Cultural policy is the laws and programs of the government of the country that regulate, protect, encourage and financially support the activities of the state related to art and creativity, such as painting, sculpture, music, dance, literature and film production. It may include areas related to language, cultural heritage and diversity.
Origin
The idea of state cultural policy was developed at UNESCO in the 1960s. It includes the government of the country, establishing processes, legal classifications, rules, legislation. And, of course, cultural institutions. For example, galleries, museums, libraries, opera houses and the like. They contribute to cultural diversity and creative expression in various forms of art.
World significance
Cultural policies vary from one country to another. It aims to improve the accessibility of art and creative activity for citizens. As well as the promotion of artistic, musical, ethnic, sociolinguistic, literary and other expressions of the entire population of the state. In some countries, particular emphasis is placed on supporting the heritage of indigenous peoples. For most of the twentieth century, many of the activities that constituted state cultural policy in the 2010s were regulated under the name of "art policy."
Ways of carrying out
Cultural policies can be pursued at the federal, regional or municipal levels. Examples of its development include many activities:
- financing music education or theater programs;
- holding art exhibitions sponsored by various corporations;
- the creation of legal codes;
- the organization of political institutions, councils for the provision of arts, cultural institutions.
Theoretical approach
Socio-cultural policy, although it makes up a small percentage of the budget of even very developed countries, is a rather complex sector. This leads to a huge and heterogeneous set of organizations and individuals. They are engaged in the creation, production, presentation, distribution and preservation of an aesthetic heritage, including recreational activities, products and artifacts of culture. Cultural policy certainly includes a wide range of activities. She enjoys public support. It includes:
- Heritage and historical sites.
- Botanical gardens, zoos, leisure parks, aquariums, arboretums.
- Museums and libraries.
- Community humanitarian programs.
- Performing art, which includes: popular and folk music; ballroom and modern dances; circus performances; ballet; opera and musicals; stage skill; radio and television; movie.
- Visual art, including painting, architecture, ceramics, sculpture, graphics, arts and crafts and photography.
Some governments place these cultural policy areas in other departments or ministries. For example, national parks are assigned to the Department of the Environment, and social sciences are transferred to the Department of Education.
Democratization of culture
Since culture is a public good, governments are implementing programs to promote greater accessibility. Significant aesthetic works (sculptures, paintings) should be freely available to the general public, and not the prerogative of any social class or metropolitan area. National cultural policy does not take into account class conditions, place of residence or level of education of citizens.
A democratic state is not seen as an indulgence in the aesthetic preference of a small group of people, even if enlightened, or as an open infusion of political values into the art. "Democratization" is a top-down approach involving some form of programming. They are considered to be a public good. Consequently, the foundations of state cultural policy are formed in such a way as to demonstrate how public interests are satisfied.
Tasks
The goal of the democratization of culture is aesthetic education, increasing human dignity and the development of education among all segments of the population. Dissemination of information is a key concept aimed at creating equal opportunities for all citizens participating in cultural events organized and financed by the state. To achieve this goal it is necessary to make performances and exhibitions less expensive. Affordable art education balances the aesthetic possibilities of the masses. Particular attention should be paid to touring national institutions for performances in residential complexes, nursing homes, orphanages and workplaces.
Cultural politics and art have a strong connection. It consists of both pragmatics and deep philosophy. The cultural patronage of wealthy individuals or corporations is markedly different from the patronage of democratic governments. Private patrons are only accountable to themselves and are free to indulge their tastes and preferences. The state is responsible to voters for its political decisions.
Elitism
Proponents of an elitist position argue that cultural policy emphasizes aesthetic quality as the defining criterion for a state subvention. This view is supported by large organizations, successful artists, critics and a well-educated, well-off audience.
She insists that art and culture must achieve a certain degree of sophistication, wealth and perfection so that human nature flourishes. At the same time, the state must ensure the whole process if people do not want or cannot do it themselves. Adherents of elitism are focused on supporting the creation, preservation and execution of canonical works, which are regarded as the best artistic products of society.
