ࡱ> ^`]` RMbjbj2vE%JJJJJJJ^BBB8zt,^t&&"HHHHHH$hx J(HH((JJHH.(XJHJH(-JJyH -1BpED0tM,0!d0!y0!JlH:bHHHTXHHHt((((^^^ B^^^B^^^JJJJJJ The Ideal of Cultural City and the Issues of Local Cultural Policy Prof. Sang-Oh Lim (Dept. of Economy, Sangji University) 1. Issue of Cultural City Twentieth-century society was established upon the basis of industrialization, but the twenty-first century society has moved beyond knowledge and information as its bases, and progresses along the lines of creativity. This indicates that creativity will take a central role in society. In referring to such centennial changes, the twentieth-first century will be the era of city (particularly the cultural or creative city), whereas the twentieth century can be called the era of nation. Also, in Korea, regarding a domestic issue of the 1990s, the Korean government planned the strategy of a balanced local development by which the local area values and supports its human and material resources and actively utilizes them. A slogan reflecting this policy is The Cultural City or Cultural Capital. According to the quantitative data of 2005, assumingly the era of culture, numerous and various cultural events take place in many local places. Also, people try to discover ways in which to utilize cultural resources of the region. On such a track, the localities have a mutual feeling, which they pursue to build cultural cities. In this paper, thus, I will discuss how such domestic phenomena of the cultural city are considered. Here, I would like to ask these questions in relation to the issue of it. First, what does the cultural city mean? What is it oriented? Is it an art city, an ecological city, an educational city, a democratic city, a culture-industrial city, or a creative city? If not, would it be all of the types of city? Most of all, in discussing the ideal of the cultural city, the significance of various perspectives can be examined. These include the perspectives of audiences such as policy makers, scholars, and citizen organizations. Moreover, questions to be considered include; is the notion of the cultural city developed based on the male-, the adult-, the youth, or the insider-oriented perspective? Second, if the cultural city is defined as embodying a certain ideal, there is a need to find appropriate examples of how such cities are materialized. Such cases could be seen in Europe, North America, South America, Asia, and so on. In addition, it is significant whose perspective will be used for Korea as a benchmark for its cultural city. Third, it is also important to recognize the relationship between the creative city and the cultural city, an issue that is discussed in many cities in the world. Are these two terms semantically similar to each other? Alternatively, are they different in terms of category and goal? In order to find the answers to such questions, it is necessary to clarify the relation between culture and creativity. I will explicate the relationship between creativity and culture through the following perspectives. Culture is the expressive style of value, intuition, and lifestyle, appreciated collectively. Creativity, on the other hand, is the soil in which significant features of a certain area sprouted (Charles Landry, 2005). Creativity is not only an individuals ability, but also the process through which a certain idea is formed. Creativity can therefore be understood, through a series of processes, to exist not only at the individual level (the personal creativity), but also at the group level (collective creativity, the urban creativity, the systematic creativity, etc.). Seen through this perspective, at the time when each locality seeks to develop itself by using the local culture, establishing the correlation between culture and creativity is becoming the key point in the local development. Fourth, in order to establish our cultural city, it is necessary to make it clear what kinds of policy assignment are before us. Here, what I would like to emphasize is that we need to pay attention to the relationship between the public policy and the cultural policy. As a tool of developing the locality, will the cultural policy remain useful in the end? The experience of the Western society that the cultural policy as a means of developing the local economy has limitations shows that we need to establish a cultural approach to the public policy. 2. Culture Viewed with Cultural Economy and Its Ideal As every academic subject and policy is controlled by the circumstance, the ideal which each cultural city seeks is different, especially, given the choice of the perspective. In this section, I will analyze the ideal of the cultural city based on the research result of cultural economy, which was actively conducted in the middle the 1960s. Most of all, in accessing the notion of the cultural city, it can be said that the cultural city is the city seeking prosperity through cultural aspects. When cultural city is defined as such, its content can be differentiated depending on how we define cultural. In what condition could we use cultural? In addition, when we approach the meaning of cultural city based on ideal, I would like to define it as a city that can sustain its cultural prosperity. Also, in this case, the cultural city can be different depending on how we could define cultural sustainability, and what can its elements be. Let us access the cultural city with the two following things. What type of city can be called cultural? Mere promoting such a city through advertising it on a website as being so will simply not do. Considering it based on cultural economy, a cultural city fundamentally needs to continually (re)produce, market, and spend its cultural goods. If this assumption is correct, cultural cities can be different depending on the definition of cultural goods. According to Professor D. Throsby in Macquarie University, Australia, who was President of International Cultural Economy