Cultural Institutions

CULTURE INSTITUTIONS IN POLAND  THE SPECIFICITY
OF ORGANISATION AND FINANCING
For the average culture recipient the most important is attractive artistic and educational offer;
there is no interest who (what formal entity) is responsible for the project and its fi nancing (specially
in the case of a free of charge offer). For all the failed projects citizens very often blame local
government. Meanwhile, cultural activities can be carried out in Poland by very different individuals
and entities, legal and physical. Not everyone can create and lead a “culture institution”.
Author of the text shows the specifi city of organisation and fi nancing of Polish public institutions
on the background of the Act on Organising and Conducting Cultural Activity of 25 October 1991
(OJ 1991, No. 114, item. 493 with later amendments), taking into account its last novelisation from
31th of August 2011. We can also fi nd there information on different categories of culture institutions
in Poland in this article: separated lately artistic and others; according to the organisers, created
in the process of decentralization: led by local governments, national institutions and professional
specialized institutes (devoted to one branch), as well as institutions co-led or co-fi nanced by
both: local governments and the culture ministry. We can learn there also about the formal and organisational
differences between culture houses and culture centers in Poland (acting on the Act on
Organising and Conducting Cultural Activity and the youth culture centers (working on the Act on
Education System of 7th September 1991 with further amendments).

Community of Krakow's cultural institutions

The article is a chapter of the report from the research project "Krakow's recipient of culture". The author describes the community that uses 27 Krakow cultural institutions that had taken part in the research project. The conceptual field of the term 'cultural institution' is examined, the role of sociability and audience movement between institutions is emphasized. Finally, the characteristics of practices undertaken by communities in cultural institutions are presented. In the summary, the author explains the title concept of "cultural paucivores".

Internet jest często przedstawiany jako wirtualny byt, który sprawia, że ludzie nie odwiedzają instytucji kultury, nie korzystają z ich oferty. Badania uczestnictwa w kulturze, w tym to przeprowadzone w 2017 roku w Warszawie, pokazują jednak, że osoby uczestniczące online w kulturze niemal bez wyjątku korzystają z niej również offline. Odwiedzają instytucje kultury, chodzą na wystawy i koncerty.

Oznacza to, że instytucje kultury mogą szukać w internecie swojej pub-liczności. Wymaga to uznania, że uczestniczenie w kulturze jest możliwe zarówno offline, jak i online. Wykorzystanie takiego podejścia pozwoliłoby instytucjom kultury na rozszerzenie swojej oferty i rodzajów doświadczeń, które zapewniają swoim odbiorcom.

Wyniki omawianych przez nas badań wskazują również, że zdecydowana większość badanych ma wystarczające kompetencje cyfrowe, aby uczestniczyć online w kulturze. Zarazem oferta online mogłaby tworzyć ważne pole do integracji osób wykluczonych cyfrowo, o ile towarzyszyłyby jej działania służące wyposażaniu tej grupy w odpowiednie umiejętności. Oferta online może również przyczyniać się do niwelowania przez instytucje kultury innych czynników zwiększających ryzyko wykluczenia. Do takich czynników należą trudności z przemieszczaniem się i bariera finansowa. Rola instytucji kultury w niwelowaniu tego zjawiska z pewnością jest istotna.

Instytucje kultury nie pozostają w tych nowych dla siebie obszarach same. Wśród warszawskich, innych polskich oraz zagranicznych instytucji wiele rozpoczęło już transformację cyfrową. Dzielą się też informacjami o różno-rodnych korzyściach, które płyną dla nich z tej zmiany. Instytucje kultury funkcjonują w ekosystemie, który wspiera transformację cyfrową-zarówno ze strony odbiorców, którzy już są aktywni w internecie, w tym uczestniczą online w kulturze, jak i ze strony grantodawców, którzy wspierają tę zmianę finansowo.

