ART, CULTURE AND ECONOMY TO DEMOCRATIZE SOCIETY
COMITÉ CIENTÍFICO DE LA EDITORIAL TIRANT HUMANIDADES Manuel Asensi Pérez
Catedrático de Teoría de la Literatura y de la Literatura Comparada Universitat de València
Ramón Cotarelo
Catedrático de Ciencia Política y de la Administración de la Facultad de Ciencias Políticas y Sociología de la Universidad Nacional de Educación a Distancia
M.ª Teresa Echenique Elizondo Catedrática de Lengua Española Universitat de València
Juan Manuel Fernández Soria
Catedrático de Teoría e Historia de la Educación Universitat de València
Pablo Oñate Rubalcaba
Catedrático de Ciencia Política y de la Administración Universitat de València
Joan Romero
Catedrático de Geografía Humana Universitat de València
Juan José Tamayo
Director de la Cátedra de Teología y Ciencias de las Religiones Universidad Carlos III de Madrid
Procedimiento de selección de originales, ver página web: www.tirant.net/index.php/editorial/procedimiento-de-seleccion-de-originales
ART, CULTURE AND ECONOMY TO DEMOCRATIZE SOCIETY Raúl Abeledo Sanchis (Editor) Maja Barac (Coordination) Raúl Abeledo Ester Alba Amparo Alonso Maja Barac María Caballer Rubén Cuñat Raúl De Arriba Ricard Huerta Eva Máñez Cristina Pardo Juan Pecourt Ricard Ramon Miguel Requena Marta Roig María Vidagañ
tirant lo blanch Valencia, 2021
Copyright ® 2021 Todos los derechos reservados. Ni la totalidad ni parte de este libro puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico, incluyendo fotocopia, grabación magnética, o cualquier almacenamiento de información y sistema de recuperación sin permiso escrito de los autores y del editor. En caso de erratas y actualizaciones, la Editorial Tirant Humanidades publicará la pertinente corrección en la página web www.tirant.com. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement n.º 734855. This publication reflects the author’s views and the Commission is not liable for any use that maybe made of the information contained herein.
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TIRANT HUMANIDADES EDITA: TIRANT HUMANIDADES C/ Artes Gráficas, 14 - 46010 - Valencia TELFS.: 96/361 00 48 - 50 FAX: 96/369 41 51 Email: tlb@tirant.com www.tirant.com Librería virtual: www.tirant.es ISBN: 978-84-18329-58-6 MAQUETA: Innovatext Cover photo: Eva Máñez Si tiene alguna queja o sugerencia, envíenos un mail a: atencioncliente@tirant.com. En caso de no ser atendida su sugerencia, por favor, lea en www.tirant.net/index.php/empresa/politicas-de-empresa nuestro Procedimiento de quejas. Responsabilidad Social Corporativa: http://www.tirant.net/Docs/RSCTirant.pdf
Index INTRODUCTION ................................................................................................... 11 PART 1. CULTURE AND ECONOMY A DESCRIPTIVE ANALYSIS OF SOCIO-DEMOGRAPHIC DIFFERENCES IN CULTURAL CONSUMPTION: THE CASE STUDY OF LJUBLJANA, María Caballer-Tarazona and Marta R. Casanova................. 15 1. INTRODUCTION.......................................................................................... 15 2. METHODOLOGY AND DATA.................................................................. 17 3. RESULTS.......................................................................................................... 17 4. CONCLUSION............................................................................................... 26 REFERENCES........................................................................................................ 27 SARAJEVO AND TOURISM: HAS THE WAR MEMORY AN ATTRACTIVE OR A DISCOURAGING EFFECT?, Maja Barac and Cristina Pardo-García........... 29 1. INTRODUCTION: TYPES OF TOURISM................................................ 29 1.1. Type of tourism in Sarajevo................................................................ 31 2. TOURISM IN SARAJEVO............................................................................ 33 3. METHODOLOGY AND DATA.................................................................. 36 4. RESULTS.......................................................................................................... 37 5. CONCLUSIONS............................................................................................. 42 REFERENCES........................................................................................................ 43 SUBLIMINAL ECONOMICS. ART AND EDUCATION TO DECODE THE DOMINANT ECONOMIC RETORICS, Raúl de Arriba Bueno and
María Vidagañ Murgui................................................................................................ 45
