Exporting Culture: Which role for Europe in a Global World? by Prof. Dr. Raphaela Henze, Prof. Dr. Gernot Wolfram (auth.),

By Prof. Dr. Raphaela Henze, Prof. Dr. Gernot Wolfram (auth.), Raphaela Henze, Gernot Wolfram (eds.)

Is ecu tradition noticeable adequate within the globalized international? Why is tradition from this continent frequently perceived as ‘old-fashioned’ or maybe worse as ‘out-dated’? Is the export of nationwide cultural services – in such a lot ecu nations sponsored via the taxpayer – not suitable, or extra proper than ever prior to? Is it a tremendous waste of cash, time, and energy or an try and create one other type of globalization? tradition – in its broadest experience – is usually seen and permitted in ways in which range thoroughly from these of alternative the world over traded items. this may be one of many explanation why such a lot of associations, foundations and cooperations make investments time, energy, and cash in cultural initiatives. is that this an exaggerated technique or an clever reputation of the true values of the twenty first century – creativity and cultural sensitivity? those and several questions in regards to the export of tradition are addressed via authors from varied nations so that it will begin a debate concerning the position ecu cultural services and products may be able to play globally.

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Extra info for Exporting Culture: Which role for Europe in a Global World?

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It needs to be one to which a global andience can relate and have positive associations with. The idea of a united European voice is not a new one, in his work 'The Meaning of Europe' Denis De Rougemont states: 15 Saliba Belmessous (2013) Assimilation and Empire Uniformity in French and British Colonies pp. 1541-1954, Oxford University Press, Oxford. Claire Burnill-Maier 34 "Europe is much older than the European nations. Their lack of unity and their ever more illusory claims to absolute sovereignty endanger its very existence.

Spending on culture is a solid investment 45 audience is what it is all about and - and this distinguishes them until today from many of their European counterparts - they trust their audience. That - at least in Germany - we have had and still have to learn from the cultural institutions in the USA how to develop and maintain an audience is shown by the fact that the term 'Audience Development' is much more common than the German translation 'Besucherentwicklung und -bindung'. Having said this it is not surprising that European cultural managers are currently not greatly sought after experts in other parts of the world as Michael Schindhelm explains (Schindheim 2012: 49).

G. in Germany where the foreign minister is married to a man and takes his husband with him on 'husiness trips' to the Arab world. Funding might also have an influence on creativity. State funding of cultural institutions is very rare in the USA. Most institutions depend strongly on sponsors, donors, and the audience for earned income and have therefore developed tools to get the urgently required money in. These tools are now being looked at and copied by many European cultural managers. Audience development as previously mentioned, is one of the components of success.

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