S filozofkou Alicí Koubovou o performanci, společenské roli kultury a etice péče. Jakou roli hraje téma performance ve filosofii? Je možné se performancí v její tělesnosti a situačnosti věnovat v akademickém prostředí? Má performance reflexivně-kritickou, nebo transformativní funkci a za jakých podmínek? Jaký vztah má kultura k demokracii? Jaké byly různé reakce na pandemii v kulturní oblasti a proč? Co jme zjistili o tělu a digitalitě? Jaká je budoucnost kultury, péče a financování? Strana 3-7.

This murkiness when it comes to the contemporary role of the cultural institution (in spite of the fact that each has its own statute, clearly outlining why it was created) comes from the fact that culture is a sphere of life in which the symptoms of the radical social, technological, and political changes are most evident at present.
This does not happen by accident, for culture is a highly ambivalent part of reality. On the one hand, it is central, for it defines who we are, how we live and think, and what commands our attention; on the other, for many it is dispensable, seen as a frill, a fifth wheel, an excess, and an extravagance. Because culture seems marginal, it is also the best space for experimentation. It allows us to see tomorrow today. In culture we see most clearly what is coming, it carves out new forms of individual and collective identity. That is why in culture we most often ask right now: Why do we need institutions? For the time being, just about no one is asking if school is necessary, or if the law or health services are necessary. And if they do, it is in the sphere of culture – as an artist or an animator. Meanwhile, just about everyone asks: Why do we need culture? Why do we need cultural institutions?

Podstawowa rola instytucji, czyli regulacja ludzkich zachowań w taki sposób, by zaufanie, solidarność i kooperacja stały się możliwe, ma oczywiście swoją drugą stronę – cenę, jaką musimy zapłacić za bycie razem. Tą ceną jest przymus, podleganie konwenansom, konieczność
spełniania oczekiwań innych ludzi i kompromisy, które zawieramy, by móc działać. To pierwszy powód, dla którego rozmowa o instytucjach
kultury jest tak ważna i istotna. Jej stawką jest przecież określenie, kim chcemy być, jaki kształt ma przyjmować wspólnota, której jesteśmy uczestnikami, co ma być podstawą naszych wzajemnych relacji. Drugi powód to zmieniający się status oraz nieokreśloność roli, jaką chcą i mogą pełnić instytucje kultury. Najlepszym dowodem na tę niejasność jest plątanie się języka, gdy próbujemy określić, dlaczego instytucje kultury są istotne. Kiedy próbujemy uzasadnić ich istnienie, a ostatnio robimy to nader często, wpadamy albo w patos, albo całkowicie je instrumentalizujemy, albo sięgamy po języki tym instytucjom obce – na przykład język ekonomii czy polityki – w których nie bardzo możemy
się pomieścić.

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The project of cultural sociology developed by Boris Dubin and his colleagues is often remained out of frames in the discussion of their works. A thorough consideration of the principles of cultural analysis which is based on the works of Boris Dubin and Lev Gudkov in the field of sociology of literature can give us an opportunity to reevaluate the place of this project in the history of the humanities in last decades. Ноwever the study of the evolution of the project reveals some conceptual tensions. Further discussion of these tensions seems to be useful as for the productive reception of this project as for the comprehension of the significance of Dubin&rsquo;s works of 1900s &ndash; 2000s in its proliferation.

Art museum professionals are required to 'believe in art' in order to do their jobs. Sustaining this belief in art is an essential component of what secures the 'art-museumness' of art museums. Art museums may have evolved and diversified in the past few decades, becoming more hybrid institutions where a more diverse range of activities is allowed to take place, but what has not changed is the centrality of works of art as objects of dedicated contemplation within these spaces.  In this essay, I argue that their very status and identity as“art museum”sets limits to what art museums can do to change in their efforts to democratise themselves. Through a case study of two prominent art museums in Sydney, Australia, I show that such efforts are likely to be blunted when the very art-museumness of a particular museum is problematized.

