A New Paradigm for Cultural Diplomacy and Arts Management
European cultural policy is based on the exchange of artists. It has devoted decades to the objective of encouraging dialogue and enabling cooperative production; especially between the countries of the so-called ‘Global North’ and ‘Global South’. Cultural policy makers and agents in Europe, such as those working in cultural institutions and at the ministries responsible for cultural relations, constantly stress their claims of a ‘dialogue of equals’. However, if and how cultural cooperations really are in practice brought to life on equal terms is an open question.
Annika Hampel analyzes the working conditions of partnerships to understand how current artistic collaborations function, what structures and processes they involve, on what premises and within what frameworks the collaborators work, and what challenges they have to cope with.The foundation of her reflections are the experiences and insights of actors in cooperative projects who are responsible for the implementation of the goals of the European Cultural Policies in practice.
Annika Hampel uses five case studies, which offer insights across the spectrum of artistic cooperation, to display the wide range of Indo-German collaborations in the arts. From her analysis of the practical reality, Annika Hampel develops and proposes cultural and political measures to foster a new culture of international cooperation on an equal footing. The author shows how to minimize power relations, promote cultural diversity, and exploit the underused potential of cooperative work.
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- Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien, 2017. 279 pp., 2 tables
- About the author
- About the book
- This eBook can be cited
- Table of Contents
- Foreword by Professor Dr. Wolfgang Schneider
- Note on the Text and Translation
- List of Abbreviations
- 1. Art, Cooperation, Cultural Policy. An Introduction
- 1.1 Subject, Questions, and Objectives of the Study
- 1.2 The Research as it Stands
- 1.3 The Structure of the Study
- 2. Artistic Cooperation and Cultural Diplomacy. Clarification of Terms
- 2.1 Cooperation: Defining the Term
- 2.2 Cooperation: Demands of a Foreign Cultural Policy
- 2.2.1 The Goethe-Institut: Key Actor in German-Indian Cultural Relations
- 2.2.2 “Max Mueller Bhavan”: The Goethe-Institut in India
- 2.3 Cooperation: Theoretical Frame of Reference
- 3. India: a Cultural-Political Orientation
- 3.1 India’s Central Government: the “Patroness” of Culture?
- 3.2 Current Challenges of the Indian Cultural Landscape
- 3.2.1 Cultural Spaces: No Room in a Huge Country
- 3.2.2 Professionalism through Passion: Limited Chances for Training
- 3.2.3 State Financing of Culture: Complex and Corrupt
- 3.2.4 Alternative Sources of Funding: Their Limits and Potential
- 3.2.5 The Indian Cultural Worker as Master in the Art of Living: The Consequences
- 3.3 India’s Cultural Foreign Relations: Conservative and Invisible
- 3.4 India’s Cultural Metropolises
- 3.5 The Cultural-Political Orientation: A Conclusion
- 4. German-Indian Cultural Encounters
- 4.1 “(In-)Finite Opportunities”: The Year of Germany in India from 2011 to 2012
- 4.2 German-Indian Partnerships in the Arts: A Conclusion
- 5. “Cooperative Partnerships” under the Microscope. An Analysis of the Practice
- 5.1 The Interests and Goals of German-Indian Cooperation
- 5.2 Partner Selection: Exclusive and One-Sided
- 5.3 Cultural Institutes: Organisers and Founders of Cooperative Projects
- 5.4 Time, Money, Space: The Parameters of every Cooperation
- 5.4.1 The Location: India
- 5.4.2 Time Limits: Too Short for a Challenging Cooperation
- 5.4.3 Financing: Short term and Short sighted
- 5.5 Context, Process, Result: The Levels of Cooperative Work
- 5.5.1 The Lack of Contextual Knowledge
- 5.5.2 The Orientation of the Cooperation: Process, Result, or both?
- 5.5.3 The Practice of Adaptation and Reproduction
- 5.5.4 Experimentation and Failure as Valuable Moments of Cooperation
- 5.6 The Challenges of International Partnerships: Intercultural Differences
- 5.7 The Short Life of Artistic Cooperations
- 5.8 The Loss of Experience
- 5.9 The Definition of Cooperation: Ideal and Reality
- 5.9.1 The Structure of Cooperation: Inequality leads to Hierarchy
- 5.9.2 “Equal Partnership” and “Equality of the Partners”: Principle, Goal, or Utopia?
- 6. Criteria for a Culture of Cooperation. Prospective Cultural Policy Measures
- 6.1 The “Development” of Partnership
- 6.2 The Definition of the Basis of Cooperation: Who wants What, Why, and How?
- 6.3 Understanding Cultural Contexts through Research
- 6.4 Intercultural Competence through Intercultural Training
- 6.5 Developing a Common Language
- 6.6 External Guidance: Context-sensitive Cultural Institutes and Sponsors
- 6.7 Context-oriented Transfer
- 6.8 Reciprocal Hosting, Project Phasing, Process-oriented Support
- 6.9 The Process as Result
- 6.10 A Culture of Experimentation and Failure
- 6.11 Ongoing Cooperative Work
- 6.12 The Exchange of Experiences: “We were trying to make sense…”
- 6.13 Fair Cooperation”: The Path to a “Cooperation based on Partnership”
- 7. Art, Cooperation, and Cultural Policy. Conclusions and Outlook
- Sources and Bibliography
- Series index
About the author
Annika Hampel received her doctorate at the Department of Cultural Policy / University of Hildesheim (Germany). Her thesis was awarded the 2nd ENCATC Research Award on Cultural Policy and Cultural Management, and the ifa Research Award on Foreign Cultural Policy by the Institute for Foreign Cultural Relations (Stuttgart). Annika Hampel was also awarded scholarships from the German Academic Exchange Service (DAAD) for her professional experience in Ghana, India and South Korea.
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