectuals to turn to the public; folk music has started to be “discovered” by urban intellectuals. Âşık Veysel is one of the first of this period. Âşık Veysel; he came to the fore with his life, sensitive functioning style, understanding of the republic and revolutions, style of using Turkish, and became an icon during and after his period. The task of narrating the revolutions of the state was given to the poet through public houses, associations, concerts, tours and village institutes. Although the state's approach to music in the multiparty period was non-political, it is seen that the expansion of cultural industries in this period continued the role of the lover in music with the tools of the period. This study aims to identify the aspects of Âşık Veysel that overlap and do not overlap with cultural policies, his task in transferring traditional Turkish music to the twenty-first century, his position in today's understanding of music and official approaches. In this direction, the effects of modernization approaches in music on the tradition of minstrelsy and folk music, the consequences of policies, the discussion and evaluation of their reflections on today's music will be the main point of the study. In the study, first of all, the literature on music policies was scanned and read. Then, the evolution process of traditional music was tried to be determined using the content analysis technique. As a result, it can be seen that the traditional music-contemporary music dichotomy was achieved in the case of Âşık Veysel, although not with the planned goals and methods of the policies of the period. [ABSTRACT FROM AUTHOR]

This article aims to analyze the development and management of local cultural policies, with a specific focus on the Public Libraries network in Barcelona. This new look at cultural policies seeks to integrate local culture and mobilize communities, driven by the prioritization of the governance of the cultural system. Within this context, among the initiatives that embrace this new perspective, the role of libraries as privileged spaces for fostering a "common culture", strengthening social cohesion, and generating value in the social sphere stands out. The challenge for these institutions to adapt to new roles, such as being centers of "culture makers" and promoters of digital consumption, is essential. For the analysis, two main approaches are considered. First, the social value of libraries is examined from the perspective of their management, exploring how this concept is integrated into their day-to-day work and their relevance as community meeting points in Barcelona. Second, it assesses the impact of institutional policies and labor demands on the functioning of these libraries, considering their application in the specific context of these cultural institutions. In order to carry out this analysis, a qualitative perspective is used. As a result, it has been possible to conclude that the public policy of libraries in Barcelona must have an active and real citizen participation to be effective, understanding that cultural democratization implies not only physical access, but also an active commitment of the community. It is observed that the public administration implements a very marked "top down" policy, contrasting with the daily work of library management. Despite efforts to strengthen the social value of these facilities, challenges arise, such as the precariousness of the budget and human resources, which limit the effective development of the policy. Librarians play a vital role as cultural mediators, but the gap between public projection and operational reality highlights the need to address the labor and social challenges faced by libraries in their daily operations. [ABSTRACT FROM AUTHOR]

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The Ensemble of Folk Dances and Songs of Serbia "Kolo" was founded in 1948 in Belgrade, on the initiative of the Committee for Culture and Art of the Federal People's Republic of Yugoslavia. The task of the Ensemble was to artistically interpret and present the so-called folk artistic creativity, which predominantly encompassed various folklore creations of the rural population, on stage, in the country and abroad. Although seemingly simple and folk-oriented, the art of traditional dance choreography has clear ideological and politically important messages of the then state leadership embedded in it foundations, intended to be spread among the Yugoslavs, but also beyond the state borders. The ensemble was supposed to present a desirable and appropriate image of Yugoslavia in its performances. The aim of this paper is to reconstruct the formation of the “Kolo” Ensemble and the process of constituting the art of traditional dance choreography, taking into account the socio-political and historical context of the Second Yugoslavia. In addition, the paper approaches the deconstruction of the intention of choreographers and artistic directors, in order to reveal the ideological messages embedded in the artistic expression. The basic assumption in this paper is that dance troupes and traditional dance choreographies are strongly connected to the ideology and cultural policy of the nation-state. In this regard, even when choreographers and artistic directors create programs without direct political-ideological objectives, their decisions always rely on the socio-political context and the dominant ideologies within the state. The theoretical framework of the work is based on contemporary anthropological discussions about the concepts crucial for the interpretation of the material, primarily referring to the concept of ideology, understood in the Althusserian sense, but also to the ideas of the combination of state ideology, cultural policy, and dance with the aim of presenting the dance troupe with a desirable image of the nation-state. The methodology of the work consists of a combination of two approaches: classical anthropological, qualitative and archival research. Qualitative research includes conducted in-depth semi-structured interviews with 15 dancers who worked in "Kolo" in different time contexts, while archival research included reviewing the documentation of the "Kolo" Ensemble, the Archives of Yugoslavia and the personal and family archives of the dancers.