Oddajemy w Państwa ręce książkę będącą efektem projektu naukowo-badawczego, którego podstawowym założeniem była chęć zaspokojenia ciekawości i lepszego zrozumienia funkcjonowania instytucji kultury oraz potrzeb jej odbiorców (…). (…) brak monitorowania uczestnictwa w kulturze i opinii odbiorców na temat funkcjonowania instytucji kultury powoduje, że decyzje są podejmowane przez zarządzających instytucjami w oparciu o ogólną znajomość problemu, a nie faktycznie zidentyfikowane potrzeby. Potwierdzają to doświadczenia samych instytucji i ich coraz częstsze próby realizowania badań wśród własnej publiczności, choć na ogół na potrzeby działań marketingowych i bez rozpoznania faktycznych potrzeb. Badacze wyszli z założenia, że dialog między menedżerami kultury i ich konkretnymi odbiorcami, polegający na stałym monitorowaniu potrzeb, prowadzi do usprawniania zarządzania oraz wzrostu poziomu satysfakcji obu stron, zarówno nadawców kultury (instytucji, organizacji), jak i jej odbiorców. Celem podjętego działania stało się więc przyczynienie się do wypracowywania nawyku prowadzenia dialogu instytucji z odbiorcami oferty – zmierzającego w stronę stałego monitorowania potrzeb odbiorców kultury. To monitorowanie jednak powinno odbywać się na znacznie szerszą skalę, niż na poziomie konkretnej instytucji. Wydaje się, że i organy administracji publicznej zaczynają dostrzegać taką potrzebę (…). Ze Wstępu RAPORT Z PROJEKTU NAUKOWO-BADAWCZEGO

French rule over Syria and Lebanon was premised on a vision of a special French protectorate established through centuries of cultural activity: archaeological, educational and charitable. Initial French methods of organising and supervising cultural activity sought to embrace this vision and to implement it in the exploitation of antiquities, the management and promotion of cultural heritage, the organisation of education and the control of public opinion among the literate classes. However, an examination of the first five years of the League of Nations-assigned mandate, 1920-1925, reveals that French expectations of a protectorate were quickly dashed by widespread resistance to their cultural policies, not simply among Arabists but also among minority groups initially expected to be loyal to the French. The violence of imposing the mandate 'de facto', starting with a landing of French troops in the Lebanese and Syrian coast in 1919 - and followed by extension to the Syrian interior in 1920 - was met by consistent violent revolt. Examining the role of cultural institutions reveals less violent yet similarly consistent contestation of the French mandate. The political discourses emerging after World War I fostered expectations of European tutelages that prepared local peoples for autonomy and independence. Yet, even among the most Francophile of stakeholders, the unfolding of the first years of French rule brought forth entirely different events and methods. In this book, Idir Ouahes provides an in-depth analysis of the shifts in discourses, attitudes and activities unfolding in French and locally-organised institutions such as schools, museums and newspapers, revealing how local resistance put pressure on cultural activity in the early years of the French mandate

`This excellent study is a welcome addition to the scholarship on the inter-war mandates of Syria and Lebanon. Ouahes focuses on the cultural institutions through which the French authorities imposed their rule, ably demonstrating the ways in which the mandate system was transformed into a political and cultural framework akin to colonialism. While tracing the disillusion and contestations that ensued, he nonetheless discusses the impact and disparate legacy of the period on both the French and the diverse populations of the two mandates.' - Patricia M.E. Lorcin, Professor of History and Samuel Russell Chair in Humanities, University of Minnesota-Twin Cities, `Resisting the imposition of French imperial control in 1920s

'Syria was never solely a matter of violent opposition. Ranging from classrooms and museums, to archaeological sites and vernacular journalism, in this richly evocative text Idir Ouahes reveals how Syrians contested the imposition of French Mandate rule in the realms of cultural heritage, educational provision and print media.' - Martin Thomas, Professor of Imperial History, University of Exeter

