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 The Cultural Manager
as Global Citizen

Symposium Series:
Cultural Management and
the State of the Field

Helsinki, Finland 18-20th April 2007

Constance DeVereaux & Pekka Vartiainen (ed.)

HUMAK University of Applied Sciences

Constance DeVereaux & Pekka Vartiainen (ed.)

Cultural Management and the State of The Field:

The Cultural Manager as Global Citizen

© Constance DeVereaux & Pekka Vartiainen (ed.)

Humanistinen ammattikorkeakoulu HUMAK University of Applied Sciences

Sarja B. Projektiraportit ja selvitykset 7, 2008

ISBN 978-952-456-076-4
ISSN 1457-5531

Painopaikka: Gummerus Kirjapaino Oy Vaajakoski, 2008

Humanistinen ammattikorkeakoulu – HUMAK – University of Applied Sciences

Annankatu 12, 00120 Helsinki, Finland
www.humak.edu
humak@humak.edu
Content

Foreword 4

Preface 6

C. DeVereaux: Cultural Citizenship

and the Global Citizen (Keynote) 9

The Cultural Manager as Global Citizen: Group Discussions 25

1. What important issues arise in defining the

cultural manager as a global citizen? 28
2. Is global citizenship a role to be taken on or a status
to be conferred? How does one become a global citizen? 37
3. Is it appropriate for the cultural manager to be a global citizen? 53
4. What challenges and/or opportunities are associated
with the cultural manager who is a global citizen? 63
5. What are the characteristics of the cultural manager as
global citizen? 69
6. What problems are associated with the cultural manager as
the global citizen? What solutions are there? 83
7. What issues are there for future exploration of this topic? 83
8. Globalization in action? 97

Conclusion 115

Afterword 119

Glossary 120


Foreword

The first of a series of symposia on topics concerning the state of the field
of cultural management was held in Helsinki in April 2007. The Sympo-
sium was organized by HUMAK University of Applied Sciences in Fin-
land with the collaboration of Shenandoah University, USA. The goal of
the symposium was to provide an opportunity for reflection and discus-
sion within the cultural management community on issues concerning the
state of the field.
A call for participation was extended to cultural management practi-
tioners, scholars, educators, artists, and others in the field, worldwide. To
be considered for participation, we requested a two-page paper outlining
ideas on the topic of the cultural manager as global citizen. The sympo-
sium was limited to 20 participants. In the end, however, the number of
participants was further limited as some intended participants were unable
to attend. The symposium began with a key note address to stimulate and
focus discussion. Over two days, participants shared thoughts and ideas
on the central theme focused around a group of questions on the specif-
ic topic: the cultural manager as global citizen. This book is a report based
on transcripts of those discussions.
As editors we have taken some liberties for rewriting the transcribed
discussions for purposes of clarity, grammar, and continuity. The language
of the symposium was English; a number of participants were not native
speakers of English, so the editors have also made efforts to render their
ideas into Standard English while preserving both the intent and the dis-
tinct voice of each participant. We hope that we have achieved this goal
without undue compromise to the ideas expressed.
 

Our special thanks for making everything run almost by itself goes to
our students, Diane Poff and Serena Robbins from Shenandoah Universi-
ty and Henna Kuisma and Katri Muhonen from HUMAK University of
Applied Sciences.

Winchester and Turku, January 2008

Constance DeVereaux Pekka Vartiainen

Associate Professor Principal Lecturer
Arts Management Cultural Management
Shenandoah University HUMAK University of Applied
Sciences


Preface

The idea for an international symposium on cultural management and the

state of the discipline arose out of an acute need for discussion and doc-
umentation of the current state of thinking about the field in a way that
would lead towards greater definition and systematization of its theories,
methods, and practices. The symposium, Cultural Management and the
State of the Field, called together a group of interested scholars, researchers,
practitioners, and students in April 18-20, 2007 in Helsinki, Finland for
focused discussion around a series of questions on the theme of the cultur-
al manager as global citizen. The selection of this theme by the symposium
organizers was to respond to debates about the effects on the field of cul-
tural management as the result of globalization/transnationalism, enlarge-
ment of the EU, perceptions of the US relating to cultural hegemony, per-
ceptions and realities relating to cultural identity and cultural citizenship,
as well as the effect of these factors on the role of cultural managers in the
21st century.
The present report presents the results of those discussions with com-
mentary by the editors. The purpose is to provide material for reflection
by others in the field who are interested in further discussion and reflec-
tion about the issues, methods, practices, and theories that define the field
of cultural management. It is necessary to note at the outset, however, that
the participants and organizers of the event make no claim that the doc-
umented discussions are comprehensive or representative of the field as a
whole, while maintaining, at the same time, that such a limitation does
not detract from the value of this book and its aims.
There is, in fact, a wide array of views about the current state of cultur-
al management as a discipline, as a field, and as a practice. There are equal-
ly as many views about its history and future direction. It is this wide array
of views that makes this book valuable and the symposium which it docu-
ments necessary.
While diversity of perspective is a good thing in any field, the lack of
agreed-upon foundations raises the charge that cultural management does
 

not truly exist as a field or discipline, but is simply a loosely related set of
practices that more or less precisely carry the label “cultural management”.
While such a possibility may satisfy some, for many others, this lack of
definition is seen as a fundamental problem that contributes to a host of
other problems for those engaged in teaching, research, and the practice of
cultural management. These problems include (but are not limited to) per-
ceptions that the field of cultural management lacks legitimacy or credibil-
ity (a common lament, in fact, is that few people outside of cultural man-
agement even know what it is), fragmentation, and lack of understanding
or ignorance regarding how theory connects to practice. In sum, too wide
a diversity and too little agreement on the fundamental principles result in
a field too loose for focused reflection or research, not to mention the dif-
ficulties of formal education of students.
There may be those who resist greater definition of the field of cultur-
al management. That the organized practice of art and culture has more or
less flourished throughout the history of humankind suggests that man-
agement of these practices has flourished right alongside. There are many
in the field who resist greater definition out of a concern that it will result
in control of the production of art and culture or that unnecessary require-
ments will arise regarding licensing of those who may practice in the field
(e.g. the necessity of formal certification or university degree). In fact, for-
mal training of cultural managers is a relatively recent phenomenon wel-
comed by some members of the profession and resisted by others.
At the same time, some scholars and practitioners claim that the need
for greater definition has already been addressed, and satisfied, with the
development of professional organizations such as the European Network
of Cultural Administration Training Centres (ENCATC) or Association of
Arts Adminstration Educators (AAAE), in conferences, and journals devot-
ed to the field. While it is true that these activities provide a needed fo-
rum for scholars, researchers, and practitioners, it is only within the past
10 years that organizations have begun to discuss standards for training of
cultural managers. In addition, professional organizations attract a wide
array of participants from other fields; political science, sociology, philoso-
phy, economics, art history, and psychology, that have undergone the kind


of definition of the discipline that is called for in this book. The impetus
for defining a new field is not strong among such participants.
What is often ignored is that the work of defining a field is dynam-
ic and on-going. As the world changes, so must a field change to adapt to
new complexities, new ideas, new complexities, and new realities. At the
same time, other scholars (the editors of this volume included) argue that
defining the field has never been done in a satisfactory way. The transition
of cultural management from the practices of isolated individuals carrying
forward the work of their organizations – often in ad hoc ways – to an or-
ganized profession with recognized centers of training has not resulted in
development of a common set of theories and practices. Finally, the recog-
nition of the field of cultural management and related fields, e.g. cultur-
al policy, arts management, and arts policy (also all of the above with “ad-
ministration” in place of “management”) as academic disciplines, marks
the need for greater definition in the same way the other disciplines, as
they have entered academia, require some agreement about the boundrar-
ies of the field.
The organizers of the symposium saw the opportunity to contribute
to this effort and to initiate conscious reflection on the above issues. The
Helsinki Symposium brought together nine participants to discuss a set of
questions for focused discussion. This book is offered as an important step
to reflection and debate on cultural management and the state of the field.
While some of the participants are recognized experts in the field, oth-
ers are not, in the regular sense of the word. In the field of cultural man-
agement – as an academic discipline – there are fewer stars than one might
find in other fields. While we do not anticipate that our efforts will turn
participants into stars, we hope that the discussions contained in this re-
port will stimulate the coming generation of scholars to make a significant
contribution in the development of the field.

Editors
 

C. DeVereaux:
Cultural Citizenship and
the Global Citizen (Keynote)

Citizenship is what cultural policy is – or should be – about.

-Colin Mercer-

Citizenship is about inclusion and exclusion. It is about rights and duties,

which are also referred to as benefits and burdens. It is about culture, lan-
guage, tradition, and habit. But most of all, citizenship is about identity.
Cultural citizenship concerns cultural identity and the realization that an
individual’s rights in this respect, and for the conditions under which cul-
tural identity can flourish, is a matter for the state.
The concept of cultural citizenship is a relatively new framework with
which to understand the changing conditions of identity and citizen-
ship in the context of global and transnational tensions and relationships.
UNESCO’s Intergovernmental Conference on Cultural Policies for Hu-
man Development sees cultural policy as being concerned with “the fun-
damental human right of citizenship and the fundamental human objec-
tive of sustainable development.” Cultural citizenship recognizes, “the cen-
trality of culture to human development”. (Mercer 2002.)
Cultural citizenship, as a framework, can be juxtaposed to the con-
cept of global citizen, which is lately ubiquitous. The variety of contexts
in which the latter appears, however, makes it difficult to determine just
what this kind of citizen is, and whether it is a desirable, or an undesira-
ble thing to be – especially given the negative connotations of “globaliza-
tion”, in particular regarding concerns for the future of world cultures and
for policies aimed at cultural preservation, diversity, and integrity – the
very stuff that is of central concern in the case of cultural citizenship. Nev-
ertheless, the global citizen, in very general terms, is conceived of as some-
10

one who is engaged, globally, in a way that is embracing of the diversity

of cultures the world has to offer, and is in some sense, someone who sup-
ports the value of diversity, and even contributes to its flourishing or de-
velopment in the cultural sphere. The difficulty with these terms for any-
one concerned with culture or cultural policy is that, as frameworks lead-
ing to formulation or implementation, they have not received the level of
scrutiny from policy analysts that they ought if they are to be accepted as
viable and effective tools for the aims of protecting cultural identity, while
also expanding opportunities for, and access to culture. In the case of cul-
tural citizenship, the framework, as a policy tool, is new enough that it has
not received the kind of critique to be found with more established frame-
works. In the case of the global citizen, its value seems to lie more in its
use as a popular exhortation (Be a good global citizen!) then as a beginning
point for policy. Even so, the idea of being a good global citizen has impli-
cations for cultural policy. The uses and the implications of these terms in
this context is important given that they deal with issues that are, and will
probably continue to be highly contested. Terms such as “citizen” and “cit-
izenship”, “culture” and “globalization” have important consequences for
the way we understand cultural identity, for the processes by which indi-
viduals and groups gain (or are afforded) political power, economic pow-
er, autonomy, social and political access, and for policies arising from all of
these. The seemingly inexorable forces of globalization have brought about
rapid changes in the lives of individuals and communities that threaten
both traditional ways of life and those ways of life of more recent origin.
The idea of a world without borders may be attractive to some, while it
is threatening to many others who see absence of borders as a first step in
erasing cultural integrity, particularly for minority groups. Cultural citi-
zenship and global citizenship are responses to these perceived threats. As
frameworks for policy, however, their chances for successful outcome (i.e.
for achieving the positive goals for which they are conceived), depends on
a deeper understanding of their implicit and embedded values. For this
reason, it is important to examine these frameworks more thoroughly.
I am also interested in how these terms operate in the arena of cultural
management and how they define the role of the cultural manager. If cul-
 11

