KP-2-086

• Media culture 2017 (media analysis) - Common professional studies for media culture
• Media culture 2018 (media analysis) - Common professional studies for media culture
• Cultural management 2012 - Cultural sector
• Cultural management 2013 - Cultural sector
• Cultural management 2014 - Management of cultural sector
• Cultural management 2015 - Management of cultural sector
• Cultural management 2016 - Management of cultural sector
• Cultural management 2017 - Management of cultural sector
• Cultural management 2018 - Management of cultural sector
• Cultural management 2019 - Management of cultural sector

4 (2020-03-23 to 2020-07-31)

Swedish

Compulsory

First

2

5 cr

The student

• knows the structures of cultural policy and
  administration and is able to function within these fields
• understands the professional field of culture and is able to follow the field via media, studies and current debates

The student

• knows the structures of cultural policy and
  administration and is able to function within these fields
• understands the professional field of culture and is able to follow the field via media, studies and current debates

Culture and Culture

Why is cultural policy interesting?
Culture Producer and Culture Policy
Course structure:
Tasks:

Why is cultural policy interesting?

We who have cultural policy do not always understand the benefits of it.
And then it may be good to compare with someone who does not have a culture policy. "There is not a single Arab country that has a cultural policy." Makars do not see culture as an asset, but as a threat, because it leads to reflection and questioning. ", Says the cultural producer
Basma El Husseiny in an article in SVD
(http://www.svd.se/kultur/en-ny-kulturgryning-for-egypten_6164999.svd External link fetched
04.03.2015)
So cultural policy concerns reflection and questioning. But not just that. Culture producer Basma El Hussein meets in
Egypt people who want to express themselves, but "- They do not know how to organize themselves, how to organize a book fair, how to promote
say how to work across borders. And they receive no money from the state, which only supports the old institutions, which everyone has
stagnant. "So cultural policy is about the right to express themselves, organization, equality, distribution, funding and democracy. And that's just part of what cultural policy is about.
So the course is tailor made for you who think reflection, questioning, the right to meet, equality, funding issues, distribution and democracy are relevant elements in our society.
In addition, the course includes

• how art has increasingly begun to be linked to business policy,
• the contradiction that exists in the cultural and cultural aura of creativity and innovation, on the one hand, and the stability and inertia that characterize many cultural activities.
• Autonomy and politics of art
  That Finland has a eurovision participant like Pertti Kurikan Nimipäivät, a festival like the Baltic Circle, a center library, the world's densest gallery network, cultural education, a independent theater field, a film industry has to do with people who want to express themselves, have to do it and also have an infrastructure which supports them in this. This whole infrastructure depends on people you appreciate the expressions that exist in this sphere and wants to support it both politically and financially.

Culture Producer and Culture Policy

As a cultural producer, you often end up in a situation where your festival, your event, your theater production, etc. way towards other investments.
The cultural producer's task is to make art and culture visible in society. If a politician asks you questions like "what's culture," "Why is art important?", You must have a convincing answer to it. You must know the essence of your business and be able to argue for the culture.
Course structure:
The course begins by developing your knowledge
current trends in cultural policy and cultural policy debate.

Day 1-3.
Learning Objectives:
You:

• develops insight into how art and creativity
  Handled politically politically both nationally and internationally
  develops an insight on how to work with new business models for art
• Learn central concepts for cultural policy
• Attend workshops on culture and cultural policy
  To do:
  You:
• read texts for today's time study opportunity
• You develop your ability to debate such topics as you or someone else considers to be central to cultural policy and or society.

In Matteo Stochetti's part of the course you develop your ability to read key texts about cultural industry, art and culture. This section prepares you for major writing and research projects, such as master thesis. You further develop your reading technique. You will learn concepts in English, and you will learn how to apply them. Matteo Stochetti's part of the course has a separate plan for which Stochetti is responsible.

none

Kulturpolitik 1& 2

None

Karlsson D. (2010). En kulturutredning: pengar,
konst och politik. Göteborg : Glänta produktion
Ilkka Heiskanen, Anita Kangas, Ritva Mitchell. toim.
(2015.Taiteen
ja
kulttuurin kentät : perusrakenteet, hallinta ja
lainsäädäntö. Helsinki
:
Tietosanoma, 2015
Artiklar:
Adorno, T. (2006 (1975)). The culture industry
reconsidered. In
T. Adorno, The Culture Industry (pp. 98-106). New
York:
Routledge. [pp. 98-106] [N.8]
Hanrahan, N. W. (2013). If the People Like It, It Must
Be
Good:
Criticism, Democracy and the Culture of Consensus.
Cultural
Sociology 7(1), 73, 85, 73-85. [12]
Horkheimer, M., & Adorno, T. W. (2002 (1969)).
Dialectic
of
Enlightenment. Philosophical Fragments. Stanford
(new
edition
1969; or.ed. 1947): Stanford University Press. [pp. 1-
34
and 94-
136]
Markus, G. (2006). Adorno and Mass Culture:
Autonomous Art
Against the Culture Industry. Thesis Eleven, Number
86,
67-89.
[22]
Pye, G. (2010). Introduction: Trash as Cultural
Category.
In G.
Pye, ed Trash Culture. Objects in Cultural
Perspective
(pp. 1-13).
Bern: Peter Lang. [12]
Roberts, D. (2003). Illusion Only is Sacred:From the
Culture
Industry to the Aesthetic Economy. Thesis Eleven,
Number 73,
83-95. [12]
Stiegler, B. (2011 ). Suffocated Desire, or How the
Culture
Industry Destroys the Individual: Contribution to a
Theory
of
Mass Consumption. Parrhesia No.13, 52-61. [9]
Waldman, D. (1977). Critical Theory and Film:
Adorno and
the
"The Culture Industry" Revisited. New German
Critique,
No 12
Autumn, 39-60. [21]
Wernick, A. (1991). Promotional Culture. Advertising,
Ideology
and Symbolic Expression. London: Sage. [PP. 181-
198]
[17]

• Lectures - 20 hours
• Excursions and demonstrations - 10 hours
• Individual- and group instruction - 55 hours
• Individual studies - 50 hours

• Total workload of the course: 135 hours
• Of which autonomous studies: 135 hours
• Of which scheduled studies: 0 hours

Multiform education

Essays, reports, productions and portfolio

4 wholes

Task 1&2) Cultural policy debate, oral and written
presentation (20 points)
Task 3) Hemtent individual part (30p)
Task 4) Seminar (30 points)
Task 5) Reflection log by Matteo Stochettis
workshops (20 points)
Task 6) Activity (20p)

Grade 5: 90-100 p
Rating 4: 80-89 p
Grade 3: 70-79 p
Grade 2: 60-69 p
Grade 1: 50-59 p
Fail: 0-49 p

P stands for points.
Thus, the minimum required to pass the course 50
points gain obtained from all five modules or minimum 3
wholes.

• Stocchetti Matteo
• Träskman Tomas

Träskman Tomas

https://arcada.itslearning.com/ External link

No limit (14 students enrolled)

12 months after course has ended

2020-03-09 to 2020-04-05

Date will be announced later - Reports and productions