스웨덴 문화정책의 새로운 패러다임 모색
A Research on the new paradigm of cultural policy in Sweden
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In this study I discuss the cultural policy determined by the Swedish government and parliament. Sweden's parliament laid down the objectives and basic principles of Swedish cultural policy in 1974 and the Swedish Arts Council was founded in 1974. In order to view on the history of Swedish cultural policy, I introduce Peter Duelund's model on cultural policies in the Nordic countries. He divides the transition of the policies in four phases: The Democratization of Culture(1960-1975), Cultural Democracy(1975-1985), Social and Economic Instrumentalisation(1985-1995), and Economic and Political Colonisation(1995-2007). Cultural policies always reflect the political and economic struggles to establish a frame for artistic and aesthetic expression and other direct and indirect tools that governments and the state apparatus use to fund, stimulate and reguilate the production, distribution and consumption of art. But after Riitta Heinämaa's report, “The Model of Four Moduler - New Nordic Program for mobility and residence" in 2006, the objectives and basic principles of the cultural policy in Sweden were revised. The constantly changing environment, globalisation, and growing competition had effected all art forms, which were also facing new challenges of cultural diversity, and interdiciplinary practices. For various reasons, Sweden's parliament and the Swedish Arts Council is seeking for new paradigm of cultural policy. In 2007 the new programs began and Nordic Culture point was founded to administrate them. In recent years the goal of the Swedish Arts Council is to renew and revitalize Nordic culture co-operation and art in the Nordic region and stimulate new impulses and initiatives from the local, national, regional and international operators, organizations and institutions. Furthermore, it contributes to establishing Nordic culture co-operation and art as an important element among cultural operators in the Nordic countries and autonomous areas and making this co-operation visible in a global context.
Abstract
In this study I discuss the cultural policy determined by the Swedish government and parliament. Sweden's parliament laid down the objectives and basic principles of Swedish cultural policy in 1974 and the Swedish Arts Council was founded in 1974. In order to view on the history of Swedish cultural policy, I introduce Peter Duelund's model on cultural policies in the Nordic countries. He divides the transition of the policies in four phases: The Democratization of Culture(1960-1975), Cultural Democracy(1975-1985), Social and Economic Instrumentalisation(1985-1995), and Economic and Political Colonisation(1995-2007). Cultural policies always reflect the political and economic struggles to establish a frame for artistic and aesthetic expression and other direct and indirect tools that governments and the state apparatus use to fund, stimulate and reguilate the production, distribution and consumption of art. But after Riitta Heinämaa's report, “The Model of Four Moduler - New Nordic Program for mobility and residence" in 2006, the objectives and basic principles of the cultural policy in Sweden were revised. The constantly changing environment, globalisation, and growing competition had effected all art forms, which were also facing new challenges of cultural diversity, and interdiciplinary practices. For various reasons, Sweden's parliament and the Swedish Arts Council is seeking for new paradigm of cultural policy. In 2007 the new programs began and Nordic Culture point was founded to administrate them. In recent years the goal of the Swedish Arts Council is to renew and revitalize Nordic culture co-operation and art in the Nordic region and stimulate new impulses and initiatives from the local, national, regional and international operators, organizations and institutions. Furthermore, it contributes to establishing Nordic culture co-operation and art as an important element among cultural operators in the Nordic countries and autonomous areas and making this co-operation visible in a global context.
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