<strong>Differing</strong> <strong>diversities</strong>when tackling new cultural movements, such as lifestyle groups, which <strong>of</strong>tenreassert their origins and loyalties in an anti-policy, non-hierarchical way. Thesame study also concluded that more research was needed into the questionsrelated to the implementation <strong>of</strong> a cultural planning approach.Two areas <strong>of</strong> research were identified which are still relevant today. The first concernsa need for experimentation and the piloting <strong>of</strong> new, more integrated andoverarching structures for policy-making capable <strong>of</strong> bringing together differentlocal government departments. As cultural planning has to be part <strong>of</strong> a larger strategyfor urban and community development, and has to make connections withphysical and town planning, with economic and industrial development objectives,with housing and public work initiatives, cultural planners need to link upwith other agencies responsible for planning and development.The issue here is that there is a need for experimenting with more open and creativestructures <strong>of</strong> policy-making. This can start with a retraining <strong>of</strong> policy makersand administrators so that they can acquire a broader knowledge <strong>of</strong> other disciplinesinvolved in the understanding <strong>of</strong> how the urban and social fabric <strong>of</strong> a locationfunctions. 1 For example, co-ordinated training schemes for local leaders, suchas government <strong>of</strong>ficials, artists, youth workers, developers and other communityrepresentatives, have been used effectively in some cities in the United States as atool for strategic community revitalisation, and for dealing with issues <strong>of</strong> civicparticipation, racial understanding and youth development. Examples <strong>of</strong> “leadershiptraining schemes” such as these could be adapted to the <strong>Europe</strong>an contextthrough a <strong>Europe</strong>-wide research programme.Another aspect linked to the development <strong>of</strong> new structures <strong>of</strong> policy-making isthat <strong>of</strong> the redefinition <strong>of</strong> organisational policies and goals. A reassessment <strong>of</strong> therole <strong>of</strong> civic institutions such as libraries and museums, for instance, can bothenable traditional institutions to discover new functions for themselves and helpthem to deal more effectively with issues <strong>of</strong> cultural diversity. Libraries, for example,can be pivotal points in assisting local communities to adapt to new challengesin society; they can become important access points to information and trainingfor local communities. Equally, museums can serve as a resource to any communitydealing with issues <strong>of</strong> multicultural understanding. Research on the diverserole these institutions can play has already been undertaken in the United States(Partners for Livable Communities) and in the United Kingdom (by the Comediaand Demos think-tanks) with encouraging results.The novelty <strong>of</strong> this approach lies also in the challenge it poses to the traditionalquasi-economic measures <strong>of</strong> output that have characterised public funding for cultureover the past twenty years. Culture and cultural institutions alike are seen inthis context as tools for the improvement <strong>of</strong> the quality <strong>of</strong> life <strong>of</strong> local communitiesand for providing the necessary resources to help them to develop skills, confidenceand organisational capacity.__________1. See Bianchini and Ghilardi Santacatterina, 1997: 85-87.130
Reasearch position paper 4On this last point, however, a word <strong>of</strong> caution concerning the evaluation <strong>of</strong> the“social impact” <strong>of</strong> arts-related initiatives needs to be introduced. In the past fiveyears, particularly in the United Kingdom, cultural development agencies haveincreasingly engaged in the debate around the development <strong>of</strong> more subtle andcreative ways <strong>of</strong> showing how quality <strong>of</strong> life can be improved through integrated,people-centred cultural activity. As a consequence, evaluation exercises have beencarried out focusing mostly on the positive effects that participation in arts-relatedactivities can have in dealing with cultural diversity; but the research underpinningthese evaluation exercises <strong>of</strong>ten tends to confuse indicators with “desirable outcomes”thus creating an obvious research bias (Matarasso, 1997).The issue here is that although there is a case to be made for advocating the importance<strong>of</strong> arts and cultural activities in generating equal participation and in fosteringcitizenship (as shown above in the Australian and American examples <strong>of</strong> culturalplanning), there is also a need to develop effective evaluation tools. Theseneed to be built at a conceptual level and through primary research (by, for example,comparing the outcome <strong>of</strong> a series <strong>of</strong> cultural planning projects implemented<strong>Europe</strong>-wide over a period <strong>of</strong> time).One other area for further research is related to the need for a conceptual and ultimatelysociological redefinition <strong>of</strong> what is meant by social, civic participationtoday. As two important aspects <strong>of</strong> cultural planning are cultural mapping andcommunity participation (for the development <strong>of</strong> any particular locality), the questionsurely has to be: what is the ethical basis <strong>of</strong> social life in contemporary multiculturalsocieties? How can we live together with our differences? These questionshighlight the importance a redefinition <strong>of</strong> social subjects will increasingly have inthe future. On this topic, Alain Touraine (2000) argues that, so far, we seem to bestuck between a “liberal” conception <strong>of</strong> universalism and a “communitarian”logic. The former appears to guarantee respect for difference and tolerance, but isso far removed from real social relations that it provides no principle for socialintegration and intercultural communication, and the latter instead tends to privilegehomogeneity over diversity only by falling back on a vague idea <strong>of</strong> tolerance.Along with Anthony Giddens (1991), Touraine argues that the definition <strong>of</strong> “subject”is one <strong>of</strong> the central elements in modernity. In Touraine’s view (2000: 138),the subject rests on the recognition that “every actor, collective or individual hasthe right to assert and defend himself as such, or in other words as an actor who iscapable <strong>of</strong> being involved in the technological world and at the same time, <strong>of</strong>recognising and reinterpreting his identity.”Similar preoccupations with the definition <strong>of</strong> the subject can also be found in thework <strong>of</strong> Stuart Hall, who maintains that resistance and policies which do not suppressheterogeneity <strong>of</strong> interests and identities are possible. These, in fact, makepolitical contestation possible without necessarily fixing political boundaries foreternity (1989: 130). In other words, social movements are increasingly shiftingthe core <strong>of</strong> collective action from politics to ethics.A renewed interest in ethical discourse clearly shows the need to conceptualise adifferent intellectual and pragmatic space in which to envisage social interaction,131
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PrefaceThe present text constitutes
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Part IDiffering diversities:transve
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The challenge of diversityCulture,
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