The culture can be understood as a way of life in which people rely on tradition and creatively utilize the present reality with new achievements and new values that promote the human rights and freedoms. The cultural needs are important factor for the social groups, the audience and the groups that are active in creating free time activities, festivals, manifestations etc. The role of the cultural institutions is of great importance for civic education, because through them citizens can function as an active, informed and culturally noble person in society. Every citizen of a society has the inalienable right to culture and cultural policy because it stands for the regulation of interests in culture and decision-making in all matters relating to the cultural development of a global society.(Шешиќ&Стојковиќ, 2003) The main feature of the democratic way of thinking is that a number of different cultures create wealth offered by cultural values and should be nurtured. The democratic principle of the rights and freedoms of man aims to enable all citizens to equally participate as creators and consumers of culture.

Lucrarea prezintă datele și concluziile cercetării realizată in 1986 despre implicarea instituţiilor de cultură in educarea tinerei generaţii și este alcătuită din capitolele: 1. Locul activităţilor cultural-educative in sistemul educaţiei permanente 2. Cadrul organizaţional specific al activităţii culture ale a tineretului 3. Ipotezele cercetării, obiectivele, metodologia şi lotul investigat 4. Importanţa acordată culturii in raport cu alte valori 5. Gradul de frecventare a caselor de cultură şi a cluburilor 6. Interese pentru activităţile caselor de cultură 7. Opţiunile pentru activităţile care ar trebui să ocupe locul principal in programele casei de cultură 8 . Condiţii şl scopuri ale activităţii casei de cultură 9. influenţa caselor de cultură asupra formării spirituale 10. Participarea Ia activităţile caselor de cultură 11. Concluzii şi sugestii pentru activitatea viitoare Cercetarea a subliniat gradul relativ mic de frecventare a caselor de cultură şi a cluburilor. Dintre toa...

Research on the history of the book, publishing, and the press during the Greek interwar period has advanced significantly over the past few years. In this context, notable efforts have been made to describe and explain the specific issue of the interwar publishing crisis. Using existing literature and the capabilities of modern digital databases –with a view to obtaining a broad overview of literary history– this paper proposes a new interpretation of this particular issue. As I argue, the journalistic and critical discourse from the 1930s on the crisis in the Greek book market is a manifestation of a broader corporate rhetoric, linked to the foundation of the first writers’ unions and the welfarist cultural policy for the commercial promotion of the Greek literary book.

The purpose of this paper is to outline Instagram’s increasing impact on arts organisations, through providing a platform to increased audience engagement and influence on exhibition programming. This paper provides further research into how Instagram bridges the visitor and gallery relationship whilst facilitating to Stokel- Walker’s (2016) two-way participatory communication methodology whilst exploring how Instagram’s impact on contemporary exhibition programming and curatorial practice facilitates Russo’s (et, al. 2008) many-to-many communication methodology. Through a series of case studies, interviews and research undertook through the documentation of live project titled Lost Generation, this paper provides advanced research on the art gallery and Instagram relationship in order to fulfil a gap within contemporary literature.

En 1674, Jean de La Bruyère achète un office de trésorier des finances à Caen. C'est peut-être peu de temps après, à l'occasion d'une visite professionnelle dans les sièges des élections bas-normandes, qu'il découvre la petite ville traditionnellement identifiée à Coutances (2). Le moraliste parisien ne semble pas avoir apprécié la société locale ; il écrit : "Je descends dans la ville où je n'ai pas couché deux nuits que je ressemble à ceux qui l'habitent : j'en veux sortir."<31 Vers la même époque, pourtant, le Mercure galant<41 se fait l'écho de la constitution, à Coutances, d'un cercle de gens de lettres qui se donne le nom d'"académie" <51 • À l'inverse de La Bruyère, l'un des membres, le sieur de La Fevrerie, habitant de Coutances, dépeint la ville comme un foyer culturel brillant :