1. LANGUAGE, POWER, ECONOMICS....................................................... 45 2. A DICTIONARY FOR SUBLIMINAL ECONOMICS.............................. 47 3. CREDIBILITY................................................................................................. 49 3.1. Neoliberal use of the term Credibility............................................... 49 3.2. Debunking neoliberalism in Credibility........................................... 50 4. SUPPORT........................................................................................................ 52 4.1. Neoliberal use of the term Support.................................................... 52 4.2. Debunking neoliberalism in Support................................................ 53 5. CONCLUSIONS............................................................................................. 55 REFERENCES........................................................................................................ 55
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Index
PART 2. CULTURE AND SOCIETY LUBLIN: STRATEGIC MODEL FOR THE DISSEMINATION OF CULTURE AND REDUCTION OF SOCIAL VULNERABILITY, Rubén J. Cuñat Giménez............................................................................................................. 59
1. INTRODUCTION.......................................................................................... 59 2. LUBLIN´S CULTURE DEVELOPMENT STRATEGY 2013-2020......... 61 3. OPERATIONAL PROGRAM “DISTRICTS OF CULTURE”................... 64 4. METHODOLOGY......................................................................................... 67 5. ANALYSIS OF THE CULTURAL PROJECTS GENERATED IN LUBLIN THROUGH MUNICIPAL INSTITUTIONS IN THE PERIOD 2015-2018......................................................................................................... 67 6. CONCLUSION............................................................................................... 70 REFERENCES........................................................................................................ 71 DESIGN OF ALTERNATIVE CULTURAL SPACES LGBT IN PARIS, Ricard Huerta................................................................................................................ 73
1. OVERCOMING THE HOMOPHOBIC LANDSCAPE IN THE FRENCH TRADITION................................................................................. 73 2. NEW PLACES FOR ART AND CULTURE............................................... 74 3. CREATING CINEMA WITHOUT SEXUAL COMPLEXES OR GENDER TOPICS................................................................................................... 78 4. CONCLUSIONS............................................................................................. 83 REFERENCES........................................................................................................ 84 OUTSIDE THE “MASCULINE ZONE”: FRENCH FEMINIST INTELLECTUALS AND THE MEDIA, Juan Pecourt...................................... 85 1. FEMINISM WITHOUT FEMINIST MEDIA: SIMONE DE BEAUVOIR’S STRUGGLE...................................................................................................... 85 2. EARLY FRENCH FEMINIST MEDIA: THE SEARCH FOR AUTONOMY.. 87 3. THE STABILISATION OF A FEMINIST MEDIA-SPACE IN FRANCE. 90 4. THE DIGITAL MEDIA-SPACE: CONTEMPORARY FEMINISM AND THE COLLECTIVE INTELLECTUAL............................................. 92 REFERENCES........................................................................................................ 95
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“CERAMICS AND THE MYTH OF TRAVEL. ADDED VALUE IN ETERNAL ART”. A PARTICIPATORY AND INCLUSIVE PROJECT, Ester Alba and Miguel Requena................................................................................. 97
1. INTRODUCTION.......................................................................................... 97 2. OBJECTIVES.................................................................................................. 100 3. SPECIFIC OBJECTIVES............................................................................... 102 4. MAIN METHODOLOGIES......................................................................... 103 5. EVALUATION AND TRANSFER (COMPETENCES/KNOWLEDGE SHARED)......................................................................................................... 114 REFERENCES........................................................................................................ 116
PART 3. VISUAL NARRATIVES AND URBAN RESEARCH THE NARRATIVE, VISUAL AND ARTISTIC FICTION AS A PEDAGOGICAL RESEARCH PRACTICE OF THE URBAN, SOCIAL AND CULTURAL ENVIRONMENT, Ricard Ramon.......................................... 119 1. URBAN ENVIRONMENTS AS SPACES FOR LEARNING. THE EXPERIENCE OF THE CITY OF PALERMO........................................... 119 2. NARRATIVES, FICTION AND ART AS PLACES OF INTERSECTION AND CREATION OF VISUAL EDUCATION SYSTEMS....................... 120 3. ARTISTIC METHODOLOGIES AS MEANS OF UNDERSTANDING HUMAN BEINGS. PICTORIAL ARTOGRAPHIES................................. 122 3.1. Pictorial Artographies of the city of Palermo................................... 123 4. CONCLUSIONS............................................................................................. 128 REFERENCES........................................................................................................ 128 ALTERNATIVE VISUAL NARRATIVES: LJUBLJANA VS PARIS, Amparo Alonso-Sanz.............................................................................................................................. 131