ture and cultural policy, as Mercer suggests, are about human development
then cultural management must have something to do with it as well. One
way to understand cultural management is that it has to do with manag-
ing cultural activities in a way that allows for – maybe even contributes to
– human development. This view sees the cultural manager as facilitator
in a process; or even as a mediator, bringing cultural opportunities to in-
dividuals, and individuals to cultural opportunities, so that those wishing
to engage in the process of human self-development can take advantage of
them for their own purposes. It is necessary to add “for their own purpos-
es” here to avoid criticism that managing culture is inherently elitist, pater-
nalistic, imperialistic, or (more darkly) a milder term for cultural engineer-
ing; that is, controlling what individuals are exposed to, or that in which
they can participate, in order to engineer particular outcomes for the pur-
poses of the state or community. Yúdice reminds us, in fact, that process-
es for defining citizenship “involve the production and channeling of rep-
resentations that are managed by power brokers”. (Yúdice 2005, 162.) The
same can be said for the process of defining culture, which at many times
in history has been used as a synonym for civilization (conceived of as the
height of human development as achieved in the West). The term ‘culture’
has seen such evolutions of meaning throughout history that it is peren-
nially problematic; the term was at one time “allied with commerce,” and
later opposed to it. (Eagleton 2000, 11.) It is sometimes seen as intimate-
ly connected to the arts, positioned as a critique of politics, identified as
a pre-modern term, alternately as a post-modern term. Once again, this
simply highlights the need for interrogation and analytical scrutiny of cul-
tural citizenship and global citizenship as they relate to ideas about culture
and the how they operate as frameworks for policy.
For purposes of stimulating discussion around the issue of cultural
manager as global citizen, I include an additional set of terms for consider-
ation to contrast with our ideas of ‘citizen’. Toby Miller and George Yúdice
suggest three possible identities for a globalized world: Citizen, Worker,
and Consumer. (Miller & Yúdice 2002.) They are terms often used in con-
nection with culture for categorizing types of participants. The term ‘cul-
tural worker’ describes a person who works in cultural industries as an art-
12

ist, arts or cultural manager, as an employee of a cultural organization, or

otherwise participates in the creation or dissemination of cultural products
(which also includes cultural activities or events). The idea of artists as cul-
tural workers is unacceptable to those who prefer to cast them in a more
elevated (loftier) role in society; the implication of ‘worker’ is someone of
lower status. However, as the result of globalization, the idea of ‘cultur-
al worker’ becomes important in the context of mobility (both forced and
voluntary) and the changing opportunities and challenges for those who
work in the cultural sector, including artists. If there is to be a cultural sec-
tor supported through cultural policies, these must take into account the
conditions of cultural work, the rights of cultural workers, and the role of
the cultural worker in society.
‘Consumer’ is increasingly a category which describes a person who
participates in cultural activities. It emphasizes, of course, the quid pro quo
of monetary transaction and is the result of a historic trend where Business
and its values are a dominant paradigm, with the result that other social
and human values are often reframed in business terminology. In many
cases, ‘citizen’ has been replaced by ‘customer’ to emphasize the transac-
tional nature implied (in the thinking of some people) in paying taxes and
receiving services. In the tradition of “the customer is king” it is thought
that a consumer stands on a higher level than citizen. An unhappy cus-
tomer, after all, can decide to spend his money elsewhere and if one is pay-
ing for a service, one has the right to demand it be excellent, or at least
worth the money paid. It also recognizes that many people have lost faith
with government and its ability to make good on its obligations to citi-
zens. The willingness of corporations to supply those same services – at
least to those who pay – makes the transition from citizen to consumer all
the easier.
While not all arts and cultural activities are transactional (there are
many free events, including those provided by government to citizens),
the term ‘consumer’ has been used in the cultural sector as a way of em-
phasizing similar values to those expressed in calling citizens by the name
of customer. Consumers can express preferences, through purchase. They
do not need to pay for performances, art exhibits, or cultural activities
 13

that they do not like (whether because they are too challenging, too elit-
ist, too foreign to their own likes, or for no particular reason at all). The
market thereby decides which arts and cultural activities will survive and
which will not. In addition, taxpayer money is not wasted (according to
those with this view) on subsidies for art forms in which people do not
want to participate. Of course, this perspective does not recognize that arts
and cultural forms may have value outside of market measures or that the
market is often better in satisfying preferences than in supplying needs.
The point to be taken is that terms of identity entail both implicit and
explicit values that matter in the arena of arts and culture. In the context
of cultural and global citizenship, they have increased importance as we
wrestle with the state of the field and as we try to understand, or envision,
a role for the cultural manager.
In the following remarks exploring these frameworks and categories, I
wish to avoid overly precise definitions. The intent for this symposium is
for participants to explore a variety of issues relating to the cultural man-
ager as global citizen without a predetermined direction or outcome – out-
side of the selected symposium questions – so that in examining the state
of the field we draw on our individual background and areas of expertise.
The overview of frameworks and concepts I provide is intended, instead,
as a beginning point to stimulate, rather than to direct discussion. I will
look, in turn, at the framework of cultural citizenship and of global citi-
zenship with a view to introducing some of the complications they may
raise for policy. I will then return to the three categories of identity: Citi-
zen, Consumer, and Worker to pose a number of relevant issues and ques-
tions that I hope will further our aims.

Cultural Citizenship: Framework for an Ideal?

What is cultural citizenship? Who is the cultural citizen? In Mercer’s
work, the term ‘cultural citizen’ never appears. I note this curiosity be-
cause it suggests that cultural citizenship – as it is framed in policy – is
more about creating conditions in society than it is about the rights of
an individual citizen – even if an individual may benefit from policies
14

that favor it. In other words, cultural citizenship is a framework created

around a communal idea; that of a multicultural society where the rights
of cultural groups to maintain their distinct identity separate from the
dominant or majority cultural group is guaranteed – wherever they re-
side. The idea must be focused on the collective, however, instead of the
individual because policies envisioned around the concept of cultural
citizenship understand existing cultural groups as the beginning point.
Citizens are formed by culture – in this way of thinking – and not the
other way around.
In tracing the changing meanings of ‘culture’ through history, Terry
Eagleton states that “cultivation” has to do with the “all-round develop-
ment” of a person. However, he notes that “nobody can do this in isola-
tion. Indeed it is the dawning recognition that they cannot which helps
to shift culture from its individual to its social meaning”. (Eagleton 2000,
10.) Culture in this sense is something an individual has (one speaks of
‘my culture’) by virtue of there being others of the same kind. Citizenship
likewise requires a collective; the social compact is between the individual
and society as a whole, though O’Byrne (2003) and others maintain that
contractarian citizenship makes little sense in the global context. Even so,
in a very general way, we accept Durkheim’s notion of citizenship as a type
of social solidarity so that, once again, if human development is the policy
goal of cultural citizenship, it is important to note that self-development
of an individual, in the human context, can only occur within human so-
ciety. The idea is as contemporary as it is ancient, as evidenced by the his-
tory of Western political philosophy from Plato, through Rousseau and
Locke, to the present.
Cultural citizenship, especially if concerned with human self-develop-
ment seems, therefore, to also require that there be a collective in which
an individual participates in order to exercise the rights of cultural citizen-
ship. “Cultural citizenship is built by and for collectives” (Delgado-Morei-
ra 1997). At the same time, however, we have to recognize that globaliza-
tion, especially as a process of increasing commercialization and the spread
of the values of modernity, emphasizes individual over communal (espe-
cially traditional) values. Resistance to globalization, in fact, is often a re-
 15

sistance to the spread of modernity and commoditization of culture, mar-

keted – typically – in a way that appeals to the values of individual over
group identity.
Another difficulty arises, however, when we interrogate the meaning of
“cultural” in combination with “citizenship” and inquire how the cultur-
al citizen (if there is such a thing) comes about and what rights it includes.
More importantly, who decides the cultures that are to be included? While
it is tempting to respond all, it is not clear that comprehensive inclusive-
ness is possible from a practical standpoint. Further, there are many his-
torical and political factors that make practical implementation difficult,
at best. The example of one cultural group in the United States is instruc-
tive because it highlights some of these difficulties.
According to one researcher, the term ‘cultural citizenship’ has been
described as an oxymoron used by American anthropologists “to describe
chicano’s [sic] claims and ideas on citizenship, in certain towns of certain
states of the United States” (Delgado-Moreira 1997). It is an oxymoron
because cultural citizenship seeks to preserve differences (cultural integri-
ty) at the same time that it guarantees those differences will be ignored as a
matter of policy. A recent editorial draws attention to a potential problem:

In the multicultural context of contemporary European and world soci-

eties, the concern with equality, integral to the formal-democratic con-
cept of citizenship, is increasingly being complemented with a concern
with difference. The concept of cultural citizenship responds to this de-
velopment in stressing the centrality of culture for a concept of citizen-
ship. Cultural citizenship is not simply equated with nationality and is
not about assimilation or tolerance, but instead is based on notions of
recognition and empowerment. The concept proves a vital instrument
for rethinking identity and difference and more specifically, for concep-
tualizing a Europe where a concern with social and political rights in-
cludes the full recognition of minority groups and cultural diversity.
(Delanty 2003.)

