The chilean mockingbird (Mimus thenca) in Neuquén province : a new species for Argentina

En este trabajo se presenta el primer registro de la Tenca (Mimus thenca) en Argentina. La especie fue observada en las localidades de Las Ovejas y Andacollo, en el noroeste de la provincia de Neuquén. Allí la especie es relativamente común y se reproduce exitosamente.We report the first record of the Chilean Mockingbird (Mimus thenca) for Argentina. The species was observed in Las Ovejas and Andacollo, in the northwestern portion of Neuquén Province. There this bird is fairly common and breeds successfully

Scottish theme towns: have new identities enhanced development?

Three small towns in southwest Scotland have recently been branded as distinct theme towns, based on books, artists and food. This is an attempt to make them more attractive to visitors and thereby improve their economy. The objective of this research is to establish whether the new identities possessed by the towns have enhanced their development. It is argued, using data reviewing the past decade, that they have all developed, albeit at different rates, in terms of the economy and culture. Moreover, it is maintained that social capital has been enhanced and is a factor whose importance has been under-appreciated by planners and observers of this type of process. The relevance of the new identity to the pre-branding identity is also seen as a factor in successful development and ideas of authenticity and heritage are brought to bear on the relationship

Towards a balanced scorecard: A critical analysis of the Culture and Sport Evidence (CASE) programme

This article provides a critical analysis of the methods employed in the Culture and Sport Evidence (CASE) programme. Based on a comprehensive review of the arts management and cultural policy literature, it contests recent claims that the cultural sector should state its value in the economic language of policy appraisal and evaluation (O’Brien, 2010) and proposes alternative methods for evaluating the drivers, impact and value of engagement in the arts, including the balanced scorecard approach. The literature identifies a number of fundamental problems in quantifying the social and personal impact of the arts, and an underlying policy issue is that the arts have become increasingly subject to the benchmarks of incompatible disciplines and practices. This paper seeks to redress the balance by questioning the argument that economic cost benefit analysis is the best way to understand cultural value and influence public policy. As the CASE programme aimed to make the business case for optimum Government investment in sport and culture, it adopted the framework set out in HM Treasury’s Green Book and took a quantitative, evidence-based approach to measuring the drivers, impact and instrumental value of engagement, disregarding established qualitative studies and approaches, which have been shown to articulate cultural value through a more personal, intrinsic and holistic lens. This article makes the case for a more balanced approach to cultural evaluation and a more holistic articulation of cultural value, which would combine intrinsic and instrumental benefits and comprise both qualitative and quantitative methods. The key implication of this re-conception of value is that cultural policy should be evaluated not on return on investment but rather against a balanced range of objectives and articulated in a language that reflects artistic practice and speaks directly to existing and potential audiences

Breaking into the conversation: cultural value and the role of the South African National Arts Festival from apartheid to democracy

The paper examines the value of the South African National Arts Festival (NAF) in the transition to democracy using theories of cultural capital. NAF history from 1974 to 2004 is used to argue that the Festival provided an important arena for the expression of political resistance in the 1980s and, to some degree, continues to do so today. It is concluded that an important part of the value of the arts is their ability to provide a forum for debating the goals and values of society and that individualistic utility theory is not always successful in measuring such social value

Building local capacity in the arts

© 2016 Informa UK Limited, trading as Taylor & Francis GroupThe importance of place-based funding and local policy initiatives is evident in policy literature internationally with concepts of creative cities and cultural regeneration building in prominence since the 1990s. Such literature makes the case that investment in arts and culture will bring broader social and economic benefits at a local level, but in practice investment and research has prioritised a small number of metropolitan arts venues and mega events over a larger rural or community-based infrastructure. This paper in contrast explores two case studies of cultural planning in small towns. It analyses the relationship between policy and practice in these specific community contexts and considers the role of participatory decision-making in developing a local arts infrastructure. The findings suggest that locally based initiatives can build capacity and engagement with the arts. But it further argues that this requires long-term commitment and investment, to facilitate shared decision-making between professionals and public

The participation myth

Policy rhetoric around strategies to and the value of increasing participation in the arts has been well documented internationally over more than a decade. But in the UK, which is the focus for this article, targets to increase participation have been consistently missed and there remains a direct correlation between those taking part in cultural activity and their socio-economic status. The starting point for this article is to examine the barriers to increasing participation in the arts and question the way that such policy has been implemented within the English context, which may have relevance for policy making in other countries. What is demonstrated is that policy implementation is influenced by vested interest of those in receipt of funding and that a narrow range of voices, from a powerful cultural elite, are involved in the decision making in the arts. The article makes a case for widening the range of voices heard in decision making in order to support both artistic practice and public engagement

Optimizing community-driven development through sage tradition in Cameroon

Powering community development requires a re-invention of traditional authority. This paper interrogates this proposition: how does sage tradition engender social resilience and what is the impact of traditional authority on the modern governance architecture? Sage tradition construed culturally as elder-led authority is anchored on wisdom and respect for elders—a pivotal asset in community development transactions. Informed by indigenous knowledge, social capital and asset-based concepts, an empirical account of strategic leadership by the elderly is proffered, uncovering indigenous governance in the North West Region, Cameroon. A pyramidal power structure validates village elders as key players in advancing social justice. They offer counsel and arbitrate in community affairs and mobilise community members for infrastructure provision—community halls, equipping schools, digging roads, building bridges and supply of fresh water. Though elder esteemed traditions prove perfunctory, findings show communities are benefiting from the accumulated, incremental cultural assets factored into local development. The paper concludes that thriving cultural assets should be amalgamated through a policy drive that taps into the utility of traditional authority, in synergy with modern state institutions to bolster social development, address poverty and social inequality

‘Sell[ing] what hasn’t got a name’: An exploration of the different understandings and definitions of ‘community engagement’ work in the performing arts

Widely known to promote broader involvement in the processes which define the arts and culture (Webster, 1997), community engagement work in the performing arts — despite employing a set of commonly recognised norms — has tended to be conceptualised differently both historically and contemporarily. Drawing on ethnographic research — particularly semi-structured qualitative interview accounts of numerous British practitioners with a track record of work in the sector, the article explores these different conceptualisations. The article finds that it is the actual ‘work that matters’ and not what it is named, and that the diversity of understandings and definitions among sectoral practitioners is reflective of evolving thinking, values and practice, something that may be destabilising for better or worse