<strong>Differing</strong> <strong>diversities</strong>the changing demographics and new cultural tastes? Structural analysis also examinesthe texts <strong>of</strong> minutes and reports to determine whether boards are sensitive tothe need for cultural programming that supports diversity based on the post-secondworld war ideas <strong>of</strong> human rights and the equality <strong>of</strong> citizens. In addition to theactors themselves and their decisions, a structural analysis examines the institutionalchannels afforded to migrant and ethnic organisations to access the culturalresources controlled by those organisations.Evaluations by watchdog organisationsEvaluations by “watchdog” organisations, such as the National Association for theAdvancement <strong>of</strong> Colored People (NAACP) and the <strong>Council</strong> on EconomicPriorities, have produced some <strong>of</strong> the most impressive improvements in expandingdiversity in the culture and media industries. Even Fortune magazine now collaborateswith the non-pr<strong>of</strong>it <strong>Council</strong> on Economic Priorities to rank the fifty bestcompanies for minorities on fifteen different quantitative and qualitative measures.Watchdog organisations use a variety <strong>of</strong> evaluation strategies including:i. Nelson polls <strong>of</strong> visible minorities to rate how much the cable, broadcast, andnewspaper industries contribute diversity coverage and respond to diversitycultural interests;ii. monitoring the effectiveness <strong>of</strong> programmes to promote diversity in culturalindustries (for example, programmes in leading multinational corporationssuch as Disney, New York Times, CMP Media, SBC Communications),including measuring the percentage <strong>of</strong> minorities at senior, middle and linemanagerial ranks who are hired and retained and customer surveys about theresponsiveness and quality <strong>of</strong> services to diverse customers and audiences;iii. analysing the percentage <strong>of</strong> ethnic minorities on boards <strong>of</strong> companies in thecultural industries;iv. publishing lists <strong>of</strong> organisations that have done the most to make employees <strong>of</strong>all races into full participants;v. interviewing minority executives to determine the percentage that have beenthe target <strong>of</strong> racial or cultural jokes at work;vi. assessing organisational opportunities and corporate culture for minorities inthe cultural sector.The publication <strong>of</strong> these evaluation results and advocacy efforts by minority coalitionshave resulted in ground-breaking diversity initiatives in the American advertising,cable-TV, broadcast, motion picture, and newspaper industries. Many <strong>of</strong> thebusinesses have signed “diversity pacts” ensuring more minority representation onboth the executive and talent sides, appointed senior vice-presidents to be accountablefor implementation, expanded minority recruitment and retention programmesand internships at various operating divisions, increased the use <strong>of</strong> minority-ownedmedia to promote cultural products, and set a minimum percentage <strong>of</strong> minority procurementon goods and services where qualified minority suppliers were available.100
Reasearch position paper 2The evaluation and advocacy methods developed by watchdog groups have thepotential to increase diversity if applied to mainstream cultural organisations.Analyses <strong>of</strong> newspapers to compare discourses <strong>of</strong> multiculturalism and assessthe collective claims <strong>of</strong> migrants, ethnic minorities, and indigenous peoplesQuantitative and qualitative content analyses <strong>of</strong> samples <strong>of</strong> print media have beenused to compare discourses <strong>of</strong> multiculturalism and differences in <strong>of</strong>ficial culturaldiversity policy between countries (Luchtenberg and McLelland, 1998).A variation <strong>of</strong> “protest event analysis” (Olzak, 1989; Rucht, Koopmans andNeidhardt, 1998) has been used to evaluate the collective claims <strong>of</strong> migrants, ethnicminorities, and indigenous peoples drawn from a content analysis <strong>of</strong> dailynewspapers. Acts are included if they involve demands, criticisms, or proposalsrelated to the regulation or evaluation <strong>of</strong> immigration, minority integration, multiculturalism,and access to cultural products or resources. Description bias is controlledby coding only the factual coverage <strong>of</strong> statements and events and selectingquality newspapers. For example, for Maori the agenda is not only to maintain culturalindependence within the sovereign New Zealand state and resist assimilation,but also to challenge the legitimacy <strong>of</strong> that state and that majority culture. Thisagenda is reflected in their collective claims and may be witnessed through contentanalyses <strong>of</strong> newspapers and other media. This evaluation strategy also may beused to compare the claims made by migrants, ethnic minorities, and indigenouspeoples from different jurisdictions or countries.Comprehensive economic impact assessmentEconomic impact is seen as an indirect measure <strong>of</strong> cultural policy effectiveness, anindicator <strong>of</strong> public engagement and participation, and as an analytic tool for evaluatingpolicy. Comprehensive economic impact analysis <strong>of</strong> the arts and culturalinstruments is useful in two ways: to help policy makers and donors determinetheir return on investments (ROI) and allocate resources and to create evidencethat justifies funding for the arts.The economic impact <strong>of</strong> immigrants and ethnic groups is being recognised interms <strong>of</strong> increased demand for new cultural products and substitute products (forexample, ethnic movies and TV programmes), and the influence <strong>of</strong> these groupson shifting government funding to diverse communities from mainstream culturalorganisations. Conventional economic impact analysis, however, usually focuseson how arts and cultural tourism affect the local economy by attracting outsideincome. It does not consider how the arts influence the economy by affecting localresidents, including culturally diverse groups, and their quality <strong>of</strong> life. Since comprehensiveeconomic impact analysis is essential, evaluators are now linking contingencyvaluation techniques (Thompson, 1998) to traditional economic impactstudies and supplementing audience surveys with participatory evaluation methods,as well as with public opinion and attitudinal surveys (Balfe and Peters, 2000)focused on specific target audiences, such as diverse groups.101
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PrefaceThe present text constitutes
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Part IDiffering diversities:transve
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The study: background, contextand m
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Differing diversitiesi. new forms o
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IntroductionTransversal perspective
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The challenge of diversityCulture,
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Diversity, citizenship, and cultura
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Differing diversitieslanguages. The
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Differing diversitiesprogrammes int
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Sales agents for publications of th