In the above quote, recognition and empowerment of cultural groups is

a core value. From a European perspective, the need for cultural citizen-
16

ship arises as the result of 20th century practices of war, colonialism, geno-
cide, forced migrations, racism, and globalization that have compromised
cultural integrity, often in horrific ways. Recognition of the distinct cul-
tural groups and their rights has brought about policies and mechanisms
for empowerment. However beneficial, nonetheless, this seems to suggest
that recognition is granted from the outside, as well suggesting the exist-
ence of some entity with the authority to grant empowerment.
In the United States, as Delgado-Moreira points out, cultural citizen-
ship of Chicanos is premised on a heritage that is already compromised.
Spanish (and other European) invaders decimated and colonized indige-
nous populations and created a hybridized culture. According cultural cit-
izenship to Mexican-Americans, as a group in the United States, means
that Chicanos as a cultural group are “taken for granted as a unit already
formed.” In other words, the already hybridized culture is recognized
and empowered, not the culture preceding it. Delgado-Moreira rightly
asks, therefore, “Which past will be on the pedestal?”. (Delgado-Morei-
ra 1997.)
The case of Chicanos is not unique in the world or in history. Further
there is a paradox in something like a European Union that strives for uni-
ty in some areas of policy while it seeks to strengthen diversity in others.
The difficulties are more apparent when preservation of cultural integrity
is sought on both the national and the regional level, simultaneously. Di-
vision into smaller and smaller cultural groups may threaten national cul-
tural identity. However, it is more likely that policies that preserve cultural
identity and integrity will be enforced only at the level of the nation-state
or higher.
Many groups trace their cultural roots through centuries. Others are of
more recent origin; who is to say that claims to recognition or protection
by the latter are any less valid? What about the case of the cultural group
reduced to a single individual? What if individuals of what appears – from
the outside – to be the same cultural group have different ideas on how
the group should be identified? Who gets to decide?
 17

If empowerment and recognition are the aims of cultural citizenship,

clearly there is a need to define how they are manifested in policy as well as
what happens if the empowerment and recognition of one cultural group
conflicts with that of another. Eagleton notes, “Culture requires certain
social conditions; and since these conditions may involve the state, it can
have a political dimension too” (Eagleton 2000). The political dimension
is most likely to arise in the case of conflict. A Muslim woman refuses to
allow an unveiled picture of herself on her driver’s license because it will be
seen by men. Ritual body alterations that are acceptable cultural practic-
es in one culture are forbidden in another. Punishments demanded under
the religious laws of one group are abhorrent outside of that group. What
if a person’s protected political beliefs conflict with those of her cultural
group? What happens if an individual decides to change his cultural iden-
tity? Is that even a possibility within a framework of cultural citizenship?
These conflicts raise issues that may require political mediation. However,
the opportunity for cultural mediation also exists. Does the cultural man-
ager have a role to play in such cases? If we envision cultural citizenship as
a framework for the future, how does the cultural manager participate in
a way that supports human self-development? Is global citizenship an ap-
propriate role for carrying out these aims?

Is Global Citizenship a Good Thing or Bad?

Global citizenship shares some of the principles that define cultural citi-
zenship especially in terms of empowerment and preservation of cultur-
al integrity. Global citizenship is a modern concept and as such suggests
rather utopian goals. According to O’Bryne, “modernity has allowed for
the politicization of the idea that we can all be citizens, not only of na-
tion-states, but also of the world” (O’Byrne 2003, 54). Its beginnings
can be traced to the idea of world citizenship – also a project of moder-
nity; one of increased human understanding and emancipation, especial-
ly from the bonds of tradition imposed upon individuals who want to
escape from those bonds. It is different from cultural citizenship in that
it envisions “political identity beyond the nation state,” in which “citi-
18

zenship is no longer a package of rights and duties” (Ibid.). The differ-

ence is particularly significant for several reasons. In the current climate
of cultural policy, protection of diversity and cultural integrity – as in-
dicated in the policy framework of cultural citizenship – has high prior-
ity. Post-nationalism is typically understood as a step towards decreas-
ing diversity and cultural integrity in favor of increasing homogeneity.
“[G]lobal society, bound together by a global sense of belonging, sug-
gests a form of cultural homogenization, as well as an assumption of
rational action”, towards specific outcomes (Ibid, 122). While it is im-
portant to recognize, however, that post-nationalism does not necessar-
ily entail this result, perceptions of globalization, especially in the past
several decades, are increasingly negative. Globalization is equated with
the worst consequences of modernity; it is often seen as an inevitable
and necessary evil brought about by Western society (the United States
in particular) with its values of utilitarianism and capitalism. It is not
necessary to determine, here, whether these perceptions are correct or
not, but simply to acknowledge the potential for such perceptions to in-
fluence policy. Cultural citizenship also recognizes post-nationalism as a
worldwide trend (Mercer 2002), however it seeks, through policy, to cre-
ate conditions that prevent cultural homogeneity through protections of
cultural integrity and the rights of cultural groups.
Global citizenship is a later development than the similar framework of
world citizenship. Though O’Byrne identifies the latter equally as a prod-
uct of modernity, world citizenship may have much earlier roots in the an-
cient Roman goal of one world under the single rule of Rome. While other
versions of the concept exists, it is interesting to note that the idea of glo-
balization as colonization of the world by a superpower, and the fears that
go along with that perception, presently overshadows many other possible
definitions. Even so, the idea of a global citizen tends to have more pos-
itive connotations than ‘globalization’. One wonders if the term evokes
the now-old-fashioned notion of world citizen (or citizen of the world);
a term reserved for someone who has achieved some sort of greatness that
makes the entire world want to claim him. The cultural manager as global
 19

citizen, therefore, may benefit from positive associations with the concept
of world or global citizen.
Global citizenship has also been defined as “world citizenship under
the influence of globalized conditions” (Delanty 2003, 118). These condi-
tions include communication, travel, and other technologies that increase
opportunities for mobility and connectedness, the many ways in which
governments in the contemporary world are involved in each others af-
fairs, increased demands for self-empowerment of individuals, the ways in
which actions in one part of the globe will affect conditions in another,
the forced and voluntary migrations that bring people of diverse cultures
together, the spread of multi-national corporations, and the importance of
a common language to facilitate international interaction. Together, these
many conditions seem to push us farther along a road to post-nationalism
and homogeneity, thereby increasing the need for cultural policies. The
demands of globalization cannot be ignored, perhaps. This too may cre-
ate the conditions where the cultural manager as global citizen can fulfill a
significant mediating role. We might ask what role there is for the cultural
manager in a sphere so closely linked to ideas of identity?
For the remainder of my presentation, I look at the three categories
of identity suggested by Miller and Yúdice. Each of these entails a set of
values that have importance in the arena of culture and cultural policy.
In contemplating the role of the cultural manager they are useful because
they speak specifically to the idea of identity and how it is formed under
different systems of value.

Citizen, Worker, Consumer – Who Am I?

• Citizens are formed by culture
• The products of culture are increasingly viewed as commodities
• Relocation of cultural production affects workers

Just as identity is an important value in the context of cultural policy,

citizenship is a key identity in human society. It has special importance
in contemporary society because of dynamic changes in the world. Mill-
20

er and Yúdice suggest that the categories of Consumer and Worker also
have relevance as the result of globalization. As a method, I suggest that
we test each by asking the existential question: Who am I? And, its cor-
ollary: Where do I belong? The first question is answered by naming one
of the categories. The second question is relevant because where an in-
dividual belongs is part of sorting out the answer to the first question.
It is by virtue of belonging to a nation, a religion, an ethnic, or cultur-
al group, that we develop, in good part, our sense of identity. I will also
pose an additional set of questions for reflection and consideration, and
finish with a comparison of identity relationships for each category. If
there is too much brevity in raising these questions without offering an-
swers, it is simply to begin the process of reflection, However, I argue
that it is important for the cultural manager and for cultural policy to
define these different categories of identity in order to examine how the
inherent values of each one translates into the mediating role of the cul-
tural manager in a globalized society. The cultural manager is both affect-
ed by, and affects each of these identities. The needs of each, in terms of
cultural policy, and the availability and access to cultural activities, will
differ and will, therefore, require a different response in terms of cultur-
al programming, cultural mediation, and in the formulation and imple-
mentation of policy. Being aware, consciously, of the various values each
category of identity presents can be of use to the cultural manager try-
ing to define his or her role. We can also decide if there are values that
we want to reject, or categories of identity that we prefer not to take on.
The three categories of identity clearly do not exclude each other. Most
of us are all three. But each category has an overriding set of values and
concerns that differentiate it from the other two so that, in the cultural
sphere, each category demands different things from cultural experiences
even if categories do not exclude one person claiming all three.
 21

Citizen
According to Miller and Yúdice, citizen is a national subject. The needs of
citizens arise from the “masses” or “the people”. “Citizen” is a sociopoliti-
cal construct.
Important questions relating to citizenship are:

• How does one become a citizen? What are the concrete and ab-
stract means through which citizenship is attained?
• What issues arise for the cultural manager in the context of citizen-
ship?

Important relationships are: individual to state; state to individual; indi-

vidual to individual

Consumer
Consumer is a “rational” subject. The needs of consumers emanate from a
multiplicity of demographic segments that can be targeted for preferences
and ability to pay. In the case of citizens, money and class can make a dif-
ference in the life of an individual. However, by principle, all citizens have
equal rights. In the case of consumers, rights are coupled with ability to
pay. Rather than a sociopolitical construct, “consumer” is what I term an
economic-aesthetic construct in order to emphasize how consumers assert
identity through economic preferences - likes and dislikes - or matters
of taste. The question, “how do I become a consumer?” is answered quite
simply, “by engaging in an economic transaction”.
The existential question in the context of consumer: Who am I?
Where do I belong? The question is answered in terms of product/pur-
chase.
22

Some important questions:

• What is the difference (if any) between citizen and consumer?

• What are the essential relationships?
• What rights/duties exist in these relationships?

Citizen Consumer
Individual to state/ Buyer to seller/
State to individual Seller to buyer
Individual to individual
Table 1. Comparison of Relationships

Worker
In a globalized society, worker is a transnational subject by necessity. In
other words, due to the needs of employers and economic realities with-
in different nations, workers must go where work is located, even if that
means leaving one’s traditional home. The needs of workers are defined
within the construct of industry. ‘Worker’ is a market construct. One be-
comes a worker when one is employed.
The answer to the existential question for workers: Who am I? Where
do I belong? is I am a worker. I belong where there is work and someone
will hire me.

Some important questions:

• What is the difference (if any) between citizen and worker?

• What are the differences (if any) between citizen, consumer, and
worker?
• What are the essential relationships attached to the concept of
worker?
• What rights/duties exist in these relationships?
 23

Citizen Consumer Worker

Individual to state / Buyer to seller / Worker to employer /
State to individual Seller to buyer Employer to worker
Individual to individual Worker to worker
Table 2. Comparison of Relationships

Conclusion
In providing this overview of new cultural policy frameworks within a glo-
balized society and the differing categories of identity, the intent has been
to present a set of issues and questions for reflection rather than to pro-
pose and answer to a thesis. It is for the participants of this symposium to
decide what relevance, if any, these issues and questions may have in our
attempt to understand the cultural manager as global citizen and what it
means for the state of the field.
24

References

Delgado-Moreira, Juan M. 1997. Cultural Citizenship and the Creation

of European Identity. Electronic Journal of Sociology. http://www.sociolo-
gy.org/content/vol002.003/delgado.html.

