Suchergebnisse

Professor Beth Juncker has criticized the DICE Report to exaggerate its conclusions. At the same time, she notes that in relation to the Nordic countries there has not been done much to develop creative, innovative and communicative skills. The challenge is that in the drama and theater sphere educational responses are still being sought to legitimate and integrate the value-in-itself-ness that characterizes paradigms in aesthetic and artistic learning-processes. Professor Beth Juncker will seek to answer vitally: How can working with art and culture lead to a paradigm, which in its practice form with drama and theater has the 'Now' and 'Presence' as a driving force?

Artiklen sætter fokus på nordisk kulturpolitik og kulturstrategier for børn og unge fra starten af det 21. århundrede. Har udfordringerne fra digital teknologi, sociale medier og de unge digitalt indfødte generationer påvirket den grundlæggende forståelse af relationerne mellem kunst, kultur, børn og unge? Er de nordiske lande på vej fra en instrumentel kulturpolitik, der har knyttet unges møder med kunst, kultur og kunstnere til dannelse og formel undervisning mod en ekspressiv kulturpolitik, der prioriterer kunst og kulturs selvstændige betydning?

Ever since the earliest forms of mass media, the dichotomy of mass culture/high culture has been a topic of debate. The concept of cultural democracy has developed as a way to acknowledge a variety of cultural activities. Despite attempts to develop a broader understanding of culture, cultural policy still seems to reproduce the dichotomies, and to value one over the other. In this article, we would argue for an expanded understanding of cultural democracy, which may serve as a starting point for a turn of perspective of arts advocacy and cultural policy—the perspective we call an expressive cultural democracy. KEYWORDS: Arts management, arts participation, cultural policy, expressive cultural democracy, notions of art and culture ; Ever since the earliest forms of mass media, the dichotomy of mass culture/popular arts and high culture/fine art has been a topic of debate. The discussion has focused on the value and use of different art forms and on different notions on and attitudes to the purpose of art. The concept of cultural democracy has developed as a way to acknowledge and support a variety of cultural activities. Despite attempts to develop a broader understanding of culture and to acknowledge different ways of participating in and experiencing and valuing art and culture, cultural policy still seems to reproduce the dichotomies between high and popular culture, and to value the first over the latter. Art and culture are rarely understood as an independent way to experiences, meaning creation and values in everyday life. In this article, we would argue for an expanded understanding of cultural democracy, which not only acknowledge different taste cultures, but also include the central perspective of giving voices and expression across interests and taste. Our goal is contribute to a new understanding of arts experience, which can serve as the point of departure for a turn of perspective of arts advocacy and cultural policy. The perspective of what we might call an expressive cultural democracy.