1. YOUNG PEOPLE IN SOCIAL CENTRES AND PUBLIC SPACE.......... 133 2. MARKETS....................................................................................................... 136 3. AESTHETICS ON STREETS AND PUBLIC ART ................................... 137 4. STOREFRONTS............................................................................................. 139 5. MUSEUMS AND HERITAGE...................................................................... 141 REFERENCES........................................................................................................ 144
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Index
VIEWS FROM THE HILL: STUDYING GENTRIFICATION IN BELLEVILLE (PARIS), Raúl Abeledo Sanchis and Eva Máñez...................... 147 1. INTRODUCTION.......................................................................................... 147 2. METHODOLOGY: THE PRACTICE OF DRIFT..................................... 148 3. ACTIVITIES.................................................................................................... 149 3.1. Public spaces: parks, markets and squares........................................ 150 3.2. Cultural spaces: construction of memory and identity................... 152 3.3. Activism and social cohesion.............................................................. 155 4. BELLEVILLE: BUILDING A MODEL........................................................ 156 5. NEXT RESEARCH STEPS............................................................................ 158 REFERENCES........................................................................................................ 159
INTRODUCTION The articles that make up this book bring together the results of the research experiences developed by the authors within the framework of the Trans-making project. Trans-making is an Horizon2020 project with the objective of strengthen research capacities, through exchange of knowledge, expertise, skills and experiences between academic and non-academic partners from Europe and Third Countries in a shared research program focused on: Collecting, Documenting, Exploring, Experimenting, Performing and Designing. Through this research program, the consortium aims to encourage links between art and culture, economy, democracy and innovation at EU level and beyond. Trans-making tries to foster a better understanding and knowledge sharing between scientific community, stakeholders and policymakers. The final result of the project is a network of research and innovation staff active in the fields of placemaking/place-based art activities as a space to create alternative narratives for social, economic and democratic renewal. This publication gathers some examples of the research lines developed by the University of Valencia (UVEG) team during their secondments in different countries. The structure of the book tries to respond to the diversity of contents to be dealt with. The first section contains the articles related to the economic dimension of cultural activities. The relationships between culture and social issues are included in the second section. Finally, the third section is reserved for articles referring to urban research practices focused on visual narratives and artistic research methodologies. Raúl Abeledo Sanchis Editor Econcult (UVEG) https://trans-making.eu/
PART 1. CULTURE AND ECONOMY
A DESCRIPTIVE ANALYSIS OF SOCIO-DEMOGRAPHIC DIFFERENCES IN CULTURAL CONSUMPTION: THE CASE STUDY OF LJUBLJANA1 María Caballer-Tarazona and Marta R. Casanova University of Valencia, Faculty of Economics Department of Applied Economics
1. INTRODUCTION Cultural consumption can be seen as the basis for social and cultural positions, preferences and behaviours. The concept of ‘cultural consumption’ has been evolving along years and has been always very close to ‘lifestyle’. According to Katz-Gerro (2004), a traditional approach refers to the distinctive style of life of status groups (Weber, 1978; Sobel, 1981; Rojek, 1985). Individuals in higher social strata are those who prefer and predominantly consume ‘high’ or ‘elite’ culture, and individuals in lower social strata are those who prefer and predominantly consume popular’ or ‘mass’ culture. The so called homology argument (Chan and Goldthorpe, 2007). This argument is outmoded in modern societies.