Delanty, Gerard 2003. Citizenship as a Learning Process. Eurozine.

Eagleton, Terry 2000. The Idea of Culture. Blackwell Publishing.

Miller, Toby and George Yúdice 2002. Cultural Policy. Sage Publications.

Mercer, Colin 2002. Towards Cultural Citizenship: Tools for Cultural Pol-
icy and Development. Gidlunds Förlag.

O’Byrne, Darren J. 2003. Global Citizenship: Political Identity Beyond

the Nation State.

Yúdice, George 2005. The Expediency of Culture. Duke University Press.

The Cultural Manager as Global
Citizen:
Group Discussions
26

Group discussions took place in two sessions addressing four questions in each
session with discussants divided into two groups. To give discussants an oppor-
tunity for more versatile interaction, group composition varied for each set of
questions. Discussants were presented the questions listed below for discussion.

1. What important issues arise in defining the cultural manager as a global

citizen?
2. Is global citizenship a role to be taken on or a status to be conferred? How
does one become a global citizen?
3. Is it appropriate for the cultural manager to be a global citizen?
4. What challenges and/or opportunities are associated with the cultural man-
ager who is, or becomes, a global citizen?
5. What are the characteristics of the cultural manager as global citizen?
6. What problems are associated with the cultural manager as the global citi-
zen? What solutions are there?
7. What issues are there for future exploration of this topic?
8. Globalization in action?

Discussions were recorded and later transcribed. As noted, effort is made to

correct for grammar and conventions of non-English speakers. In addition, the
editors have attempted to compensate for incomplete ideas as speakers sort out
their thoughts. Rather than guessing or fleshing out incomplete ideas, or ideas
spoken in fragments, the text reflects what the participants actually said, using
punctuation as a means to link ideas in an attempt to aid the reader. In the
text version, questions 6 and 7 are combined. Groups were chaired by Con-
stance DeVereaux and Pekka Vartiainen. We also eliminated much extraneous
material judged to be off the topic. Discussions at the symposium occurred as
a continuous discussion around the set of questions with twenty minutes given
to each question. However, in representing them in this report, we have chosen
to display responses for both groups, organized by question, so that readers may
view all responses, around a particular question, from all participants.
 27

Discussants are:

Amy Asbury, Shenandoah University, USA

Su Basbugu, Istanbul Bilgi University, Turkey
Constance DeVereaux, Shenandoah University, USA
Sherri Helwig, University of Toronto, Canada
Miia Leinonen, HUMAK University of Applied Sciences, Finland
An Moons, Free University of Brussels, Belgium
Kevin V. Mulcahy, Louisiana State University, USA
Annika Mäkelä, HUMAK University of Applied Sciences, Finland
Lucia Ilieva, LIMASOL Consulting Agency & National Arts Academy Sofia,
Bulgaria
Pekka Vartiainen, HUMAK University of Applied Sciences, Finland
28

1. What important issues arise in defining

the cultural manager as a global citizen?

Cultural managers work in a field that is constantly moving in unexpected di-

rections. Globalization has created a context with specific political, social, his-
torical and intellectual challenges and these continue to have a dynamic im-
pact on the arts and culture, and therefore on the job of the cultural manager.
If we are in the era of globalization (a process which is ongoing and by no
means complete), it is likewise true that our world must be a world for global
citizens. But does such a thing – the global citizen – exist? If so, how do we de-
fine ourselves as global citizens (how do we become a global citizen and what
are we when we become it)? Is this a role that cultural managers can assume?
And, should they?
The first question posed to the symposium discussants asks them to consider
the cultural manager as a global citizen and to identify the issues that arise as
a consequence of positioning the cultural manager in this way.
Discussion of the first group of questions follows the key note talk on Cul-
tural Citizenship, which looks at how we understand the terms “citizen” ver-
sus “consumer” and “worker” in the context of culture. Key to both of the group
discussions that follow was the issue of how to define the term “cultural man-
ager” before proceeding to the task of defining the cultural manager as global
citizen. Central themes of the discussion are the concept of citizenship, cultur-
al identity, the role of the cultural manager in society, and the responsibilities
that attach to that role. Other issues include how the concept of global citizen-
ship will affect training of future cultural managers.

Group 1: Annika, Constance, Miia, Sherri, Su

Miia: I was thinking about the concept of citizen. So, why not an individ-
ual? Citizen sounds very good because you can’t be a citizen alone. So cul-
tural citizenship has something to do with being together and that is why
I’m willing to accept this concept of citizenship as a good one.
 29

Sherri: I’m just wondering who is doing the identifying and what our
working definition of global citizenship should be.

Constance: I think that’s a good beginning point; to talk about what does
that term mean?

Annika: I see that citizenship has many different aspects and one of them
is of course the legal aspect: that you have certain rights, certain duties as
a citizen of a nation but I don’t know if global citizenship would include
any legal rights or duties. Also another aspect of this citizenship would be
the mental aspect. Would I prefer to be called a Finn or a Finnish citizen
or am I a citizen of some other country? At least these two different as-
pects should be brought into the discussion.

Constance: There are two points I think are important that you brought
out. If you’re a global citizen because there’s no global government you
may not have any rights to speak of because rights are granted by a le-
gal entity; a political entity, and I think that is something to be concerned
about. Along with that, we know that there are people who have enough
wealth that they have rights no matter where they go, by virtue of wealth,
and so one of the dangerous ways to look at this is that you can be a glo-
bal citizen if you’re wealthy and if you’re not wealthy you cannot be a glo-
bal citizen, you can only be a citizen of one location and so maybe glo-
bal citizenship is only open to the wealthy. The other thing that I think is
interesting that you brought up is whether or not you are a Finn. Going
back to something that Miia said, you could consider yourself just Anni-
ka and maybe if you do think of yourself as just ‘I’m Annika’ and wherev-
er I live, I’m ‘just Annika’ maybe that’s the positive thing about global citi-
zenship. You don’t have to identify yourself as a Finn or act Finnish if you
don’t want to.

Sherri: Just to advance this idea, I’m thinking back to conversations that
I’ve had at my home university where we try to talk about ourselves in the
context – and it’s not just a geopolitical context. Am I a Canadian? Am I
30

whatever? And which of those comes first? Am I a Canadian cultural man-

ager? Am I a woman cultural manager? And the difficulties as soon as we
separate ourselves out like that. Am I a cultural manager or am I a woman
cultural manager? Is that something less? And that order is important. If
I just called myself a cultural manager, a global citizen, or something that
to anyone else can hang their hat on, that’s one thing, but if I limit myself,
which it may be… I’m thinking of when people say “a woman doctor”
and “a woman lawyer” that’s almost a lesser thing. So I’m careful about
these kinds of things just because citizenship normally does have that le-
gal idea; the legal representation that someone has granted us so that, in
this question where it says identifying the global manager, my question is:
who’s identifying. Is it self- identifying or is someone else looking at us as
labeling us global citizens? I’m not sure where we are in the conversation.

Constance: That’s a really excellent point. Does anyone want to comment

on that?

Miia: Somehow this first question and something that Sherri says leads
me to ask or think that cultural managers are a defined group of citizens
in this world. Is it possible to see it this way? Who is the cultural manag-
er? Is it the one who has a degree, or what? If we are watching this field
of cultural management and trying to identify who is a cultural manager
and what kind of citizen in the global world she is or he is, then are we the
one’s who are doing the identifying? Maybe this is circular thinking and it
isn’t going anywhere, but are we trying to find a concept of cultural man-
ager or global citizen? Which comes first?

Sherri: I wasn’t sure that we needed to define cultural manager but I think
perhaps we may before we get to the definition of global citizenship.

Constance: I want to spell out some of the issues I hear and you can tell
me if I’m correct or incorrect. One is, what does it mean to be a global cit-
izen? What is, that identification as a definition? I think what I heard Miia
 31

say is not so much that we have to define cultural manager but, is the cul-
tural manager the type of person who takes on a special role?

Miia: Yes.

Constance: Is there a special role for cultural managers within this di-
mension of global citizenship once we define it? And then a third issue
that Sherri brought up is who is doing the identifying? Is it self-identi-
fication or is someone designating cultural managers as global citizens? I
want to add the issue in here, as well, that is along the lines of the special
role. Does it even take identification to be a global citizen or is the cultur-
al manager, by virtue of being a cultural manager, automatically a global
citizen?

Miia: On the topic of defining this role of cultural management as a field

or as a discipline, we can try to find the defining features of this role. We
can think in terms of a curriculum. How much emphasis do we put on
different things? In trying to define the state of the field one has to think
about the curriculum because we are teaching this field and so to think
about the cultural manager as a global citizen in that context of teach-
ing, do we have to address it and find out what are the competencies for
someone to be a global citizen as the cultural manager? In other words do
we train for that specifically if we decide that’s what the cultural manager
should be?

Sherri: I think one of the things that we’d have to look at is, is global cit-
izenship something to teach or is it an ethos; is it a way of thinking? Is it
injected into everything that we teach, or should it be, or is it a separate
course, a series of courses, a separate field?

Miia: Do we agree that a starting point is our concept of citizenship, or is

the starting point consumer, or worker?
32

Constance: I think that in some ways it may be easier to see a cultur-

al manager as a worker. We’re training people to work in the field and in
many ways we are acculturated to think of the people we work with as
consumers, whether we actually reject that or not. We may want to see
them more as patrons, clients, audience – which are alternate terms – but
more and more we’re pushed to think of them as consumers and the di-
mension of citizenship doesn’t arise, and it’s not an area that we fully talk
about in the training. So I think that the point is well taken that even if
we don’t decide what a global citizen is, the fact is that, in our curricu-
lum, it’s something that comes up and is discussed. I think then we move
too far away from what brought us to the arts in the first place. We didn’t
come to it, I don’t think, most people don’t come to it to work with con-
sumers. I think that there is a different feeling that you come with.