Media społecznościowe stały się czwartą władzą także w Polsce. Korzysta z nich kilkanaście milionów Polaków i niemal miliard osób na całym świecie. Branża kultury ma się w nich szczególnie dobrze - lub przynajmniej powinna tak się miewać - ze względu na stosunkowo niski próg wejścia odbiorców jej komunikacji w interakcję z organizacjami ją reprezentującymi. W Polsce w ostatnich latach mieliśmy do czynienia z kilkoma naprawdę kreatywnymi i przebojowymi kampaniami z wykorzystaniem mediów społecznościowych oraz kilkoma mniej spektakularnymi, jednak prowadzonymi w sposób konsekwentny i przynoszącymi dobre rezultaty (wśród nich muzea, teatry i spektakle teatralne oraz wydarzenia kulturalne). W referacie chciałem omówić zarówno te przebojowe, jak i te systematyczne kampanie reklamowe polskich instytucji kultury w mediach społecznościowych oraz przedstawić perspektywy jakie nowe kanały komunikacji wielostronnej online otwierają przed branżą kultury.

The book deals with the cultural dimension in the processes of integration between Latin American countries.
The present collections are result of a partnership between the Faculty of Philosophy, Letters and Human Sciences (FFLCH) from the University of São Paulo.
In the chapter with the same title as the book, we record the history of Casa Latino-Americana as a cultural agent in the area of ​​education, culture and human rights.

Matchmakers are an ancient social institution in China whose services were long imposed by the Imperial government as a means to control families and social mores. Considered as an obstacle to the emancipation of the new generations at the turn of the twentieth century, and as such as a cause of China’s backwardness, they were forbidden by the Communist regime. However, the practice of matchmaking never completely disappeared, and the economic reforms implemented since the 1980s seem to have accelerated its reinvention. Whereas traditional matchmakers were an indispensable part of any “respectable” marriage, today, they connote a lack of personal autonomy on the part of the bride and groom. The rein- vented social position of matchmakers again raises the classical theoretical question of the role of the individual and of personal feelings in the choice of a spouse in China. The present article addresses this question through an ethnographic analysis of a marriage agency in the city of Chengdu.

The theme of the thesis is culture and cultural institutions in education of elementary school pupils. It analyses the attitude of deaf pupils and their teachers toward museums, galleries, theatres and libraries and it examines the accessibility of these institutions in the Czech Republic, France and Sweden. The thesis is divided in seven chapters of which four are theoretical and three empirical. The first chapter contains theoretical starting points of disability and special pedagogical discipline – Deaf Studies. The second chapter is all dedicated to the system of education of deaf pupils from both historical and present day perspective and is followed by the third chapter, which sets forth in detail the educational systems of three countries: the Czech Republic, France and Sweden. The fourth chapter deals with the phenomenon of culture the subject of accessibility of cultural institutions to the deaf public. The research part is composed of three chapters. This part of thesis deals with the subject of cultural institutions in education of primary school deaf pupils and their teachers. It also deals with accessibility of Czech and foreign museums, galleries, theatres and libraries to deaf public and deaf readers. This last chapter represents an independent qualitative output of the research inquiry, the „Open Museum“ project. This is a comprehensive recommendation for practice in education, special needs education and also museum or gallery practice.

Over the last decades organizational identity has received much attention by scholars due to its complexity as a multilevel notion that not only deals with individual and organizational issues, but also incorporates interrelations with organizational image and culture. Nevertheless, the majority of these studies focus on enterprises while theoretical encounters and empirically based discussions remain limited for cultural institutions. Thus, there emerges the need to explore and conceptualize how identity dynamics operate within the arts and culture field. This chapter, therefore, aims at discussing the theme of identity construction in cultural institutions with a social constructionist approach. In line with this approach, our intention is to trace collective understandings of the features presumed to be central and relatively permanent, and that distinguish the organization from other configurations. In other words, what we mean here by identity construction is not only the design of the identity system and organizational self-descriptions but also the definition of the institution's mission as a social actor and its diffusion in the overall organizational structure, physical establishment and activities in a world of continuous cultural change.

