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How COVID-19 Pandemic influenced Cultural Workers in Southeast Europe – Part 2
The COVID-19 pandemic has created an economic and social crisis that has both revealed and exacerbated already strong trends in many areas of society, while also creating new spaces for reflection and questioning. What are specific trends in the cultural sector that are being exaggerated by the COVID-19 pandemic? What did it mean to go digital for art and cultural
Solidarity beyond borders of war: Zhivago writes poems to Old Europe
In some corner of a random neighborhood in the city of Mariupol, in Ukraine, a man blows out a candle and leaves his room in darkness. He has heard the advance of the troops and is afraid that the dim light that filters through the curtains will arouse some suspicion. Downstairs, in the street, it is pitch black and the
Forthcoming Cultural Bonus for Spanish Youth: it’s objectives and limitations
Coming June, young Spaniards who turn 18 this year will benefit from a cultural bonus with a value of €400. Back in March, the Council of Ministers approved the Royal Decree 210/2022 that established the conditions under which this Young Cultural Bonus can take effect, an undertaking for which the General State Budget has reserved a budget of 210 million
To Cancel or not to Cancel: How Cancel Culture Disqualifies people and productions from the cultural stages of Europe
we see that not everyone and everything is welcome to the cultural arena: after allegations of immoral, transgressive or discriminatory behavior, cultural workers and their productions are increasingly ‘cancelled’ by their audiences or by particular media.
The pros and cons of privatized tv channels: The case of Channel 4 in the UK
In the beginning of April 2022, the British government announced its plan to privatize the popular television channel, Channel 4. The channel is known for its critically acclaimed drama series, as well as beloved reality shows. It was launched in 1982 and has been operating as a government-owned broadcasting company, consisting of 12 channels in total. In contrast to the
Cultural policy as a meeting place of bottom-up and top-down approaches: Messages to cultural policy in Croatia based on the results of INVENT project
The importance of academic knowledge on the social aspects of culture is essential in the field of cultural policy. Nevertheless, insights of this kind are frequently neglected in the processes of devising national cultural policies in different European countries. In addition to broad EU policy frameworks, cultural policies of the nation states should include knowledge about how culture is seen
What is the purpose of museums and cultural participation?
Earlier this month, The Guardian published an article about a new study which examined the impact of museum visits on GCSE (General Certificate of Secondary Education) results in the UK. This research joins previous scholarship which explored cultural capital and its relations to sociodemographic differences (Katz-Gerro and Meier Jaeger,2015; Yaish, Katz-Gerro, 2012). According to the new study, museum outings had
New research alert: Upcoming article on personalization and authority in European cultural journalism
Is cultural journalism becoming more personalized and subjective? One of the key debates of contemporary cultural sociology concerns the alleged fragmentation of cultural authority. In an era of crisis of legacy media and normative authorities and, at the same time, strong individualization, who decides what can be defined as valuable culture? Quality journalism covering culture is a good place to
How COVID-19 Pandemic influenced Cultural Workers in Southeast Europe – Part 1
The COVID-19 pandemic has created an economic and social crisis that has both revealed and exacerbated already strong trends in many areas of society, while also creating new spaces for reflection and questioning. What are specific trends in the cultural sector that are being exaggerated by the COVID-19 pandemic? What did it mean to go digital for art and cultural
Switzerland may have to leave the Schengen area: How freedom of movement could redefine European culture
The first social impression of the Covid-19 pandemic was the restriction of movements. Suddenly, we realized that we couldn´t leave our homes, and eventually, our neighborhoods and cities. Two years later, we continue to find ourselves with situations where tickets to certain countries are canceled or where it is difficult to return home due to the emergence of new variants.
This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870691