Association, it is emphasized that cultural goods need to fulfill the following three conditions. They are the creativity (since creativity is needed in producing goods.), symbolization (the symbolic meaning will be delivered through dealing with the goods.), and intellectual property (cultural goods can be regarded as intellectual property.). In addition, according to Professor A. Klamer in Erasmus, Holland, which is the only place in the world where the department of cultural economy emphasizes those cultural goods, is formed through a social process. Also, in order for certain goods to become cultural goods, not only must it represent the identity of a certain group or region, but also continually provide inspirations or impressions of the related group. The reason that the paintings of Rembrandt or Van. Gogh come to symbolize Holland as its cultural goods is that when foreigners began to purchase their paintings during the twentieth century, the Dutch, too began to recognize the significance of the artists work. The same can be said of the reason for the windmill to become a symbol of Holland, as the Hollanders started to regard the windmill as a symbol of their nation. Thus, considering such factors, a cultural city must be one, with not only the aspect of creativity, but also one that produces, markets, and sells cultural goods, which represent the local or national identity and provide a continuous inspiration. Moreover, in relation to the cultural city, the most important thing is what kind of ideal the cultural city needs to manifest. In this paper, I would like to suggest the city which can be sustainable in making a cultural progress. In this respect, the ideal of the cultural city needs to have the four following elements. First, in order to become a culturally sustainable city, the city must consider the quality of the citizens lives and make it the highest priority to improve the creativity of the citizens. The quality of the citizens lives can be improved by reconsidering the amenities of the city. However, only when the following conditions are met, it can be improved. Along with rediscovering the original value of the locality, there is a need to create a circumstance that would further enable the citizens to appreciate the original local value. Considering that the quality of life can be improved only when the citizens can live their lives in artistic ways, there is a need to develop the circumstance in which they can discover and live their artistic lifestyle (W. Morris). Considering the point that the creative human will form the core part of the urban development, there is a need to make the suitable environment (R. Florida, 2005). Considering the fact that every citizen can be the human resource of creativity, there is a need to establish the circumstance, which develops the citizens creative mind (J. Ikegemi, 2003). Second, the city seeking the cultural sustainability must be one that provides equity in cultural resources and opportunity for both the current and future generations. In order to do so, it is necessary to reconsider the perception of the social value (extra benefits) that culture and art help obtain, and develop new ideas for earning capital. Culture and art create various extra benefits (selection value, existence value, bequest value, educational value, etc.) not only at the national level, but also locally. In general, cultural capital seems to be emphasized only from the perspective of concrete things, but what should be as important as the concrete thing is to actively discover the cultural capital of the original local value, revalue it, and recreate it. When it is decided to invest in cultural capital, it is an important task to understand the demand of the future generation. Third, the city seeking continuous progress needs to achieve the goal of equal opportunity to share the cultural resources. In this case, there is a need to solve the problem the superstar economy principal dominates the cultural resource market. Likewise, it will also need to develop the circumstance for the start-up of cultural business, and eliminate the inequality of consumption among the cultural consumers. In this case, it needs to access the problem from the perspective of the cultural outsider. Fourth, in order to become the city, which is sustainable in making a progress, there is a need to reconsider the perception of the co-dependence of the urban system. What we could learn from the experiences in the last decade is that in order to make continuous development, it is necessary that the urban policy and the environmental policy be inter-related. When interpreted from the cultural perspective, the city with the competitive power in the twentieth-first century is to become an ecological-oriented city. Also, when we develop the urban planning and all the policies of the city (medicine, welfare, education, etc.), we need to approach it with the cultural perspective. This is also the reason that we need to build schools, hospitals, rehabilitation centers, prisons, etc. with cultural and artistic mindsets. The cultural access to the public policy of the urbanity is one of the key elements in considering the ideal of the cultural city. 3. Assignments of Cultural City and Local Cultural Policy When we look at the assignments of the cultural policy, in order to materialize a city that can sustain cultural progress, we need to examine the four following facets. We need to provide chances for all citizens in the locality to develop their creativity, and bring about circumstances favorable to creative human resources. In this paper, I will call the preparing of such circumstances the building of the creative environment. R. Florida oriented the 3T strategy as three-core elements for the development of the local area: talent, technology, and tolerance. Considering that future society will be multi-ethnic or multi-cultural, it will be essential to enhance openness and tolerance