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The Journal of ArtsManagement, Law, and SocietyPublication details, including instructions forauthors and subscription information:http://www.tandfonline.com/loi/vjam20

IntroductionJason Franklin a & Ruth Ann Stewart aa Robert F. Wagner Graduate School of PublicService, New York UniversityPublished online: 07 Aug 2010.

To cite this article: Jason Franklin & Ruth Ann Stewart (2009) Introduction,The Journal of Arts Management, Law, and Society, 39:3, 153-155, DOI:10.1080/10632920903218513

To link to this article: http://dx.doi.org/10.1080/10632920903218513

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Cash and Culture: Exploring Artsand Economics in Four Countries

Introduction

JASON FRANKLINRUTH ANN STEWART

Cultural industries, arts districts, cultural quarters, creative workers—whatever identifier you choose to use, the underlying concept connect-

ing these ideas is one that fuses artistic and cultural activity with economicproductivity. While a subject of long-term conversation in the arts policy com-munity, valuation and validation of the arts within an economic context hasemerged as a subject of broader consideration given the dramatic decline inthe economy, the size of audiences for both the performing and visual arts,and the amount and rate of arts funding available from individual, foundation,corporate and government sources.

One would hope that, in the months between our writing this introduction tothe fall edition of the Journal of Arts Management, Law and Society (JAMLS)and its arrival in the reader’s mailbox, the economy will have recovered andsupport for the arts in all their variety will have revived. Unfortunately, allsigns point to a long period of uncertainty that will especially challenge thearts as one of the first societal expenses most likely to be cut back in times ofeconomic adversity. Indeed, many arts funders faced with the prospect of fewer

Jason Franklin, Lecturer on Public Administration, and Ruth Ann Stewart, ClinicalProfessor of Public Policy, are affiliated with the Robert F. Wagner Graduate School ofPublic Service at New York University. Copyright C© 2009 Heldref Publications

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The Journal of Arts Management, Law, and Society

philanthropic dollars are choosing to support “essential” programs instead ofthe arts, despite a variety of arguments that the arts are also essential.

As the guest editors for this fall 2009 issue of JAMLS, we have chosento focus on the intersection of arts and economics because of the centralityof this topic in discussions about the essential nature of the arts in society.When we organized the 2007 Conference on Social Theory, Politics and theArts (STPA) at New York University, the connection between culture and eco-nomics was one of the key themes that emerged from the convening. STPA2007 brought together almost 200 scholars, artists, public officials, and culturalleaders from 26 countries and 22 US states to share their perspectives, expe-riences, and research findings with conference participants. Presenters wereorganized into some 50 panels and roundtables around the conference’s sixthemes:

1. Artists, Activism, and Social Change2. Sustaining Cultural Industries and Organizations3. Role of the Arts in Bridging Differences and Creating Identities4. Leadership in, of, and Through the Arts5. Cultural Planning, Development, and Economics6. Urban Revitalization and the Arts

More than any other topic, if and how the arts and cultural activities shouldbe reconceptualized as cultural industries and integrated with economic policywas the subject of hot debate. Despite the views expressed by some presentersthat economic justifications and the imposition of profit-seeking models wouldsanitize, dumb down, control, distort, or limit artistic expression, it was gener-ally acknowledged that the last two decades have seen an inexorable twinningof artistic and cultural activities with economic goals and objectives in countriesthroughout the world.

The articles in this JAMLS issue provide a cross-section of thinking and re-search on this trend presented at STPA 2007 and solicited from other scholars.Each article has been selected as representative of different sectoral perspec-tives on the idea of the arts as cultural industries, i.e., economic development,education, business, and law.

Diane-Gabrielle Tremblay and Elisa Cecilli reflect on the opportunities andchallenges of developing a creative industries cluster of film and audiovisualfirms in Montreal. They track the development of municipal policies designedto encourage the formation of collaborations in such a highly competitivemedia sector. Tremblay and Cecilli seek to tease out the key challenges andfactors leading to success, using the cluster approach, that would assist culturalpolicy makers in understanding the proximity issues involved in creative clusterdevelopment.

154 Vol. 39, No. 3

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Introduction

Simon Roodhouse takes us across the Atlantic to the United Kingdom toconsider education and creative industries using another proximity-based cre-ative industries concept, the cultural quarter. In this case, he investigates issuesof employability, the dynamics of employer engagement with nearby highereducation institutions, and the possibilities for these colleges and universi-ties to realize the potential of their non-scientific creative knowledge. Rood-house argues compellingly that employer engagement is not really a new phe-nomenon, and in fact universities and creatives are natural allies. He sees thecultural quarter concept as a natural extension of the current work and missionof higher education institutions today.

We journey with Roberta Comunian to Italy where we consider the intersec-tion of creative industries and the general business sector, specifically corporatemarketing. She argues that Italian companies have historically considered spon-sorships and cultural patronage as acts of generosity rather than a bottom linebusiness practice. Comunian makes the case that if instead businesses were tobe presented with sponsorship and patronage opportunities as business invest-ments, the conversation and relationship with the arts in this transaction woulddrastically change.

Finally, we fly to Southeast Asia with Annette Van den Bosch to considerthe legal environment for the arts in Vietnam through an examination of theintellectual property rights of individual artists, provisions and enforcementof such under the current civil law code against the background of the rapidgrowth of private sector art dealings. She determines that there is little or no en-forcement or arbitration of artists’ rights to profit and control their work—muchto the detriment of both individual artists and the nation as a whole. Van deBosch discusses the importance of enforcing intellectual property law for themaintenance of artists’ income and careers, for the development of a nationalart market, and for innovation and cultural sustainability in Vietnam.

As indicated above, the articles in this edition of JAMLS were speciallyselected for their relevancy in a time of economic turmoil and falling artsfunding. While no means comprehensive, they are intended to provide a rangeof insights into the growing movement of cultural industries and the interactionof arts and economics. We hope they will spark new questions, lines of researchand, most of all, lively exchanges and debate among you and your colleagues.

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