The Future Museums Project Group was created under the Portuguese Ministry of Culture with the mission of proposing recommendations for a 10-year public policy for museums, palaces, and monuments, considering sustainability, accessibility, and innovation issues and their relevance in society. Against this background, museums were understood as agents of change with a role to play in achieving a more sustainable future, and culture as a fundamental pillar for democracy and sustainable development. This study discusses the findings of the project, focusing on three features that highlight the approach adopted to sustainability, which included collections management, participation, and mediation. Drawn from empirical research, a series of concrete recommendations, both for policy makers and museums, are discussed. The study concludes by arguing that cultural policies must place sustainability at the core of their strategy in order to function as a framework to drive and implement sustainable development practices in museums and heritage. Furthermore, within the scope of post-pandemic recovery plans, climate emergency, and the energy crisis, it is even more pressing that cultural policies provide support for museums and heritage and ensure that they have the conditions and resources to be able to move forward in a more integrated manner, thus contributing to a sustainable future.

Public cultural policies tend to have little connection with archival policies. One of the characteristics of this distancing is the non-participation of archival institutions in cultural systems. Such participation, in addition to supporting the right of access to a relevant cultural asset such as archival collections, could provide for the use of resources eventually earmarked for local culture systems via the National Culture System. This project seeks to complete a diagnosis of the presence of archival institutions in cultural systems in the state of Rio Grande do Sul. That diagnosis is intended to support the preparation of two public policy analysis reports, which will be sent to the Public Archives of the State of Rio Grande do Sul, promoting awareness-raising actions for archives that are not yet part of the cultural systems in their surroundings. [ABSTRACT FROM AUTHOR]

In recent decades, the styles and the role of monumentality have undergone significant transformations in the West, in line with wider trends of democratization and demystification of arts. Nevertheless, statues depicting human figures are still important landmarks in urban cultures. The statue wars that have erupted in several countries during recent years to challenge the racist, colonial and/or patriarchal vision embodied by many monuments, are a tangible demonstration of this. However, the topic remains understudied in the scientific literature. This research paper is intended as a contribution to begin addressing this gap by focusing on the dimension of gender in public monuments. We analyze statues in Italy depicting contemporary secular female figures. The aim of this paper is to research gender-based patterns or stereotypes that are specific to cultural heritage and urban design. The sample consists of 34 statues, distributed throughout the Italian national territory. A thematic analysis is conducted on the corpus integrating visual, narrative, aesthetic and sociological elements. The results reveal the existence of evident and widespread forms of stereotyping and discrediting of the female figure in Italian monuments, as well as the inadequacy of cultural policies, both in small provincial as well as larger urban contexts. [ABSTRACT FROM AUTHOR]

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Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The Future Museums Project Group was created under the Portuguese Ministry of Culture with the mission of proposing recommendations for a 10-year public policy for museums, palaces, and monuments, considering sustainability, accessibility, and innovation issues and their relevance in society. Against this background, museums were understood as agents of change with a role to play in achieving a more sustainable future, and culture as a fundamental pillar for democracy and sustainable development. This study discusses the findings of the project, focusing on three features that highlight the approach adopted to sustainability, which included collections management, participation, and mediation. Drawn from empirical research, a series of concrete recommendations, both for policy makers and museums, are discussed. The study concludes by arguing that cultural policies must place sustainability at the core of their strategy in order to function as a framework to drive and implement sustainable development practices in museums and heritage. Furthermore, within the scope of post-pandemic recovery plans, climate emergency, and the energy crisis, it is even more pressing that cultural policies provide support for museums and heritage and ensure that they have the conditions and resources to be able to move forward in a more integrated manner, thus contributing to a sustainable future. [ABSTRACT FROM AUTHOR]

Since the beginning of Spain's transition to democracy in the late 1970s, cultural policy has gone from virtually zero to a policy priority, especially in the country's regional and local governments. Spain's will to achieve a great socio-political transformation and to converge with Western Europe have been two of the drivers behind this trend. However, since the 2000s, three factors have undermined these policies: austerity; regional tensions; the crisis of the model. Thus, cultural politics are threatened by a detachment from High Culture, as well as by cultural populism and the Far Right. This is why our paper analyses support for cultural spending as reflected in CIS (Spanish government agency of sociological research) surveys, which show overwhelming support for such expenditure. However, the factors explaining this support are diverse and are linked to generational, ideological and political factors. [ABSTRACT FROM AUTHOR]