Sherri: That brings up two points for me. One is that our answers to some
of these issues may be different depending on whether we’re looking at not
for profit or for profit cultural industries, at least in Canada, and I assume
that it is at least somewhat similar in other places. But if it is a commer-
cial theater company then yes, there is the humanistic and cultural idea
that it’s not just a product. But the bottom line is still the bottom line
and you still want to make money. Whereas with not for profit, its mis-
sion based, and there might be a difference in our answers. There might
be, I don’t know. And the other point that this deals with, speaking as ed-
ucators, where it is in the curriculum? Where do we place this? Is it in the
business school or, when I was at York University, we were uncomforta-
bly placed with cultural studies because that was the only interdisciplinary
place to put cultural management. Where I am now at the University of
Toronto, Arts Management is placed with the Humanities. We accept the
idea that this can be a part liberal arts study, but there is discomfort there
too because we’re talking about marketing and fund raising and practical
skills-based courses as well as policy and theory and that sort of thing. An-
yway, we seem to be a little bit uncomfortable wherever we are. That dis-
comfort may not be a part of this conversation but it’s an issue to me.
 33

Group 2: Amy, An, Kevin, Lucia, Pekka

Kevin: I am of the thought that the most challenging issue facing the cul-
tural manager as a global citizen, as distinct from a national citizen – since
global citizenship is conceptual, as distinct from legal – is how do you bal-
ance questions of identity – which are local – with the transnational forc-
es that we associate with the term “globalization”. Clearly in my mind, the
answer is not a kind of neo-isolationism; cultural isolationism. You can’t
put a moat around your culture, even if you thought that was a good idea.
So I thought that the cultural manager had to mediate between so-called
cultural imperialism, or globalization, which is sometimes called Ameri-
canization, and the local national cultural that defines one’s personal iden-
tity. That, to me, is the most important issue facing the cultural manager.
I anticipated an answer to that in something called cultural synchretism,
which is a kind of fusion of cultures into something that is neither one or
the other but it is a local adaptation, say.

Pekka: It came to my mind that we can also use a different kind of term.
When we use the term globalization, we can also use the term localization.
If we use this term it is somehow easier to deal with the question of glo-
balization in that way. It is somehow on the same level, at the same time.
We like to use the word globalization in a positive and a negative way. Is it
also possible to use localization as a negative term? In most cases you get a
positive feeling of the term localization. Small things are beautiful. This is
just a side way to think about it.

Lucia: About the first question, I think that there are two different defi-
nitions to make. First of all, how do you define the cultural manager? In
my opinion, there are two senses. In the narrow sense, the cultural manag-
er is someone who knows how to sell cultural objects, how to manage cul-
tural activities. In a broader sense, I like very much the definition of Con-
stance. It is someone who is unifying people, who is helping the commu-
nication between different cultures. It is a social manager in the broader
sense. I think the questions are directed to social management rather than
34

cultural management and art management. And the other scope of ques-
tions are related to global citizenship. It’s not the first time I’ve talked
about this. I have been twice in the Soros seminars where we talked about
the entrepreneurial city and the global entrepreneurial city. There was a
very nice connection between economics and culture and I would like to
attract your attention to these kinds of questions, the relationship between
culture and economics. I think this aspect is very important for our dis-
cussion because cultural management and global citizenship is closely re-
lated to economic development. Bulgaria has 1300 years of history and
the US has 200 years of history. They are really a world culture and they
are spreading everywhere. There are cultural events and cultural models if
you want. So, it’s really a question of economic development. That’s why
I like, very much the approach of the European Union. We are unifying
with our differences. So one of the main targets for European policies is
to help to strengthen the small countries with small economic possibilities
and not to erode their cultural identity. So, in any case, the management
is the management. First of all the management of economic activities. Af-
ter that the management of cultural activities, and the management of so-
ciety. If the economics are going well, if the economic activities are profit-
able there would not be any social tensions. The cultural manager will take
his role in unifying people and in managing cultural activities. That’s why
in countries like Bulgaria where the economic development is very nomi-
nal, the notion of cultural management is in the beginning stages.

Pekka: I like very much the phrase that you used. You use the term social
manager as a kind of synonym for the cultural manager. I think it is a kind
of beautiful idea to think about the duties and responsibilities for a cultur-
al manager to also be a social manager. At the same time it is an impos-
sible task to handle, but it brings up some new perspectives about what it
means to be a cultural manager.

Lucia: In Bulgaria, in the National Art Academy, where I teach, “cultur-

al manager” is understood in a very narrow sense; this manager who has to
sell cultural products, nothing in common with the social activities, with
 35

working with young people, et cetera. In fact, culture is something that

should be taught.

Kevin: I’d like to support this notion of social management because it

seems to me that the tension over globalization is that it is a transnation-
al force but not a particularly participatory one. It’s one that is dominat-
ed especially by the United States and Western cultures, as even distinct
from central Europe, let alone the rest of the world. Many people, espe-
cially small language peoples; small countries feel threatened that they’ll
lose their two thousand year history to these inexorable forces of the in-
ternet and Hollywood and the record business. Notice that Americans call
it the entertainment business and the Europeans call it cultural industries.
That’s a lot right there. So really, the two have to be accommodated. And
the cultural manager, socially; in a way, a challenge would be to seek some
kind of cohesion between these transnational forces and the local forces;
identity and globality.

Amy: I think maybe the place where all that could come together would
be tourism, because that could help promote the local cultures but also
keep an exchange globally.

Kevin: In other words by celebrating the local culture you are sharing it
with other countries. Showing a benefit to the public funders.

An: In this context, at least in Belgium, probably also in other countries,

we see that the local is becoming more global and the global is becoming
more local. We see that in the case of tourism but also in the cultural sec-
tor. That is an important tension I think, local versus global, global versus
local. Regarding localization we see the two of them combining and com-
ing together and the role of the cultural manager in that context. I’ve no-
ticed in my research some tensions and that was the first one. The sec-
ond one is one that has already been mentioned; that is, culture versus
the economy, and also the concept of public value. Concerning the social
manager, this is an interesting concept. Public value as an integrated con-
36

cept of economic value and cultural value. And the details of it. The ten-
sion of market states versus the individual and the concept of governance.
And the last one process and product. Process is focusing on the linkages
between production, distribution, and consumption. The network and the
product is more market linked. And only the product is the output. Those
are the four tensions I’ve noticed in my research. There are others but we
can return to them.

Kevin: Cultural tourism is very much about the past. Now it is important
for the cultural manager as a social manager to be concerned with one’s
identity; what we are. But, we also have to be concerned with what we can
be, which is the creativity. In other words, we don’t want to render small
countries as convenient museums for richer more powerful hegemons to
visit, to say; isn’t this interesting, this Bulgaria with two thousand years
of history. Then, they go back to New York or Paris or whatever and the
money that is spent on culture is used to provide venues for this. So, you
want to balance the identity of what one is with what one can be. Classi-
cally, one of the roles of the artist is to show noncommercial value, what
we can be, that is not dictated by profitability.
 37

2. Is global citizenship a role to be taken on or

a status to be conferred? How does one be-
come a global citizen?

Globalization, viewed positively or negatively, is often seen as an inevitable

process or condition, and one to which we must learn to adapt. In contempo-
rary interaction within the context of citizenship people are creating new ways
to perceive themselves as part of a society, whether or not they embrace the no-
tion of global society.
The second question posed to symposium discussants asks them to consid-
er how one becomes a global citizen. Is it a status to be conferred by some gov-
ernmental entity, such as is the case for national citizenship, or – in the case of
cultural managers – does the nature of their role automatically create the sta-
tus of global citizen? Is it possible to reject global citizenship? To refuse, in oth-
er words, to take on this mantle, even in the face of globalization as an inexo-
rable force?
Global citizenship seems to be a social role that is being formulated in in-
teraction. For the cultural manager the integration where international and
national standards meet, means a path that leads to essential changes, especial-
ly for cultural managers trying to assimilate into new roles.
Are we, in history, at the beginning of a process of globalization, or is the
process complete so that we now live in a fully globalized society? Symposium
discussants view it as an ongoing process in which we are facing the prospect of
new social roles defined by a new global environment. Increasingly we have to
fit ourselves into a society where identity is based on more than just national
heritage. Like it or not, we are citizens of a planet where wider perspectives on
issues of culture are required. This places special demands on the cultural man-
ager who is often asked to mediate issues of culture and identity.
To some discussants, global citizenship requires something above and be-
yond citizenship of other kinds, especially given the demands for tolerance and
open-mindedness that globalization places on us. One key theme in the discus-
sion of this question is whether or not globalization is really a new phenome-
38

non given globalizing forces, such as the Roman Empire, and others, through-
out history. If we view contemporary globalization as something different, we
need to understand why it is different and what demands that places on hu-
man beings in the context of global citizenship. Cultural identity remains a
significant theme in this section. Other themes include education as a factor in
developing global citizens – especially among young people – the notion of cul-
ture as a globalizing force, global citizenship as an aspect of communication or
information, the tension between global and local, and whether global citizen-
ship necessarily conflicts with national citizenship.

Group 1: Annika, Constance, Miia, Sherri, Su

Su: This idea of global citizenship about which, it was said, that maybe it
was a matter of wealth; that only the wealthy can be a global citizen. But,
it is also a matter of location. I’m just thinking about the European coun-
tries, and also America. But some countries are not global at all. They can’t
have a global vision of things at all. It’s not a matter of whether they have
to take it on, but rather that you’re not born with it. The environment
doesn’t supply this global idea. You have to make a conscious effort. It’s
not so obvious for Turkey, for example. We’re tied to the global now, but
we are global in Istanbul, we have this idea of globalization. But no one is
aware in the countryside. They are not aware of their own culture, so the
main point, the main problem, is not to be a global citizen; it’s to be a citi-
zen – just to be a citizen – that the cultural manager has to be aware of.

Constance: I think you raised a really excellent point because I think no

matter where you go people don’t know about their own culture, which
immediately suggests a role for cultural managers to help people under-
stand their own culture. I think wherever I go people say that they don’t
know their own culture. Finns don’t understand their own culture. Amer-
icans don’t understand where we come from and why it’s important that
we have a particular governmental system. Maybe it’s that way in Cana-
da I don’t know for certain, but I think it’s everywhere that we don’t know
about our own culture. Another dimension of this is do we understand
 39

our own culture better when we confront someone else’s? Does it help us
understand ourselves?

Annika: I think meeting other people and being with other people from
different cultures from different countries – I think that’s the only way
that we can define who we are; when we’re comparing ourselves to some-
body else and also maybe that’s one way of defining if we are global citi-
zens, as well; in contrast with others.

Sherri: This is an issue that the national museums, for example, look at in
America and in Canada and it’s a struggle with our own national citizens
because there’s this dichotomy of the national gallery of Canada. Many
Canadians feel that there should only be Canadian art at the national gal-
lery because it’s the national gallery and the big dollars go to American art-
ists; at least in recent years. It’s caused many difficulties. So, this idea of
citizenship; when most people think of citizenship they’re thinking of it as
nationalistic. We’re proud of our country. But the people working at the
gallery feel that we really only understand Canada, when we look it in the
context of others. So they have, as part of their collection policy, to collect
art from all over the world so that people in Canada can go and see them-
selves, but see themselves reflected in work from all over the place.

Constance: Canada and the United States are similar in that we have
huge immigrant populations and so there is another dimension there. I’m
not as familiar with Canada but being an American citizen is not a matter
of being of a particular culture, it’s citizenship around an idea; a constitu-
tion. And, that’s very different from having this long tradition of the Finns
or the Turks. So, I think in some countries the only way you can under-
stand yourself is by looking at others because you are collection of others.
That puts an interesting spin on it.