Populism
The populist position advocates the widespread dissemination of culture. This approach emphasizes a less traditional and more pluralistic view of artistic merit. He consciously seeks to develop cultural policy. With an emphasis on personal improvement, the position of populism sets very limited boundaries between amateur and professional activities. The goal is to provide opportunities for those who are not professional mainstream. For example, while an elitist approach provides for the support of professional musicians, especially those with a classical education, a populist approach will help support lovers and original singers.
Elitism is cultural democracy, and populism is the democratization of culture. There is a tendency to consider these positions as mutually exclusive, and not complementary.
The historical perspective of the Russian Federation
In the 1990s in Russia there was a transition from the "Marxist-Leninist" ideology to the new cultural policy of the Russian Federation. The Communist Party widely used education and enlightenment for their needs. This system was mainly formed in the 1920s and 1930s. In the 1940s, it evolved and emphasized the strengthening of historical identity. The system remained so until the end of the 1980s, despite several superficial changes. The foundations of the cultural policy of that time were:
- the formation of a strict centralized management system and ideological control;
- the creation of a wide network of state cultural institutions with powerful educational influence;
- adoption of relevant regulations;
- supporting a classical or high culture that was perceived as loyal or neutral in content.
In the days of the USSR
Priority was given to instruments with the greatest potential for disseminating information: radio, cinema, and the press. Since the 1960s, emphasis has been placed on television. The main task of the so-called "creative unions", covering the main forms of art, was to control the artistic community and the intelligentsia. As well as the organization of their professional activities in accordance with the needs of the Communist Party.
In 1953, the Ministry of Culture of the USSR was created. It was a bureaucratic machine for managing the enlightenment of the country's citizens. Despite this, national cultural life was multifaceted. And, most importantly, diverse. The participation of the people in officially organized art events was a cultural policy strategy.
After the thaw
In the 1950s and 1960s, Nikita Khrushchev’s reforms and the so-called “thaw” raised the desire for liberalism, including in the country's cultural life. The changes that took place were inhibited during the era of "stagnation" under the reign of Leonid Brezhnev.
In the mid-1980s, Mikhail Gorbachev initiated real change, easing ideological pressure on the media and administrative control over cultural and educational institutions. The intelligentsia, artists, cultural figures have become the most ardent supporters of "perestroika."
In the 90s
In 1990, the Law on the Press and Other Mass Media eliminated state censorship, thereby proclaiming the abolition of ideological control. The basis of state cultural policy was:
- Guaranteed freedom of expression.
- Preservation of heritage and the network of government cultural institutions.
In June 1993, the Government of the Russian Federation approved these goals. A federal program for the development and preservation of culture and art was founded. The state was inclined to reduce its participation in the cultural sphere. Hoping for independent activity of cultural institutions. As well as market regulation and sponsorship. The latter was to develop in Russian cultural policy only in the 1990s, when problems were deeply felt in all aspects of life. A task has been formed to update the general legal framework in the field under study.
In the mid-1990s, work was carried out to prepare a report "On the National Cultural Policy of the State." He helped compare Russian priorities with those developed at the European level.
In 1997-1999, the Federal Program for the Development of Culture was created. Its goals were aimed more at prosperity than at preservation, but the political and economic crisis did not allow this to be achieved. However, cultural life was diverse. Public debate focused on the contradiction between the high social status of art and the inadequate funding of the cultural sector. The budget for the culture was reduced. Consequently, the wages of persons working in its institutions decreased. The struggle for resources has become a priority.
In 1999, there was a turn to the stability of the cultural policy of the Russian Federation. However, public respect for the quality of art has declined radically. It has been replaced by mass entertainment, seen primarily as a commercial action.