in the city in order to attract creative human resources. It is crucial to remove market barriers in the national industry policy, the local policy, along with barriers against creative human resources who are entering the community, we need to invest in developing conditions suitable to their lifestyles and enhance humanistic atmosphere. Also, in encouraging the citizens creativity, and establishing the environment for creative human resources, training the coordinators, who link the artist, the citizen, and the company with one another, is becoming a crucial policy assignment. Such activities need to be started off by a third sector like an NGO rather than a profit-making organization. In relation to that, we must not be afraid of any risks that might exist various areas. Instead, we have to establish a useful system supportive of the networks of the challengers who come up with ideas and funds. Second, we need to actively adopt the principal of the urban marketing. Although urban marketing needs to start from the urban identity or the features of the city. It is practical and common to begin the marketing from upgrading the name of the city along the lines if its values (renaming it for better marketability). Actually, most marketing strategies adopted by many cities have developed have included changing the names of the cities, which has resulted in making the people feel certain changes. Thus, in order to establish the local image matched with the position of the cultural city its design, first, we need to rediscover the original value of the local area, and work to re-evaluate them in advance. Subsequently, the efficient local marketing is to establish a system of the urban culture development based on the features of the local area, and facilitate communication among local areas. In relation to such matters, experts at location marketing emphasize the need to bring out the strong points of the city after exploring its richness and complexity. For the cultural stock in a certain place can be further enriched through more professional location marketing. Third, we also need to perceive the economic base of a cultural city. Here, I will suggest the way of industrializing the local culture based on the Three-Layer Model of the cultural industry (Sang-oh Lim, 2004). In relation to the methods of industrializing the cultural resources of the local areas, the basic task to undertake is to develop the cultural industry of creative work, which plays the fundamental role in the cultural industry. The cultural industry of creative work includes not only the traditional art genres such as the decorative art and the performing art, but also goods and the service such as local festivals, theaters, halls, cultural materials, farms, manufacturing places, medical and welfare facilities, and schools, which are all provided in the local area. Thus, the cultural industry of creative work is based on the consideration of the art of the professional artists and creativity as a whole. Also, based on cultural creativity, the cultural industry of creative work, we need to understand the cloning-cultural industry. This is developed upon the progress of information and communication technology. The cloning-cultural industry has a certain difference from the cultural industry of the creative work that it can be developed as a radical technology reform and the cutting-edge industry. However, the cloning-cultural industry is significantly dependent on the quality level of the creative activities because it is difficult to expand its market unless the quality level of the cultural industry is high. Finally, the third part of the cultural industry is the visiting-oriented cultural industry. In recent years, the development of multimedia industry and the result of the cultural industry of the creative work have spread around the world. Thus, many who learn about the result of the cultural industry of the creative work through the information network and the reproduced goods want to visit certain places and/or participate in certain activities. The most significant factor in such a case is the number of visitors that can be invited to a given place. Thus, it is necessary to establish the appropriate local image in order for the cultural industry of a local area to become successful. The system through which people advertise the cultural resources of the local area domestically and globally. And the linear-rotation system of the cultural industry with the cultural industry of the creative work, the cloning-cultural industry, and the visiting-oriented cultural industry, which must all be based on the principal of marketing. 4. Toward the Learning City We need to take an idea of a creative city for being successfully. The creative city is a kind of a slogan, is not an ostensive. The main message of the creative city is that every place can solve the problem in that place with more imaginative, more innovative, and more creative ways. Especially, all of the cities are able to be the top in a field, only if they know their potential abilities; people, resources, and an environment etc. The most important thing is for us to change our thoughts. When we change our mind fundamentally, our will, responsibilities and energies are produced. We can change disadvantages of the place into advantages, and invent something from nothing. However, it is usually that even if we choose an ideal of the cultural city and have the developing strategies and policy issues, the developing process of the area is not like the plan. There are to be repetition of the success and fail or trial and error for trying to do it creatively. In result, the cultural city must be a learning city, which means to form expertise on successful experiences or failure, accumulation, succession, and development, to do benchmark the other area examples. Here is the reason for being a learning city.     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