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Expediency of Culture , livre ebook

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477 pages

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The Expediency of Culture is a pioneering theorization of the changing role of culture in an increasingly globalized world. George Yudice explores critically how groups ranging from indigenous activists to nation-states to nongovernmental organizations have all come to see culture as a valuable resource to be invested in, contested, and used for varied sociopolitical and economic ends. Through a dazzling series of illustrative studies, Yudice challenges the Gramscian notion of cultural struggle for hegemony and instead develops an understanding of culture where cultural agency at every level is negotiated within globalized contexts dominated by the active management and administration of culture. He describes a world where "high" culture (such as the Guggenheim Museum in Bilbao, Spain) is a mode of urban development, rituals and everyday aesthetic practices are mobilized to promote tourism and the heritage industries, and mass culture industries comprise significant portions of a number of countries' gross national products.Yudice contends that a new international division of cultural labor has emerged, combining local difference with transnational administration and investment. This does not mean that today's increasingly transnational culture-exemplified by the entertainment industries and the so-called global civil society of nongovernmental organizations-is necessarily homogenized. He demonstrates that national and regional differences are still functional, shaping the meaning of phenomena from pop songs to antiracist activism. Yudice considers a range of sites where identity politics and cultural agency are negotiated in the face of powerful transnational forces. He analyzes appropriations of American funk music as well as a citizen action initiative in Rio de Janeiro to show how global notions such as cultural difference are deployed within specific social fields. He provides a political and cultural economy of a vast and increasingly influential art event- insite a triennial festival extending from San Diego to Tijuana. He also reflects on the city of Miami as one of a number of transnational "cultural corridors" and on the uses of culture in an unstable world where censorship and terrorist acts interrupt the usual channels of capitalist and artistic flows.

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Cultural studies

Latin America

History of the Americas

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Publié par	Duke University Press
Date de parution	23 janvier 2004
Nombre de lectures	0
EAN13	9780822385370
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1648€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

THE EXPEDIENCY OF CULTURE

 - 



Series Editors:

Stanley Fish and

Fredric Jameson

THE EXPEDIENCY of CULTURE Uses of Culture in the Global Era

GEORGE YÚDICE     

Durham and London 

Printed in the United States of

America on acid-free paper 

Typeset in Quadraat by Tseng

Information Systems, Inc.

Library of Congress Cataloging-

in-Publication Data appear on

the last printed page of this book.

Chapter  was originally published

inCultures of Politics, Politics of

Cultures: Re-Visioning Latin American

Social Movements, edited by Sonia E.

Alvarez, Evelina Dagnino, and

Arturo Escobar. Boulder, CO:

Westview Press, .

CONTENTS

Acknowledgments, vii

Introduction, 

The Expediency of Culture, 

The Social Imperative to Perform, 

The Globalization of Culture and the New Civil Society, 

The Funkiﬁcation of Rio, 

Parlaying Culture into Social Justice, 

Consumption and Citizenship?, 

The Globalization of Latin America: Miami, 

Free Trade and Culture, 

Producing the Cultural Economy: The Collaborative Art ofin, 

Conclusion, 

Notes,  Works Cited,  Index, 

ACKNOWLEDGMENTS

This book could not have been written without the myriad discussions and debates with friends and colleagues. Some of these go back decades and in-form my everyday views of the world. Sohnya Sayres, Juan Flores, Jean Franco, Néstor García Canclini, Daniel Mato, Toby Miller, Andrew Ross, Randy Martin, Doris Sommer, Silviano Santiago, Heloísa Buarque de Hollanda, Beatriz Re-sende, Alberto Moreiras, Idelber Avelar, John Kraniauskas, Mirta Antonelli, and many others are part of this transnational interpretive community. I am particularly appreciative of the time and eﬀort that Toby Miller, Andrew Ross, Larry Grossberg, Alberto Moreiras, Luis Cárcamo, Micol Seigel, Sonia Alva-rez, Arturo Escobar, and Ana María Ochoa dedicated to reading and making speciﬁc comments on one or more chapters. Néstor García Canclini’s review of the Spanish version, as well as Gabriela Ventureira’s excellent translation, added signiﬁcant and highly appreciated insights. I am also indebted to my editor at Duke University Press, Ken Wissoker, and to the various institutions that have given me support to conduct research on this book over the years: the -Research Award for research in Brazil; the U.S.-Mexico Fund for Culture, for a grant to study how diversity is construed diﬀerentially in Mexico and the United States; the Rockefeller Foundation’s Post-Doctoral Humani-ties Fellowship Program, which enabled me to coordinate research on cultural policy as part of the Privatization of Culture Project at New York University; and New York University’s various forms of support. To these individuals and institutions, as well as to the many others mentioned in the pages that follow, I give my heartfelt thanks.

INTRODUCTION

At a recent international meeting of cultural policy specialists, aoﬃ-cial lamented that culture is invoked to solve problems that previously were the province of economics and politics. Yet, she continued, the only way to convince government and business leaders that it is worth supporting cultural activity is to argue that it will reduce social conﬂicts and lead to economic de-velopment (Yúdice b: ). This book aims to provide an understanding, and a series of illustrations, of how culture as an expedient gained legitimacy and displaced or absorbed other understandings of culture. Permit me to stress at the outset that I am not reprising Adorno and Horkheimer’s critique of the commodity and its instrumentalization. As I explain in chapter ,culture-as-resourceis much more than commodity; it is the lynchpin of a new epistemic framework in which ideology and much of what Foucault called disciplinary society (i.e., the inculcation of norms in such institutions as education, medi-cine, and psychiatry) are absorbed into an economic or ecological rationality, such that management, conservation, access, distribution, and investment— in ‘‘culture’’ and the outcomes thereof—take priority. Culture-as-resource can be compared with nature-as-resource, particularly 1 as both trade on the currency of diversity. Think of biodiversity, including tra-ditional and scientiﬁc knowledge thereof, which, according to the ‘‘Conven-tion on Biological Diversity,’’ must be fostered and conserved to ‘‘[maintain] its potential to meet the needs and aspirations of present and future genera-tions’’ (‘‘Convention’’ :). Taking into consideration the proclivity of pri-vate enterprise to seek proﬁt at all costs, the tendency of developed nations to have an advantage over developing countries, the greater legitimacy of scien-tiﬁc over traditional knowledge, ever increasing pollution, and so on, the major issue at hand becomes management of resources, knowledges, technologies, and the risks entailed thereof, deﬁned in myriad ways. Culture, for most people, does not evoke the same sense of life-threatening urgency, although it is true that many lament the ravages that tourism, fast

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