2000s
On the eve of the 21st century, politicians widely recognized that monitoring and ensuring freedom of expression is not enough to support and develop the industry under study. Public discussions on Russia's cultural policy focused on two opposing poles:
- reducing the list of institutions and changing their legal status, including privatization;
- or expanding government support and fulfilling important sociocultural functions.
Since 2003, in the spirit of increasing the efficiency of budget expenditures, the federal government has taken the following measures:
- redistribution of duties between three administrative levels - state, regional and local;
- the introduction of budgeting activities and the expansion of the competitive distribution of cash;
- the creation of new legal forms for non-profit organizations in order to stimulate the institutional restructuring of the cultural sector;
- assistance in the development of state as well as private partnerships, privatization, restoration of religious organizations.
In 2004, the Russian government system was disbanded as part of administrative reform. The executive branch was organized at three federal levels: political (Ministry), supervisory (supervisory service) and administrative (agency). As for responsibility, at different times the Ministry of Federal Culture could be responsible for tourism or the media. The management of the network of institutions was transferred to the regional and municipal (local) levels. Their financing depended on the respective budgets.
Features of the modern model
What is indicated in the Basic Law on Culture (1992)? What are the nuances noted in it? The main thing is that state cultural policy means both principles and norms that guide the government in its actions to develop, disseminate and preserve heritage. Her model is evolving from centralized management to more complex - commercial. New cultural policies have emerged, including local governments and private actors. General political and administrative measures are being taken:
- decentralization and responsibility;
- support for cultural institutions and national heritage sites;
- the development of contemporary art and media culture.
National definition
A national understanding of culture is based on high respect for its fundamental socio-ethical role. This idea was formed by the Russian intelligentsia, adopted as a cliche in the mass consciousness. For secular democrats, the main role of culture is understood as:
- symbolic social cohesion;
- the formation of national ideas;
- providing the basis for spiritual and moral guidelines;
- the foundation of the integrity of a nation.
Recently, at all official levels, culture and cultural heritage are regarded as a single system of values. It underlies national identity, affects all walks of life and is a source of pride and patriotism.
In the mass consciousness, culture is understood as a public good and public (state) responsibility. As its distribution, the media are used. The idea of taking away cultural institutions and monuments from the state with their transfer to private hands does not meet a broader understanding on the part of the public and art professionals.
Goals
Cultural policy is called upon to realize the constitutional rights of Russian citizens. What does it mean? The discussions that followed the reports of national and European experts on the cultural policy of Russia and its presentation to the Committee of Culture of the Council of Europe supported the development scenario. Which corresponded to the ideas and principles set forth in UNESCO documents. At the official level, goals were formulated that emphasized the importance of classical culture and national traditions, creativity and security, access to art and art education.
Strategy 2020
In 2008, the Minister of Economics introduced the "Concept of Long-Term Socio-Economic Development of the Russian Federation" (2008-2020) or "Strategy 2020". Her directions:
- ensure equal access to cultural values, services and art education to all citizens of Russia;
- preservation and popularization of the ethnic heritage of Russia;
- quality assurance of services;
- promoting a positive image of Russia abroad;
- improvement of administrative, economic and legal mechanisms in the field of culture.
Government "Strategy 2020" connects innovation with massive investment in people. Capital is also needed for the general development of education, science and art. The main stages and relevant indicators are also proposed for expanding and modernizing the network of state cultural institutions.
Culture of the Russian Federation
The target federal program "Culture of Russia" (2012-2018), accumulating funding for the most important events, states the following goals:
- maintaining the identity of Russia, equal access to cultural values, an opportunity for personal and spiritual development;
- ensuring the quality and diversity of services, the modernization of cultural institutions;
- informatization of the industry;
- modernization of art education and training of specialists taking into account the preservation of the Russian school;
- participation in cultural life, updating national creativity;
- increase in innovative potential;
- improving the quality and accessibility of tourism services: domestic and foreign;
- ensuring sustainable development of culture and art.
