The course takes place in period

4 (2022-03-14 to 2022-07-31)


Professional studies

Teaching language


Type of course


Cycle/level of course


Recommended year of study


Total number of ECTS

5 cr

Competency aims

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

Learning outcomes

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

Course contents

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 ( External link- egypten_6164999.svd 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.

Prerequisites and co-requisites


Previous course names

Kulturpolitik 1& 2

Additional information


Recommended or required reading

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]

Study activities

  • 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

Mode of Delivery

Multiform education

Assessment methods

Essays, reports, productions and portfolio

Assessment requirements

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.


Träskman Tomas


Träskman Tomas

Group size

No limit (14 students enrolled)

Assignments valid until

12 months after course has ended

Course enrolment period

2022-02-28 to 2022-03-27

Assessment methods

Date will be announced later - Reports and productions

Kurs och studieplanssökning