From this perspective, SALT appears as an interesting case study; it is a large scale cultural institution that was established in 2011 by a private bank with the merger of three diverse cultural organizations in Turkey. Through examining SALT, we intend to provide an empirically based account of organizational image, practices, norms, symbols and traditions, and their role in providing substance to identity dynamics. We argue that, unlike enterprises, cultural institutions encompass also public good nature and operate within different internal and external stimuli. Hence, there is a close reciprocal relationship between organizational identity, collective self-perceptions and the way manifestations of organizational image and culture are internalized by the wider community. Therefore, further reconsiderations of established theories on organizational identity and their adoption in the arts and culture field are of crucial importance to guide these institutions in their quest for building an identity and achieving a balance between production, creativity and survival.

The specificity of the case study stems from the fact that SALT achieved the construction of a multi-layered dynamic identity that is based on the idea of constant change and experimental thinking. The organization is a pioneer with its wide range of activities, particularly high importance given to research, governance model and production system along with the characteristics of the relation with the founder, Garanti Bank. Moreover, contextual characteristics of the field in Turkey as a developing country entail further challenges to balance internal and external stimuli in identity construction.

Even tough it is difficult to clarify SALT's keys for success, some main principles can be highlighted as; interdisciplinarity, collectivity, programmatic sovereignty of the institution and continuous search for ways to include and protect the interests of the general public. Also, meticulous work and intellectual discussions dedicated to planning and preparation for the defined goals in addition to a strong philanthropic relation with a private benefactor can be counted among other core strengths. Building on these principles and strengths, SALT continues questioning its existence without an obsession about the institutional continuity. In this quest, the institution rejects compelling forms of managerialism and conventionality and keeps looking for answers built from scratch through the diversity of intelligence. All things considered, by successfully diffusing the mission statement in the overall organizational structure, program and physical establishment, SALT creates a resonance and stimuli for other cultural institutions to re-conceptualize their existence.

Theatre Talks emerged as an audience reception research method in Sweden. In this article I describe the evolution of the method and put it into practical perspectives. At first, Theatre Talks provided extensive insights into the experiences of Stockholm theatre audiences in the 1980s. Those results inspired the inventor of the method, Willmar Sauter, to develop a theatre communications model, which changed the academic discourse on the theatrical communication process. In Australia, Rebecca Scollen successfully applied the method for an audience development projects aimed at non-attenders. In Denmark, Louise Ejgod Hansen noticed that Theatre Talks might access a democratic potential of theatre. All of these effective applications of the method inspired me to look at Theatre Talks as an audience development tool from three combina-tory perspectives: (1) marketing-its potential for increased ticket sales and changing the behaviour of the customers, (2) cultural policy-for higher diversity and participation in theatre, and (3) theatrical communication-for improved understanding and better satisfaction from participation in the performance.

In keeping with this volume’s aim to go beyond the binary between constructivism and essentialism in debates about Romani identity in contemporary Europe, this interview with the directors of the European Roma Institute for Arts and Culture (ERIAC) intends to provide a first-hand account of one of the most symbolic and debated sites of Romani culture and identity recognition of recent times.

Cultural institutions and businesses (CIBs) in Croatia are facing financial challenges due to the recent economic crisis and limited state support, as well as the growth of competition that is partially the result of the development of new technologies that have made culture more accessible on a global scale. For the purpose of filling the budget gap, CIBs are now forced to “step out” on the market trying to be more competitive in securing alternative sources of funding. Th e aim of this paper is to determine if CIBs have been successful in this endeavour, and to what level they use and understand the concept of alternative fi nancing, as well to assess their ability and competence in raising funds from these alternative sources. Th e research was conducted by using a highly structured online questionnaire on a sample of public and privately-owned CIBs registered in Eastern Croatia and semi-structured, in-depth interviews with the CIBs executives. Th e research results showed that although the CIBs are to some extent using alternative sources of funding, these sources are underutilized and there is a recognized need for increasing the level of knowledge, employment of experts in the field of alternative funding in culture and introducing employee motivation models. The government was found to be one of the most important factors in conducting the activities aimed at providing preconditions, i.e. creating the regulatory framework, education, raising awareness, and motivation of CIBs for increasing the share of alternative sources of funding.

