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Personal Webpages of Larry Haiven |
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Click here for information on the "Mining Culture" symposium.Click Here for Web Diary of Trip to Durham UK Coalfields (July 2004)Click here for description of project "Culture and Regeneration in Former Mining and Steelmaking Communities: A Comparison of Cape Breton Island (Canada) and County Durham (United Kingdom)"Summary of the project "Cultural Production and the New Economy in Atlantic Canada"Larry Haiven, Department of Management, Saint Mary's University, Halifax, NS B3H 3C3 Though it is not often included in the definition, one distinct part of any definition of the "New Economy" must surely be cultural production. Within this we may find services such as music, tourism, entertainment, museums and popular education and the various physical products connected to them such as art, crafts, collectibles etc. This project proposes to explore the tension between “core” and “periphery” in the production of culture. It also examines the interrelationship of market, community and government in the production of value from culture. In the production of culture, the tension between “core” and “periphery” is evident in two regards. First, cultural production once on the margins of economic activity, is coming more and more to occupy a major part of the industry of many countries and regions, especially those whose “hard” industry has declined or crashed. Indeed, cultural production often emerges in a post-industrial landscape. To take Atlantic Canada as an example, where once there were working coal mines there are now miner's museums, miner's choirs and plays and novels about miners. Where once there were thriving fishery and shipbuilding industries, there are now fishery and maritime museums, tall ships for tourists and world‑famous heritage towns kept in loving historical fidelity. Indeed, the recreation of the Fortress of Louisbourg occurred as a direct response to the impending demise of the Cape Breton coalfields and steel industry. As well, there is a geographic tension. “Peripheral” has traditionally meant not only geographically remote from the metropolis but also out of the economic mainstream. Yet technological innovations have rendered this definition problematic, especially in the production of culture. Where once the recording and broadcasting and of cultural services and artifacts possible only in central locations, now decentralization is possible. Computerization, miniaturization, communications technology, all have put the production and dissemination of music, video, drama, art and other art forms within the reach of geographically remote regions. Moreover, advances in transportation has brought tourism within easier reach. However, the tension between core and periphery still exists and cultural activity holds both promises and challenges for the communities involved. The nurturing of cultural activity requires the infusion of resources beyond the ability of the single artist or performer. The model of single cultural producer toiling away in isolation, only to be “discovered,” financed and promoted by corporate or independent wealthy patrons is, in fact, very limiting, often exploitative and often false. There are other models of artist development and many of them involve, indeed require, community and government involvement. Many cultural enterprises emerge from strong communities, nourished within family, neighbour, cooperative and communal networks, given exposure through locally‑based institutions and institutions, generating a devoted following among the wider regional community. Not to be ignored is the role of governmental institutions, both federal and provincial, in fostering cultural production. The National Film Board, the CBC, regional development offices, provincial departments of culture, all play an integral part in the development of culture – for better and for worse. Ironically, the peripheral community‑based cultural products find a ready audience in the metropolis, ever‑hungry for talented novelty and longing for a lost sense of community, connectedness and “authenticity.” Culture is also a key ingredient to tourism in these regions as “cultural tourism” plays an ever larger role. The outside audience bears the promise of some sort of economic revival for peripheral communities. Be it through exporting to remote purchase, or through the advent of outsiders for cultural tourism, there is the potential for community economic renewal or at least economic development. But, as with many realms of economic activity in the new economy, there is a tug of war over the capital necessary to finance the activity and the surplus generated from it. Will there be enough patient and loyal capital available in the community or from sources immediately beyond it? Or will the financing come from impatient capital "from away," eager to invest but also eager to reap quick rewards and to suck the surplus up into the world‑wide turbulence of speculative capital? Will cultural tourism contribute to good jobs and healthy communities, or will it be corrosive and produce dependency? Two problems emerge for peripheral communities in this tug of war: If capital and control are exercised locally, will the cultural activities be able to blossom and attract a wider audience? But if investment comes from outside, will local control inevitably diminish? Is there surplus that can be plowed back into the local community to develop new talent from other producers? Does the cultural product change or how much does it change to suit the tastes and vagaries of the external market? Is there a danger that in so doing the product becomes watered down and divorced from the specificity that gave rise to it? To what extent is the sense of “authenticity” grounded in reality or artificially constructed to please outside consumers and regional elites? On the other hand, is the local community always hospitable to the development of cultural industries in their midst? Sometimes local communities can stifle or discourage indigenous cultural activity that takes root in their midst both socially and economically and the activity can flourish only by moving away. I intend to explore this question of cultural production from my base in Atlantic Canada. Some of the cultural industries are mentioned above but there are others. I would approach the problem in two stages. First, to establish a context beyond the local situation in Atlantic Canada, I would review scholarly and popular literature on the opportunities and challenges of cultural revival in the periphery. Second, I would focus the major part of the project on case studies of particular cultural products in Atlantic Canada. I am particularly interested in tracing the “chain” or “web” of value creation, investment and return within various of the cultural industries (e.g. music, film, crafts, cultural tourism) I may keep the project to Nova Scotia. I would certainly like to study the explosion of “East Coast” music. I would also look at the development of “miner culture”, mentioned above. The role of cultural tourism is another area of interest. The project may also include a similar investigation of cultural production in Newfoundland. |