This article provides an overview of the challenges and development of Kurdish cinema, focusing on the production, distribution, and screening of Kurdish films. It explores the historical and political context of the Kurdish people, who have faced suppression and denial of their cultural rights in Turkey, Iraq, Iran, and Syria. The article highlights the efforts of Kurdish filmmakers in different regions to create and promote Kurdish cinema, mentioning specific films and filmmakers that have contributed to the representation of Kurdish identity and struggles. It also discusses the emergence of Kurdish film festivals in Europe as important platforms for Kurdish filmmakers to gain recognition and educate non-Kurdish audiences about the Kurdish national struggle. [Extracted from the article]

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The role of culture in the process of Europeanization and supporting the formation of a European identity and a cohesive society has been emphasized by the European institutions since the 2000s. Today, the cultural policies of the EU aim to use culture as a source of soft power to enhance the degree of awareness of the European identity. The New European agenda for culture, the Creative Europe program, through the projects it assists, contributes to strengthening the European identity, providing support for the cultural and creative sectors in line with the priorities of the European Commission for a greener, more digital and more resilient Europe, for European democracy and the promotion of the European way of life. The objective of the European integration of the Republic of Moldova implies the support and implementation of the European cultural policies as a crucial element of strengthening social cohesion for the development of the sense of belonging to the European identity.

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This paper questions the configurations in which contemporary European cultural policies attribute explicit positive values to culture. It begins with a reflection on the meaning of value, before identifying, through the analysis of a corpus of scientific articles, books and research reports as well as press articles, the numerous values identifiable in the history of cultural policies. From this collection, we propose a principle of classification into five major families of values: democracy, identity, well-being, aesthetics and economy. Finally, we describe the dynamics of emergence and transformation of the values attributed to culture in historical configurations, through three examples: the valuation of heritage, the conflicts over the values of democracy, and the values underpinning the concept of sustainable development. Our exploratory research shows that values already present in the twentieth century are becoming increasingly important in cultural policies, without taking precedence over values with which they can compete or, on the contrary, find a form of compatibility. [ABSTRACT FROM AUTHOR]

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Multiculturalism and cultural diversity are key concepts in the discussion of cultural identity and modern society. These concepts address how societies treat and value cultural and ethnic diversity. Multiculturalism is a social philosophy or approach that promotes the recognition and appreciation of cultural diversity in a society. [ABSTRACT FROM AUTHOR]

Abstract Urban and Cultural transition refers to several levels, with the environmental one occupying the minds. This transition raises the question of a new politicization of culture, of which cities are the theater. We will illustrate this point in the first part. In the second part, we will discuss this first point by posing the hypothesis that the politicization of culture is not a cyclical but a structural phenomenon, and that it includes certain peculiarities that must be taken into account at the time of urban transition. On the other hand, there is a transition resulting from the pandemic situation that the world has endured for the past 2 years. It is no less crucial for cultural policies, and has already obvious implications for the relationship that polity has with cultural policies. This is the third point we will address.

Good governance is one of the significant factors in successful implementation and acceptance of any project. Although the notion of good governance is still in its nascent stages in Indian polity, many of the government institutions are gradually moving toward it. Due to the lack of various good governance parameters, numerous government policies and schemes fail to attain the desired impacts. One such example is the Heritage Transferable of Development Rights (HTDR) at Ahmedabad, India.HTDR is an incentive mechanism introduced in 2015 aiming to support the conservation drive of the private heritage homes within the walled city of Ahmedabad. But, according to various sources, even after seven years from its implementation the program has failed to make inroads. Thus, the research aims to understand the reason for the low acceptance of HTDR by studying its implementation through the prism of good governance parameters and the efficiency of service delivery.The study was conducted through a mixed-method research approach involving quantitative closed-ended survey with heritage property residents, to understand the current scenario of good governance parameters, and a semi-structured interview with few selected respondents within the walled city of Ahmedabad for in-depth understanding of the reasons behind them. With reference to the good governance parameters, the current governance system scores considerably low on community engagement, transparency, accountability, and participation in decision-making and implementation. Simultaneously, the respondents mention a lack of sufficient government mechanisms to generate awareness about HTDR, as well as inefficient service delivery and implementation of HTDR. [ABSTRACT FROM AUTHOR]

This article aimed to assess the impact of the Aldir Blanc Law (ABL) on cultural and creative economy initiatives in the city of Campo Grande, MS, during the covid-19 pandemic period. For that, it used bibliographic and documentary research focusing on the budgetary dimension of the law up to its actual implementation as an emergency public policy. Besides the budgetary dimension, the article categorizes the initiatives and sectors predominantly supported, as well as the impacts on the different projects chosen through a public call. The results show that the ABL, as an emergency cultural policy, was of fundamental importance in maintaining cultural and creative economy initiatives during the covid-19, particularly in 2020 and 2021. [ABSTRACT FROM AUTHOR]

