Cultural Policy: in the board rooms and on the streets

This piece explores cultural policy, which Caron Atlas defines as "both a product and a process, a framework for making rules and decisions that is informed by social relationships and values." Although some in the United States say that there is no such policy, Atlas begins the article by claiming that decisions made every day - from the choice of a family to educate their child in the language, traditions, and history of a particular ethnic group to a city council's decision to cut arts in the schools - constitute cultural policy. Cultural policy, she points out, does not operate solely in the public realm (at least in the United States); nor is spending money for a particular purpose all that is involved.

Atlas claims that policymaking in this area is often implicit and invisible; this prevents citizens from being able to have a conversation about the meaning and value of art and culture for them. She worries that "...de facto or invisible policies can become undemocratic and unaccountable." To prevent this outcome, Atlas describes the values that define cultural policy in the context of community arts: an interdependent cultural ecology, cultural democracy, cultural citizenship, cultural equity, and cultural rights. She urges, "Policy making needs to be understood in a broader framework of social change and action that involves grassroots civic participation and not just government legislation. The inter-relationship between arts and culture and democracy also needs to be understood more fully." She provides several United States-based examples of such efforts.

Finally, Atlas poses a challenge and then provides suggestions for meeting it. Specifically, she asks her colleagues working in cultural policy: "are we reaching out to our colleagues in other fields only to strengthen the arts, or are we committed to a broader conversation about the needs of our communities and the strength of our democracy?" In an effort to build a bridge between the two alternatives, which she says are not mutually exclusive, she proposes the following ways forward to those working in arts organisations:

• Research and learning: Examine the decisions that are made in the context of cultural citizenship, and recognise the policy implications of these decisions. Learn about, support, and take part in policy research in academic centres, foundations, and think tanks, and make sure that the perspective of community arts is represented in this work. Be inspired by the examples of artists throughout the world who are committed to creating a space for civic engagement.
• Participation: Take part in cultural-planning processes that feature a broad cultural spectrum, explore issues of cultural equity, and emphasise the importance of both public support and integration with other sectors. Acknowledge and reject priorities set by cultural policy efforts that are not in the interests of a community. Be clear about the purposes of community art and frame policy conversations to connect to people's everyday lives, respond to root causes of problems, and support substantive social change.
• Advocacy: Work - vocally - to support the work of grassroots organisations and unions who advocate the inclusion of community arts in cultural policy discussions. Fight for artists' representation on neighborhood councils, school boards, and state legislatures: artists must initiate social and political action. Understand that this work happens within a political and economic context; the role of the arts may be one of confronting and deconstructing structures of power. Support the ways that arts inform democratic engagement and policy, making policymaking more inclusive, transparent, and accountable to community members.

Click here for the full article on the Reading Room page of the Community Arts site.