1
We would like to thank the members of Bunker, and also National Gallery of Slovenia, Glej Theater, Mini Teater and Slovenska kinoteka. Furthermore, we gratefully acknowledge financial support from Trans-making Project. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement n.734855.
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María Caballer-Tarazona and Marta R. Casanova
Contemporary research sees in cultural consumption individuality, self-expression, and a stylistic self-consciousness (Featherstone, 1991). In today’s society, differences in cultural taste, cultural consumption and lifestyles generally are losing their basis in social stratification. Cultural consumption is becoming more a matter of individual ‘self-realisation’. Individuals are increasingly able to form their own lifestyles independently of their social locations. Instead of being permanently marked by their initial class and restricted to a limited set of predefined lifestyles, individuals can choose from the wide range of possibilities of culture, called this the individualisation argument. Lifestyle is a form of expression that can be observed and measured as leisure activities, cultural consumption patterns, and cultural tastes (Sobel, 1983; Bourdieu, 1984; DiMaggio, 1994; Bryson, 1997; Slater, 1997). As Chan and Goldthorpe (2007) pointed, most cultural consumption research, when following Bourdieu’s work, have used measures of participation in highbrow and lowbrow culture activities, although the breadth of cultural consumption is much broader (DiMaggio, 1994). More recently, cultural preferences generate quasi-communities that form around identity and taste and are increasingly independent of economic determinants (Maffesoli, 1996; Pakulski and Waters, 1996). According the omnivore-univore argument, the cultural consumption of individuals in higher social strata differs from that of individuals in lower strata essentially in that it is greater and much wider in its range. Thus, now, we should take into account the difference between cultural omnivore versus cultural univore. However, in general terms, scholars agree that cultural consumption patterns traditionally have had their explanation on social characteristics. They are affected, among others, by level of education, occupational status and income (van Eijck, 2015). Under this context, in this paper we look into the cultural consumption patterns in the city of Ljubljana paying attention to social differences.
A descriptive analysis of socio-demographic differences in cultural...
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Specifically, this paper aims to explore preferences, trends and levels of satisfaction with the cultural consumption in Ljubljana, in order to provide a descriptive overview of the cultural offer in the city from the audience point of view.
2. METHODOLOGY AND DATA The methodology used for collecting the data, was an on-line questionnaire which include both socio-demographical questions and cultural habits and preferences in the culture and art consumption. The questionnaire is addressed to the general cultural audience in Ljubljana, in order to analyse the demand point of view. The questionnaire was spread through the mailing lists of the institutions and cultural centres of Ljubljana during the period 2017-2018 collecting 91 answers.
3. RESULTS First, we asked respondents about their preferences about different types of cultural activities. Respondents scored from 1 to 7 the different activities, where 1 being slightly preferred and 7 very preferred. Table 1 shows preferences of surveys’ respondents. We found significant difference in preferences by gender in three of the activities. Specifically, the males scored the activity “Performance” significantly better than females. While females, scored “Cinema” and “Dance Performance” with a significant higher score than males. In addition, Table 1 shows as the favourite activity for both genders is “Concerts” (with an average rate of 5,67 and 5,90 out of 7) and “Cinema” for women (with an average rate of 5,81 out of 7). On the other size, the less preferred activity for both genders is Opera (with an average rate of 2,81 and 3,16 out of 7) and Dance Performance for males (with an average rate of 3,10 out of 7).