Miia: I want to look at this question in a very strict way. Is global citizen-
ship a role to be taken on or a status to be conferred? If I have to choose,
it is a role to be taken on because you can’t be a global citizen if you don’t
40

take a step. If you don’t take a step; if you don’t open the door. You can’t
make a difference if you don’t take a step and look outside. It shouldn’t
depend on if you have money or if you don’t, if you’re wealthy or not, or
do you know where the doors are that should be open. How does one be-
come a global citizen? You have to know there are doors to open and you
have to know it is legal for you to open them and it is allowed for you to
open them. So, how about cultural managers? Can they help these doors
to be opened?

Constance: That made me think about opening doors and pushing

through doors or pulling you through the door. I agree that some step has
to be taken and I think part of that step may be an identification; not a lit-
eral step, but a new way of thinking. But I think conferred is a nice word.
I think one could become a global citizen without wanting to. There are
many people who were forced to migrate from their countries and it seems
if you’re forced out of one country and you’re not quite embraced by the
other country then what kind of citizenship do you have? And maybe glo-
bal is the only possibility in that sense? The reason I suggested that aspect
of wealth though, and this goes back to a point Su made. I think that if
you come from a western culture, you can take on being a global citizen,
and it means a very different thing than if you are in a developing country
and wealthy global citizens come to visit you, though maybe you’re are not
a global citizen.

Sherri: I’m not sure I would agree with your statement about people be-
coming a global citizen without taking a step or without wanting to or
overtly taking a step. I almost see this not as a role to be taken on but as a
role to be accepted. And the reason why I struggled with that a little bit is
that the ancient, traditional term of citizenship was about advocating for
society; being proactive. If you are a Greek citizen, you promote Greece.
If you are a Canadian citizen you promote Canada. Does that mean that
if you are a global citizen you promote the world where you accept the
world? Or, what part does advocacy play in that? I don’t think you can do
that accidentally. I think that there is something there that needs to be ac-
 41

cepted. I don’t see that as inherent. I think it’s something that you have to
accept and there has to be step that you take.

Annika: I think I can agree with Sherri on many points. In my view, glo-
bal citizenship is something that you grow into, something that comes
slowly when you open your views and you see what is happening on the
other side of the globe. When you take notice of what is going on.

Miia: I agree about this, that you have to grow in the role because it takes
time to grow. And it means you have to be aware what role you are grow-
ing into. I don’t mean that you can grow into something without knowing
that something’s happened to you because I don’t think that growing can
happen if you aren’t aware of it. It demands awareness.

Constance: Let me interject something; give some food for thought. This
has happened to many populations but I think one that we are very famil-
iar with is Jews in Europe who became non-citizens of their country. And,
because there was no country protecting them, it became easy for them
to be put in prison camps and exterminated. So, if we understand that
citizenship of a country protects you, what I suggest is that maybe you
could become a global citizen, without choosing it, because there’s no oth-
er choice. I was thinking along those lines that maybe we don’t have such
a system now except articulated in the concept of human rights. Maybe
above and beyond everything else you’re a global citizen and that can nev-
er be taken away from you, even if you don’t have citizenship anywhere
else.

Sherri: That’s interesting to me because I’ve always seen citizenship as

something you can accept or reject. If I disagree with the policies of my
nation I can reject my Canadian citizenship and say that I am no longer a
card-carrying Canadian. If you lose your nationhood as the Jewish people
did, it almost sounds like they went back to something, but they’re revert-
ing to something greater. Can we reject the idea of global citizenship or is
it an inherent part of what we do?
42

Constance: I don’t think it really exists in our minds as something that

you can revert to or go forward to just yet because it’s not been defined
by any group of nations what that would be. Maybe it’s too much to talk
about post-nationalism; a situation where there would be no nations any-
more but that’s a very different issue. Going back to our point about is it a
status to be conferred, it seems that the group is on the side of saying that
it is something that you do for yourself and that it is not something that
could be imposed from the outside either positively or negatively.

Sherri: I could see the possibility of citizenship being conferred by some-

one else but it’s not conferred without you somehow accepting. I became
a Canadian citizen by birth so I didn’t have a choice there, but once I be-
come of age I can continue to make the choice to accept it or reject it, so I
think that this idea of acceptance has to be there.

Constance: Let’s go to the second part of the question and pick up a point
that Miia made. How do you become a global citizen? Maybe, as part of
what you answer, you give us a notion of what you intend a global citizen
to be, because I think it’s hard to answer this without having some notion.
So, whatever we’ve decided for the first part of the question let’s think
about how you could become a global citizen. What particular steps might
you need to take as part of the process?

Miia: I was thinking what is the maximum of global citizen you could be?
Who is the expert? And who is the loser? Is it possible for anybody to re-
ally have it all, to have the whole maximum of what global citizenship is?
And, how do you become one because; yes, it’s a process, if we are think-
ing in terms of growing into the role of being a global citizen.

Constance: Let me ask for clarification. When you ask what is the most
you can be, are you thinking about benefits, who are the winners and who
are the losers?
 43

Miia: No, I was thinking about information. I was thinking global citizen-
ship as an amount of information about the world and how people think
and what is humanity and what it means to be here on earth.

Sherri: It looks like you’re looking for growth to stop, like in growing up
adulthood is the maximum, or like if we say: “that’s the tallest you’re going
to be.” So it’s a question of adding to whatever it is to being a human be-
ing in terms of information that you acquire. There isn’t an end, there isn’t
a maximum amount of information because things constantly change and
at the end is your death. You’ve reached the end of your possible learning
when you can no longer learn anymore. I see global citizenship as some-
thing that is about a commitment to issues outside of your own country
or locality or geography or whatever, so that commitment is related to in-
formation but it doesn’t mean that there is a maximum.

Constance: It just occurred to me as you were talking that the art that
we’re going to see tonight may be good for this context because it’s about
alien beings. It might be a silly way to think about global citizenship, but
of course if there are beings on other planets – and there may be at some
point if humans branch out to other planets – then it would be instantly
easy to see ourselves as global citizens of Earth versus Mars citizens or cit-
izens of wherever humans go in the universe. So, I’m not interjecting this
just to be silly. The points both Miia and Sherri are making are really ex-
cellent, but there is this other notion of it being about a geographic place
and not a philosophical place.

Miia: I was asking myself earlier, what is the reason that there is a value to
becoming a global citizen? What is this starting point? Why start growing
into this citizenship?

 Symposium participants visited an exhibition by Finnish artist Oona Tikkaoja, which

represents science fiction fantasy by combining a wide array of materials using both tradi-
tional and non-traditional sculpture techniques. More about Tikkaoja’s work can be found
at http://www.vikuri.com/.
44

Annika: This is a good question because if you think about global citi-
zenship as being awareness and risk, and taking responsibility for other
people; taking responsibility for the whole globe and people in it, then
we have to also ask if it is more beneficial to have global citizenship and
be less involved in national citizenship. Is it something that goes hand in
hand, or are they in contradiction somehow?

Miia: Yes, that was something I was thinking about. Do you lose some-
thing when you start to open those doors? Is it ethical to start opening
them?

Constance: I think that is an issue we have to pursue at some point. Is it

ethical? And, of course for a cultural manager that’s something we should
be concerned about. What I was thinking about as that bit of a discussion
was going on is, to what extent – if any – is art part of the process because
art is clearly global? Even the least global of art is global at this point, and
so do we consider art to be part of that process?

Sherri: Absolutely. I don’t think that any of us would think that artists
don’t address these kinds of things. The thought that came to me when
you were speaking, Constance, was the idea that art is being created and
there is a framework within which that art is being created. Again, in the
Canadian context – I hate to keep doing that but that’s my locality, and
I’m self-identifying as a Canadian – that our cultural policies are often in
place because we have a big bad neighbor to the south to protect ourselves
from and while artists can be doing anything they want, the ones audienc-
es come to see, perhaps because of that context, because of who is funding
it, who is monitoring it, and what culture managers are doing, the things
that appear to be singled out and what they are finding funding for may
have certain political ramifications that we can’t ignore. Artists can be do-
ing any number of things that are entirely global, but what brings out au-
diences may be something entirely different.
 45

Constance: Let me clarify. When I said that art is global, what I meant is
that I can go online anytime and buy something made in a small African
village even though it’s made for that village; not because the artist is do-
ing something global, but because I can buy that in a global market and
put it in my home and enjoy it. Does that contribute to the process of be-
ing a global citizen? I think another issue raised by your comment; I don’t
know exactly how it fits in this question that we’re addressing for the next
three minutes, but maybe as part of the ethical. If there is a desire, let’s
say perhaps this desire to become global citizens; nations are often work-
ing against that. It’s in the interests of the nation to fund its own art; to
have people be Canadian or Turkish, not to be a global citizen, and so that
maybe there is a sense in which your citizenship is imposed upon you. You
may embrace being a global citizen, but your nation is trying to keep you
Canadian whether or not you want to be a global citizen.

Sherri: At least the meaning of citizenship is imposed on you; what does it

mean to be Canadian, or Turkish, or Finnish.

Constance: So, some cultural managers may see their role as keeping Ca-
nadians Canadian and Finns, Finns, and not to get people to think of
themselves as global citizens. Maybe one other point is that, because we
talked about what it means to be human when we had the introduction,
we could equate being human with being a global citizen. Could they pos-
sibly be synonyms?

Sherri: I would not agree with that, but that is because of my own formu-
lation of the idea of a global citizenship as something to be accepted and
become aware of, as Miia said, and not something that is conferred from
the outside.
46

Group 2: Amy, An, Kevin, Lucia, Pekka

Lucia: It is rather a feeling to be a global citizen. No one can confer it
on someone else. I can communicate with other cultures. There are requi-
sites for contemporary citizens to be global citizens. They have to be more
open-minded and I think that this is the role of the social manager, of
non-goverment citizens or organizations to promote such an attitude; an
open-minded attitude of the people. People in former economic commu-
nities like Bulgaria, they were very close-minded. Only young people are
expected to be open-minded, to be global citizens. I think it should be
motivated, cultivated, explained. To try and expose to the world, to the
cultural treasury.

Amy: I agree with that. Older generations in the United States seem to
be more close-minded than younger generations. We fear what we do not
know. I think they would be much more open.

Kevin: The Americans are always talking about choice and that we are a
nation of choice. But, how do you know what to choose if you don’t know
what the range of possibilities are? And if the only way you have knowl-
edge of the choices there are is through profit-making institutions, that
truncates the range that is available. I am always amused, if not bemused;
outraged that somehow the market is this infallible machine that registers
approval of choices. What it does is register consumer choices among the
limited range of what is provided. Cultural education as distinct from ad-
vertising would provide one with at least the opportunity of some other
things to choose. But one does not get that in a fully market-determined
environment.

Amy: I think that goes back to defining us as consumers.