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Based on the analysis of the experience of José Antonio Encinas (Peru, 1888-1958) as director of School Center No. 881, this essay proposes that the aesthetic experience is a productive way to rearticulate pedagogical-humanistic reflection and the design of educational-cultural policies, whose purpose is to offer students the necessary tools for their personal self-design. The first part defines and analyzes the components of the aesthetic experience that emerge from Encinas’ pedagogical project, as a product of national and international knowledge and experiences that aim at the construction of a democratic society; through the aesthetic experience, pedagogical praxis would play a key role in the design of educational-cultural policies that are situated and viable from the school. The second part focuses on various experiences during Encinas’ leadership (implementation of workshops; organization of plays and newspapers; and his original interpretation of the life and work of the Peralta brothers, former students of the Center) in order to show the value of aesthetic experience for social transformation. By the end of this research, it will have been demonstrated that the aesthetic component of this pedagogy should not be identified with the institution “art”, but with an organic experience of self-design and community self-government. [ABSTRACT FROM AUTHOR]

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This article borrows Heri Lefebvre's space production theory to discuss the cultural governance of East Asian cities and how culture is used as a means of spatial organization in a structured way. Text analysis, field investigation, and comparative analysis are used as the main research methods to explore the specific social production process of Taipei's Songshan Cultural and Creative Park and Hong Kong's The Mills. The social production processes of these cultural spaces took place in the same period, having some similarities, and they mostly involved transformation from old factories and old buildings in urban areas. However, the cultural governance strategies in Taipei and Hong Kong are different. On the one hand, the Taipei government's continuous cultural policy has spawned diverse cultural spaces rooted in factory renovations and unified under the authorities' imagination of "Creative Taiwan". A benign model of cultural heritage protection has been formed in terms of community participation, industrial development, and ecological conservation in Taipei. On the other hand, Hong Kong's cultural governance pays more attention to landmark cultural projects from the perspective of tourism development. Mainly driven by private capital, The Mills completed the transformation from a factory to a cultural space. The Mills' transformation process is also the epitome of the decline of Hong Kong's textile industry. In addition, different cultural governance strategies and cultural policies in Taipei and Hong Kong affect the dominant forces in the social production process of cultural spaces. The main driving force of cultural spaces in Taipei is the local government, while the production of cultural spaces in Hong Kong involves more stakeholders, such as private developers, non-profit organizations, etc., and presents the characteristics of a multi-path and multi-participant historic building activation process. Moreover, at the regional level, the abandonment and reuse of industrial buildings in Hong Kong and Taipei are rooted in the migration of local traditional manufacturing to mainland China with cheaper labor and the upgrading and transformation of local industries. This comparative study complements the global picture of cultural space production and also provides references for other areas. [ABSTRACT FROM AUTHOR]

Copyright of Journal Public Administration & Social Management / Administração Pública e Gestão Social is the property of Administracao Publica e Gestao Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal for Tourism, Archeology & Hospitality (IJTAH) is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

By analyzing the public mural paintings sponsored by the French state to help artists survive the economic crisis around the time of the Popular Front, this article intends to contribute to the study of the relationship between mass politics and mass culture in the 1930s. After addressing French and foreign views on mural art as well as state agendas behind mural commissions, the study examines the social and political significance of state-financed mural projects. Frequently large-scale and realized in a figurative style, murals portrayed collectivities in instants of conviviality and extolled the solidaristic ties binding them. State-financed mural paintings, I contend, monumentalized "the collective" so to create unity and collective spirit. Thereby, they created a visual politics that helped bridge the gap between art and the people and became agents of mass politics at a time of political instability. [ABSTRACT FROM AUTHOR]

In many European societies, arts education and culture play a central role in their education systems. In England, the situation is very different. There, for the last two decades, the state has progressively marginalised the role of the arts in the public education system in the belief that the 'market' does not value the arts. However, England also has a strong relatively autonomous private education system financed directly by parental fees. This paper explores the extent to which the top private schools have diverged from this process of marginalisation. The findings suggest that these top private schools have invested more in the arts, which have subsequently come to play an increasingly important role in the education they provide. One consequence is that we have witnessed the emergence of two 'systems' of education in England, which pose a significant challenge for cultural policy. [ABSTRACT FROM AUTHOR]