Pakistani media is highly influenced by foreign media due to which our cultural institutions are being adversely affected. The study was conducted to find out how electronic media especially dramas presented by the cable TV channels are invading our cultural institutions. The data was collected in six weeks by selecting a sample of 50 respondents through convenience sampling, from whom extensive data was collected through a blend of qualitative and quantitative tools. The paper suggested that electronic media has dynamically played a pivotal role in spreading cultural values which are contrasting with our norms. The pace of change has relatively speeded due to invaded media.

The aim of this article is to describe the general conditions for the development of creative industries in Podlaskie Voivodship from Poland. This region on the background of the country is characterized by the highest level of cultural diversity and multiculturalism policy. However, there are a number of barriers for the creative industries. First article discusses the regional characteristics and then the basic theoretical approaches and conclusions of the author's own research. The following sections discuss the conclusions and recommendations for regional policy and management of cultural sector entities that may be relevant also for other culturally diverse regions.

El artículo parte revisando las políticas culturales durante el siglo XX, las que pasan del intento de construir una democracia cultural, capaz de ampliar los limitados públicos del arte, a un estado subsidiario que deja las producciones culturales a la deriva del mercado. Las posteriores políticas concertacionistas pasan a considerar la producción cultural como un modo de reproducción de los valores compartidos de la democracia pactada, lo que se traduce en políticas subsidiarias en las que el Estado asegura, junto al problemático discurso ciudadanista, la circulación de una diversidad de bienes culturales. A partir de la centralidad de los Fondos de Cultura, el Estado se concibe como proveedor de un servicio más, sin considerar la especificidad de los productos culturales ni la precarización de los profesionales de la cultura. Frente a ello, se concluye afirmando la importancia de la producción cultural crítica y pública para la construcción de otra democracia.

À travers l’analyse de quinze ans de recherches au Vanuatu face à des transformations de la situation musicale de l’archipel, cet article s’interroge sur l’application de la recherche en ethnomusicologie. D’une importance politique et identitaire, les expressions orales «traditionnelles » (kastom) ont joué un rôle prépondérant dans la construction du Vanuatu qui accédait à l’Indépendance en 1980. Trente-cinq ans après, c’est le reggae que les jeunes musiciens urbains ont choisi pour s’exprimer et s’identifier. A travers ses expériences personnelles de terrain, l’auteur montre ici comment les changements de la société étudiée peuvent altérer la recherche et comment les différentes tentatives d’engagement du chercheur sur son terrain peuvent plus ou moins facilement s’adapter à la réalité actuelle locale. La réflexion pose ainsi la question de l’évolution de notre discipline dans le monde contemporain.

This essay focuses primarily on the ways in which key situationist texts such as The Theory of Dérive and The Society of The Spectacle by Guy Debord might allow us to better understand ways of navigating and developing cultural institutions. It is an experimental investigation, a starting point, providing more suggestion, interpretation and speculation than solution, attempting to make the main theoretical works of the situationists relevant within a twenty first century framework, with particular emphasis on galleries and museums. "La dérive" is French for "drift" or "drifting", and was described as being one of the situationists basic practises, "a technique of rapid passage through varied ambiences." cited in Knabb, 2006 Situationism is the theory that behaviour is contingent upon surrounding circumstances or immediate situations as opposed to qualities of a personal nature. Debord and other Situationist International members considered the term "situationism" as insignificant and avoided the use of it. "Situationists were philosophically opposed to all ideology, viewing them as repressive delusions, rendering the idea of "situationism" absurd." The situationists were radical thinkers who attempted to change the world, aesthetically and politically. They were concerned with the devaluation of art, to devaluate it was also to devaluate cultural institutions, the architecture that housed the objects.