ABSTRACT

Festival producers used their professional cultural expertise to navigate tensions between local and national policies in order to access resources from different funding sources. They did this according to tacit values which defined ‘excellence’ in their artistic fields rather than local communities’ cultural interests. In exploring festival production this paper contributes a critical understanding of how festivals’ governance institutions became exclusive social spaces that, through professional closure based on obscure ‘cultural value’ criteria, limited rather than facilitated social mobilities. In illuminating the role of art forms, funders and festival governance structures as exclusive in-groups, the study runs contrary to common academic and policy narratives which envision festivals as inherently open spaces. Consequently, the paper argues policy makers seeking to achieve socio-cultural outcomes through festivals carefully consider the festival’s cultural field and who is included or excluded from its governance.

摘要

节日制作人利用他们的专业文化知识来解决地方和国家政策之间的紧张关系，以便从不同的资金来源获得资源。他们这样做是根据默认的价值观，这些价值观定义了他们艺术领域的“卓越”，而不是当地社区的文化兴趣。在探索节日制作的过程中，本文对节日的治理机构如何成为排他性的社会空间做出了批判性的理解，这些空间通过基于模糊的“文化价值”标准的专业封闭，限制而不是促进了社会流动性。在阐明艺术形式、资助者和节日治理结构作为排他性群体的作用时，该研究与将节日设想为固有开放空间的常见学术和政策叙述背道而驰。最后，