Lucia: I think that the role of educational institutions; all kinds of schools
– high schools – is their strong role in defining global citizenship. Because
how can we decide about a culture if we don’t know about that culture? In
 47

the past in the very, very near decades, people were not very aware of for-
eign cultures. They have a future and are very much threatened by the en-
vironment and pollution. This was one of the first steps in global citizen-
ship. Let’s unify to preserve nature and the environment. Why not unify
to save the nature and the world through cultural events?

An: Besides the role of education, I would like to add the role of the me-
dia. For example, the role, in Belgium, of public broadcasting, and added
to that the role of public value. Also, the role of the media in the context
of digitalization and the internet.

Kevin: You have no choice to be a global citizen. It’s that or to live in a

cave. No nation, let alone the state, has, unless it is Burma or North Ko-
rea.

Lucia: Are there any Eskimos who are not globally-oriented?

Kevin: How do we mediate it? Increasingly the role of the cultural man-
ager is the mediator. A contractual mediator. One of the definitions of en-
trepreneur is, to manage a music conservatory. The second is the more
typical one: the risk taker. The third is the contractual intermediary; some-
one who has to bring together the various stake holders that are not just
artists, not just the ministry officials, not just the politicians. But all of
these people. And, to answer the questions; to mediate local identity with
global forces. It is not easy.

Lucia: I think that cultural events could be a tool for achieving global citi-
zenship. What does entrepreneurial city mean? One of those cities which
protects the environment. What is a global “entrepreneurial city”? The
tools to become global. I have a good example from Sweden. We visited a
very interesting town in Sweden where an old copper mine was changed
into a cultural object twenty years ago. The Swedish government realized
that the revenue from the mine as a cultural destination was greater than
48

when it was an operating mine. It’s attracting tourists from all over the
world. It’s making this town a global town.

Pekka: When you raised the question if it is possible to avoid being a glo-
bal citizen, I think it is very hard to do nowadays. But what troubles me
is how do we understand ourselves as a global citizen. Is it a kind of acci-
dent that happens anyway? Are we very aware of being a global citizen? Is
it a cultural event that brings it into being? Is it the idea of globalization?
What does it mean? I think it is a kind of coin; a question of both sides.
If we talk about globalization we have to talk about localization. It is very
interesting what is happening. For example in Finland and in the EU
countries, we are, at the same time, building a big empire like the EU, and
trying to maintain the integrity of small, local cultures. We are very aware
of the different local dialects. There is a kind of tension these days to pre-
serve your own dialect.

Kevin: The only resistance I have is that localization can often morph
into provincialism. A better word is heritage; where have we been? From
whence do we come? Even in America there is a revival in heritage. We
live globally in terms of economic performance. We act globally, but we
live in our local cultures. That’s what defines us as citizens. With the EU
demanding that there be respect for minority cultural rights, like Transyl-
vania, which was Hungarian and now is Romanian. But globalization —
it’s not that new. The Baroque was an international art historical move-
ment. For 300 years it defined what architecture looked like. It was an in-
ternational style. Gothic was an international style. In China, there were
tremendous unifying forces. But now there is globalization in technology.
But if we are talking about sharing within a common cultural reference,
there are other examples besides that in history. If English is the common
language today, it used to be French. Latin for one thousand years was the
global language.

Pekka: And the Roman Empire.

 49

Kevin: We have to be careful in that we think our era is so different than

what came before. It’s technology, the internet, that is different now.

Pekka: So the question raised is: why are we speaking of globalization at

all? Why is it such a pervasive word? It seems to be a problem for so many
people. If we look at history, it has always been there. For some reason
people need to talk about globalization and see it as a problem.

Kevin: The difference might be that unlike Rome, or the Chinese empire,
it’s the combination of economic, military, and the technological. I will
never forget the time I first heard someone say that the globalization of the
world meant the Americanization of the world. I had never thought about
it. The effect that this must have on other people and on very proud cul-
tures. When globalization becomes a form of hegemony it makes people
nervous about losing their identity.

Pekka: So is it that culture, in itself, is a kind of form of globalization?

All: Absolutely

Lucia: The same with environmental protection. I like the saying of envi-
ronmentalists: Think globally, act locally. Why not the same for culture?
The world cultural heritage. Every region. I like the European approach
towards regions, not just countries. The region of the Balkans, for exam-
ple. So, the regional approach. It is also very useful for cultural presenta-
tion. You have nearly the same cultural events in all our Balkan countries.
There are many common things in everyday things and in the news. So, is
it possible to avoid being global? I can give some examples from my coun-
try. When there is a bad infrastructure, no good roads, no internet, then
globalization is not possible. That’s why in my country the most impor-
tant policy is to improve infrastructure and the cultural development will
come by itself.

Pekka: Globalization means communication to you?

50

Lucia: Communication, exchange of good practices in the social arena.

Kevin: One doesn’t want to underestimate that transnational power. There

are no national economies anymore. They are all in the context of the glo-
bal economy. Europe is leading the way. It also has a political aspect in in-
tegrating communication, but also economics. The French candidate who
was famous for taking a tractor into a McDonald’s, for example, was re-
sisting globalization.

Pekka: That is also a very loose way to use the term globalization.

Kevin: Like culture is also used very loosely. We use to talk about it twen-
ty-five years ago, public policy and the arts. Subvention. Then about 10
years ago there was a sea change. And then we started talking about cul-
tural policy. Kulturpolitik. What we came to mean is culture as aesthetics.
Also anthropological. Festivals. My arts council is very supportive of fes-
tivals which are about identity. The anthropological and the aesthetic is
what many people mean by culture. They don’t feel threatened if the ballet
company is from another culture.

Pekka: It’s also that way when we use the word culture. It’s easy to the-
orize about it. Every time we try to be concrete about the term, we talk
about art. It’s not something that is not political, not economical. It’s hard
to speak about culture when we use the term “cultural manager”. It is very
hard to define what he or she should be focused on. What kind of skills he
should have. Is being a manager a way of life? I think it is easier to be an
arts manager. It is easy to understand. But cultural manager is something
else. And the cultural manager as global citizen is even harder to under-
stand.

Kevin: In political science we call it cross-pressured. Culture as a way of

life, and culture as aesthetic value. The great sagas of Finland are more a
way of life that every Finn should know. In fact cross-pressure is horizon-
tal. The other kind is vertical. I get nervous about provincialism. A lo-
 51

cal culture can be very sophisticated; it doesn’t have to be provincial. The

motto of the United States; the official motto is E Pluribus Unum. When
America was a melting pot it was “one out of many.” Now the paradigm
is that the US is a mosaic. “Out of many, one.” Each is an equally valid
translation. But how you translate it says something about how you view
culture. You live in a melting pot? No, we live in a mosaic. And that con-
ceptualization means no longer any dominant groups.

Amy: As I hear everyone listing out the characteristics, to me all of this is

starting to add up to the characteristics of the global manager.

Kevin: They can be both. I don’t see them as contradictory. How to live
in a communitarian sense in a global economic market? The possibility
of tension is great. The social management function is to mediate. A glo-
balized nation in which everyone is an immigrant. And there is no domi-
nant culture, no national culture. A country of cultures. In a sense that has
been an example of how you have diversity in unity. They are just that, at-
avistic. It’s not easy. It gives you a lot of tensions. Different groups.

Lucia: In America it is very easy for the cultural manager. He just has to
follow the advertising campaigns of Coca-Cola. It shows the developing of
feeling it. The social values.

Amy: I think that brings up a good point. What inspires the cultural man-
ager? What is his philosophy? What is the mission statement?

Kevin: You have a course here at HUMAK on arts and cultural values.
And I said to myself, because one has to know something about this. It’s
unfortunate that at the university level it’s been given too little attention.
My big fight is not with Coca-Cola and Hollywood. They do what they
do very well. They give you what you want. Cultural managers are sup-
posed to give you what you need. This has to be consensual of course. In
the United States I always say that the big tension is between the commer-
52

cial and the non-commercial. Now in Europe there is not much of a ten-
sion, there are subventions to offset the great globalizing power of the US.

Pekka: Speaking about Hollywood. They give you something you didn’t
even know you wanted.
 53

3. Is it appropriate for the cultural manager to

be a global citizen?

There a wide number of views of globalization, both positive and negative.

For cultural managers, the negative view of globalization is that it homog-
enizes or destroys local cultures in favor of corporate culture and values that
render citizens consumers of goods. The more positive view of globalization is
that it is embracing of diversity and a world in which diversity is enjoyed and
shared through the economic, technological, and political conveniences that are
brought about as the result of a more open world. The global citizen can also
be viewed negatively or positively depending upon which type of global world
we imagine. The question of appropriateness relates to the nature of the status
of global citizenship: is the global citizen a cultural imperialist who consumes
culture as a commodity, benefiting from the conveniences of globalization, or
is the global citizen cognizant of the value of diversity and someone who works
towards cultural sustainability?
Discussants return to some of the earlier themes, under previous questions,
in pursuing the notion of appropriateness. In particular, they wonder how the
positive values of global citizenship can be instilled in students. They raise fears
that global citizenship may result in a homogenization of culture. Compari-
sons to environmental preservation emerge. Key themes include for-profit, or
commercial culture, versus culture as heritage and identity, globalization as a
Western concept, and whether the term “globalization” is a concept that really
applies to anything at all.

Group 1: Annika, Constance, Miia, Sherri, Su

Annika: I don’t think that “cultural manager” and “global citizen” can be
synonyms at all. People have to have the right to humanity even if they
don’t want to be global in any sense. I think it’s their right to be in their
own small African village without knowing anything about the world out-
side. I think it’s something we cannot force people to be. Well, maybe glo-
54

balization is doing it for us, but still I think it has to start in the human
being, itself, to say: I want to become a global citizen.

Sherri: When I was first reading this question when the questions were
first sent, I couldn’t help but picture myself in front of my classroom and
having a student ask me this question. They always know how I answer
these kinds of questions. I ask them: What’s Sherri’s answer? And they say:
It depends, because that’s something I’ve ingrained in them as I go along.
So, is this idea something to be embraced or resisted? And the answer is
yes to both or, no to both. It depends on the circumstances.

Constance: You are absolutely right that it depends on the circumstanc-

es. Maybe we should explore when it might be appropriate for the cultur-
al manager to be a global citizen. I guess you could say, never, if that’s your
view.

Miia: Somehow my thinking is turning towards how we see globalization

in the context of environment. It’s always good to be global in areas where
you have to think about the responsibility to the environment. Then the
aspect of being global as a cultural manager is good. It’s good in this sense
to be a global citizen. So, when you think about the environment or hu-
man rights, if you connect those ideas it’s a good thing. The bad feelings I
get about global citizenship is that it’s such a trend. Yes, of course everyone
should be global. We hear that all the time. But, it’s such a Western con-
cept. And I think there is a problem there. When you think of environ-
mental things it’s good to be a global citizen, when you think about what
globalization might do to culture, it’s a bad thing.

