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This chapter examines how values relating to sustainability of indigenous cultures together with values relating to establishing economic autonomy through entrepreneurial initiatives can be accommodated in developing tourism policy. Specifically, the Hopi tribe of Arizona in the United States is investigated. Sustainable entrepreneurship, cultural sustainability, and cultural citizenship are used as theoretical frameworks to comprehend capacities for tourism policy that consider social, economic, and cultural impacts, as well as the integrated nature of these impacts on the Hopi tribe. Survey data was used to operationalize the concepts. Embodying core principles for protection of culture within a tourism policy along with procedural elements for compliance has the best chance for achieving the aims of preservation and development of cultural identity.

In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it.

In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices.

The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework.

The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework.

The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

In spite of controversies in academia, various nations around the world have been propounding the importance of cultural and creative industries (CCIs) as the driving force in economic growth and development strategies. Accordingly, this research aims to understand how these industries could contribute to forming a cultural and creative policy scheme in an urban context that is structured based on local cultural assets.

The case analysis of Rasht city, a UNESCO Creative City, assesses the planning policies from the national to the regional level to determine the cultural policy planning platform of Creative Rasht in four phases of urban cultural resources, municipal objectives, festival urban branding and the role of stakeholders, which are fashioned by the integrated cultural identity and sustainable city. This is followed by semi-structured interviews with experts and young researchers in the field of culture-led urban regeneration to evaluate different phases of the policy planning process.

By means of the qualitative method and ethnographic research, this paper argues that managerial regulations for local cultural industries contribute not only to the reinforcement of cultural resources but also to urban cultural sustainable development.

Building on empirical research, this paper attempts to argue the significant role of local CCIs alongside social values in creating a creative city platform, given the necessity for an urban cultural platform in Iran. It also emphasises the importance of local communities’ participation in the decision-making process and awareness-raising among different groups of stakeholders.

The rise of arts and culture is transforming citizen politics. Though new to many social scientists, this is a commonplace for many policy makers. We seek to overcome this divide by joining culture and the arts with classic concepts of political analysis. We offer an analytical framework incorporating the politics of cultural policy alongside the typical political and economic concerns. Our framework synthesizes several research streams that combine in global factors driving the articulation of culture into political/economic processes. The contexts of Toronto and Chicago are explored as both enhanced the arts dramatically, but Toronto engaged artists qua citizens, while Chicago did not.

This paper asks the following research question: What are the policy dynamics of copyright regulation for digital audiovisual (AV) archives in Europe and what is their potential impact? The paper aims to discuss the social relevance of archives, European cultural policies targeting operationalisation of these archives and underpinnings and sought implementation of copyright policies.

Drawing upon three European cultural policy approaches, namely, democratisation of culture, cultural democracy and governmentalisation of culture, the discussion aims to situate current legislative attempts within digital content governance and examine policy as to its proclaimed aims of broadening access. The authors deployed macro-level legal analyses of key legislative acts of the European Union (EU) with direct relevance to the availability of and accessibility to digital historical content by European citizens. The authors juxtapose relevant cultural policy interventions with the corresponding legal rules and norms in copyright legislation. The authors evaluate the ways in which normative arguments are reflected in these acts and propose reflections on documented and possible impact.

The authors argue that the EU’s legal direction is characterised by uncertainty of conviction and internal tensions regarding the place of common cultural heritage in EU policy, and they present a restrictive acknowledgement of what culture and heritage policy entail and, by extension, how cultural matters should be governed. Cultural heritage AV archives are examples of digital content whose governance was almost “automatically” linked to copyright.

The paper links copyright and cultural policy and demonstrates that although the EU cultural policy is based on access, availability and usability, copyright is unnecessarily restraining them with the improper design and implementation of exceptions and limitations. This reflects EU’s focus on the single market, which, in this case, is pursued at the expense of building of a European identity with shared memories.

The purpose of this paper is to analyze the efficacy of the state policy of Ukraine in the sphere of protection of tangible and intangible cultural heritage, measures of safeguarding cultural property in the event of armed conflict and to assess how and why the state funding of culture has changed.

The proposal is to investigate this by discussing the national and international policy frameworks through case study by using quantitative and qualitative methods to disclose if state cultural policy initiatives promote public interest in cultural issues and how the political events in the country affect the distribution of the state funding of culture.

Ukrainian state cultural policy initiatives appear to be effective in protecting cultural heritage at both central and local levels despite redistribution in the state funding of this sphere. In cooperation with international agencies, Ukraine effectively promotes its intangible cultural heritage properties. Interest of the public in the state cultural policy issues has grown considerably. Problems exist with the protection of Ukrainian cultural sites located in war zones and disputed territories.

These findings demonstrate how the state policies aimed at protecting Ukrainian cultural heritage may be effectively implemented at different levels in cooperation with international agencies; how the political landscape in the country promotes the public interest in cultural policy issues. This case forms an example of steps aimed at protecting cultural properties on disputed territories in cooperation with intermediaries, such as UNESCO.

While referring to the inability of South Africa (SA) to absorb the large number of new musicians produced by SA universities each year and how South African music practitioners find limited employment opportunities for themselves in SA's cultural sector, a panel member at a musicology symposium in 2011 stated that “we are creating exiles.” The panel member made the statement during dialogue on the state of national higher education level music curricula, whether they were transformed to mirror the needs of the country or not, and what this meant for a contemporary music performance career in SA. Exile is the point of departure of this chapter, where conditions of public and institutional policy during and after apartheid are framed as encouraging the expanded borders of SA musicians. The emphasis is on how exile is a desired economic result especially among Black musicians who have a scarcity-prone SA music marketplace. This chapter also engages with multilevel policy-led interventions of inclusion and diversity that attempt to grow the SA Black music market.

This article explores the applicability of participatory action research (PAR) on two levels: on the one hand, as a participatory evaluation method for community engagement and community development; on the other hand, as a tool to link ex ante and ex-post evaluation that situated at various stages of the policy cycle.

Through a practice-based case study of the community engagement process of Valletta Design Cluster, this paper aims to illustrate how PAR can offer collaborative and continuous evaluation by facilitating social action through a practical, situative, context-bounded, responsive and transformative framework.

The study explores how PAR can contribute to cultural sustainability by linking community development with participatory evaluation, and it offers new perspectives on the applicability of PAR as a tool to link ex ante and ex-post evaluation, situated at various stages of the policy cycle.

Although based on a single case, the paper demonstrates that the method has the potential to be applied in various contexts, as it helps to foster local ownership and to develop future cultural strategies, thus providing a base for cultural sustainability.

The novelty of this study is to link evaluation – a majorly top-down and ex ante approach – with participatory planning. PAR-E offers a continuous participatory framework for the whole European Capitals of Culture (ECoC) cycle, as well as serving as a tool for empowerment and community development.