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María Caballer-Tarazona and Marta R. Casanova
Table 1: Cultural activities preferences by gender Cultural activities Performances Dance performances Concerts Cinema Theatre Opera Galleries Museums Literature events
Gender
N
Mean Score
Std. Deviation
Male
20
4,50
1,357
Female
69
4,20
1,975
Male
21
3,10
1,546
Female
70
4,20
1,900
Male
21
5,67
1,278
Female
69
5,90
1,319
Male
21
5,29
1,617
Female
70
5,81
1,333
Male
21
4,95
1,717
Female
69
5,33
1,569
Male
21
2,81
1,470
Female
70
3,16
1,708
Male
21
5,62
1,284
Female
70
4,93
1,747
Male
21
5,29
1,454
Female
69
5,13
1,382
Male
21
4,24
1,513
Female
70
4,51
1,462
Sig. ,017*
,014*
,645
,053**
,674
,385
,130
,906
,987
*p<0.05, **p<0.1
As the above results shows, there are still some gender differences on cultural activities preferences. These differences are probably affected by stereotypes, as is the case of Dance performance. These seemingly free choices and preferences could be still shaped by the process of gendered socialization imposed by patriarchal culture (Anker 2004) and therefore may undergo changes in the coming decades.
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A descriptive analysis of socio-demographic differences in cultural...
Second, we are interested in look into the frequency with which the interviewees attend the different cultural activities. The specific question that we ask in the survey was: “During the last year, how often do you attend the following cultural Activities? Where 1 means “never” and 7 “very often”. Table 2. Cultural activities attendance by gender Cultural activities Performances Dance performances Concerts Cinema Theatre Opera Galleries Museums Literature events
Gender
N
Mean
Std. Deviation
Sig.
Male
21
3,52
1,750
,115
Female
69
3,59
2,117
Male
21
2,00
,949
Female
70
3,26
1,998
Male
21
5,10
1,814
Female
70
5,21
1,550
Male
21
4,29
2,028
Female
70
5,26
1,674
Male
21
3,57
2,087
Female
70
4,44
1,908
Male
21
1,48
,750
Female
70
2,10
1,218
Male
21
4,57
1,886
Female
70
4,34
1,596
Male
21
4,48
1,692
Female
69
3,96
1,576
Male
21
2,48
1,750
Female
70
3,13
1,614
*p<0.05, **p<0.1
,000* ,269 ,121 ,404 ,013* ,140 ,556 ,703
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María Caballer-Tarazona and Marta R. Casanova
In line with the preference declared in Table 1, we also find statistically significate differences in the attendance frequency to “Dance performance”. Women declare to attend dance performance more often than males. In addition, also according with the preference declared in table 1, the activity less attended by both genders is Opera, while most frequent activities are concerts and cinema. Results show in table 2 seems to match quite well answers declared in table 1. Table 3 is the result of asking the tastes and preferences regarding the following cultural activities by level of studies and Table 4 indicates the frequency with which respondents attend the same activities, also according to their level of studies. In both tables (Tables 3 and 4), respondents scored the different activities from 1 to 7 according their level of preference and frequency of attendance, being 7 “very preferred” and “very often” respectively. Table 3. Cultural activities preferences by level of studies Secondary school
Bachelor degree
Master degree
PhD
Mean score
Mean score
Mean score
Mean score
Performances
4,5
4,4
4,0
3,8
Dance performances
4,1
3,8
4,0
4,3
Concerts
5,5
6,2
5,9
3,5
Cinema
5,0
5,9
5,8
6,0
Theatre
4,7
5,4
5,4
5,3
Opera
2,9
2,9
3,4
3,0
Galleries
4,9
5,1
5,2
5,0
Museums
5,2
5,2
5,2
5,0
Literature events
4,2
4,2
4,3
3,5
Cultural Activities