Sherri: What you mean is that globalization is a Western construct.

Miia: Yes.

Constance: This goes back to the ethical notion. It sounds very imperi-
alistic, in many contexts, to talk about a global citizen. Wealthy people
 55

have the opportunity to go anywhere in the world and live well. So, there
might be the tendency to say: I’m a global citizen when I go to that Afri-
can village because I want to consume as a tourist, or even as my right as
a global citizen, to go and consume all the fun and interesting things they
have there. And it may be that the citizens of that location don’t want to
be the stereotypical “little African village”. They just want to be what they
want to be. But that might conflict with my imperialistic notion of being
the global citizen.

Sherri: One of the problems I come up against here is that everyone must
be global; that it’s something everyone must be. I wrote a couple of chap-
ters in a book about marketing and the publishers came back to me and
said: but you didn’t write about export marketing. And I said: but I don’t
know anything about export marketing. In the end they had someone else
write that part and it was inserted into the book because they felt strongly
that it needed to be there. But, I don’t think that everyone needs to be glo-
bal. I like to think globally, but when I am a consultant, I work locally, in
Canada. I don’t want to impose my ideas on other countries imperialisti-
cally. It’s like the discussion of consumer versus citizen that we started out
with. We don’t have a comfortable word that applies to everyone who par-
takes in culture. You can’t call someone who buys a ceramic pot an audi-
ence. The word that incorporates everything seems to be customer, even if
people are uncomfortable with it.

Miia: My earlier question about the maximum has something to do with

imperialistic thinking. I see a danger there in thinking about how global
can you get.

Sherri: Can you be global at home? Is it a commitment to ideas? Can you

be global but stay at home?

Constance: Keeping it in the context of this question, Sherri talked about

a Canadian museum showing French or American art so that Canadians
can reflect upon other cultures to know their own culture better. Perhaps
56

even if the cultural manager of that museum has never traveled outside
of Canada, he or she can still be global in the programming, even if, tru-
ly, the only people who look at the art are Canadian. It may be appropri-
ate that the question is raised in the context of the art even if not everyone
looking at it thinks about it in a global context. But the opportunity is
there because the cultural manager had the notion to think globally. Does
anyone think the idea of the cultural manager as global citizen is absurd?

Su: I don’t think it is absurd. But we can’t really ignore that the cultural
manager has a great deal of power in a city and he or she has to be use it
very carefully. Being global can damage the local culture so you have to re-
ally balance it.

Sherri: Earlier I talked about dilution. When I talk about cultural policy,
it’s Canadian. I can’t talk about everything, you can’t do everything. But
that goes against the idea of being global. But if you tried to teach every-
thing, students wouldn’t really learn much. But at least they might have
learned how to learn in the context of my class. In the context of learning
how to learn, being a global citizen is very positive.

Constance: I actually have one context in which the notion of cultural

manager as global citizen could be absurd. One of our highest values in
cultural management is that of diversity. And, global citizenship could be
more about erasing diversity. Maybe globalization can be about embrac-
ing diversity, but it could also be about erasing it, and I think that’s the
dangerous part of globalization; if it just makes everyone a mélange of one
thing.

Sherri: Various shades of gray?

Miia: I think the word that makes me feel uncomfortable is the word glo-
bal. What Constance just said; the danger of erasing diversity. But is there
any problem with the word citizen? Is global the matter of awareness of
choosing something. Citizenship is something you have, though it can be
 57

taken away. I think in the term “global citizen”, the word “citizen” is okay,
but “global” bothers me.

Sherri: Is it because of the connotations of globalization?

Mia: It’s the connotations of it, and the issue of imperialization, and the
danger of losing diversity.

Constance: Maybe the cultural manger as global citizen is trying to pro-

tect diversity whereas it seems that in the corporate world, globalism is
about erasing it, so that we are all drinking Coca-Cola. It doesn’t have to
be American. We could all be drinking Coca-Cola and reading Japanese
Manga.

Sherri: And talking on Nokia phones.

Constance: Yes, so the cultural manager as global citizen could be the

countervailing force, the antidote that keeps us thinking about the value
of diversity.

Miia: That could be one of the points, if we think about the role of the
cultural manager, we need to keep on thinking about diversity, especially
if we think about the main things that we want to teach our students.

Sherri: This is of particular interest to me because of the standards that

AAAE is formulating for what a graduate program should include, mar-
keting, et cetera, but what it didn’t have was these kinds of things. So, is it
a different course or does it go through all the courses? We have a course
in Canada called Cultural Pluralism. It started as one course now it’s three
to make sure that our students aren’t just looking at things from one con-
text. They need to understand that we need to see things from the views of
different cultures. I would like to see this as an ethos that goes throughout
the coursework. But if AAAE doesn’t require it, then is it going to hap-
pen?
58

Constance: ENCATC is also looking at this notion of standards and I

think going back to the introduction today, and looking at the state of
the field – the thread that goes through a field – if other fields, like phi-
losophy. In cultural management we don’t have the same kind of thing; a
fundamental framework. I don’t think it can be provided in what partic-
ular skills you are teaching. It does have to be part of an ethos. Not that
you want people to all believe the same sorts of things. I don’t mean it that
way. I don’t think Sherri does either. We don’t have the shared framework
for what it means to be a cultural manager in the way that I know what it
means to be a philosopher or a political scientist or someone might know
what it means to be a historian. Granted as soon as you say what it means
to be a historian, maybe all the historians are going to argue about it, but
they are going to argue from the same ground. I don’t feel that we have
that. And once again, I don’t think it comes from writing standards on
what skills can be taught. That’s starting on a different level.

Miia: If we have these big subjects inside of our curriculum which help
our cultural managers grow into global citizens. What would they be? Di-
versity, and if we think this global thing is a responsibility, because global
is always concerned about responsibility, then we have to think about en-
vironmental aspects. I don’t think we should have classes about recycling
and things, but environmental has to be part of it because we only have
one globe. We have human beings here, so humanity – I agree with Anni-
ka – that humanity and global citizen aren’t the same thing, but humani-
ty is something that takes place on this globe and we have to be concerned
with it.

Annika: I may not be answering the question but one thing that came
to my mind is identity. In order to know others in the world you have to
know yourself. You have to know who you are and what makes other peo-
ple what they are. I think this is important.
 59

Miia: I’d like to make the same point that Sherri was making: learning
how to learn. Also, how to look inside and outside for answers.

Constance: Taking what Annika said about knowing yourself, one thing
a student ought to have done by the time they leave a program is to pose
these questions to themselves and begin to formulate some answers. Not
so that they go on to answer them for other people but, to be able to for-
mulate an answer about what is art? What is the global citizen? I can’t talk
to other people about these questions if I haven’t answered them in some
way myself. Not that I can’t change my answer over time. So, however that
comes about. I don’t know, foundational readings, communication. If we
are trying to get other people to answer the question, we have to be able
to articulate it ourselves. Not only having the answers ourselves but also
helping to others to deal with them. Those are the social skills I guess.

Sherri: I want my students to question not to answer. I would actually be

quite upset if they have answers to what is art? What is culture? Who am
I? By the time they graduate. I don’t want them to have definitive answers
to those questions. I hope that they continue to question.

Constance: I agree with that as well in the sense that you’re saying it. I
would still say that if you don’t have any answers you can’t talk about it.
So, that’s the reason I added that you can change your answer over time
as the contexts change. You make a good point. But I would suggest that
if you don’t have some kind of answer then you have no way to talk about
it.

Sherri: I think we’re on the same page, just different paragraphs. I guess
I just believe that there shouldn’t be just one answer. You said you can
change your answer over time, but I don’t think there should ever be just
one answer.

Constance: Yes, I think we’re saying the same thing.

60

Group 2: Amy, An, Kevin, Lucia, Pekka

Amy: I think that’s an identity question. One thing that keeps coming up
is the identity of local cultures. Preservation.

Kevin: As much as I see the importance of cultural tourism as an appro-

priate way to do preservation, it is attractive to our political masters be-
cause it brings money. But really it’s about creativity. It’s part of what tells
us what you are. You should know something about Sibelius and the Sagas
if you are Finnish; in order to have an appreciation of your culture. Art-
ists are the path breakers into new insights. It’s important that certain nov-
els and certain musical works have changed the way we think of ourselves.
I don’t see cultural managers as just preservationists. All you have to do is
skip a generation and it’s gone. Languages are disappearing.

Lucia: This is the time to introduce the notion of sustainability. Preserv-

ing cultural value. For a manager it is very important to manage in a sus-
tainable way.

Amy: I think preservation can be used to preserve the now. We don’t live
in a melting pot where everyone is just the same.

Kevin: Globalization is just that. Let’s just widely spread so that identity
ceases to be. The mosaic will still be there and will be more important.

Lucia: I think eastern European cultures are a very good example. They
closed it and only opened it when some Soviet delegation came. During
the half-century when all these were open, beginning in 1991-92, sudden-
ly we saw that these cultural monuments were in very bad condition. Some
cultural monuments were destroyed from mold. What to do? Suddenly
they started thinking about getting money and opening these to tourists.
It was also very negative to the objects of culture. Cultural managers came
and said that we should find a sustainable way to preserve them, and now
 61

we are counting on some project money to accomplish this. That’s why I

think the notion of sustainable is very important.

Pekka: I have a question: How would you picture a cultural manager

who is not a global cultural manager? Is it possible to be a non-global cul-
tural manager?

Kevin: Of course! History is replete with examples of people who have

turned their back on you. They become a novelty, a cul de sac, a blind al-
ley. Indigenous cultures. Greenland’s cultural policy is as autonomous as
there is. There is a tremendous push by the Danish government to pre-
serve the traditional ways. The argument is that you are making them into
museum pieces. You are keeping them from the opportunity to partici-
pate in the creative forces of tomorrow. So, it’s not possible without turn-
ing your back and looking inward and consigning yourself to a backward
position. I’m not so sure that there are ever cultures that do well by this.
The Renaissance, the Reformation, the Baroque the Enlightenment; these
were all great transnational movements that cross nations and had differ-
ent cultural manifestations. It occurs to me that maybe this globalization,
what is new about it; the economic and technological. Never have we been
so wired. Finland may be the most wired country in the world. You have
to find a niche. Finland used to make paper. What’s interesting about Fin-
land, a country of 5 million people, a small country that used to make pa-
per from trees. When they decided to join the world after having been
in the shadow of Sweden and Russia, they specialized in two very inter-
esting things: telecommunications where Nokia is practically synonymous
with cell phones, and musical conservatories. There are an extraordinary
number of Finnish musicians and conductors.

Lucia: The connection between economy and culture. Answering Pekka’s

question: can he be not global? I remembered what I wanted to say about
Ceausescu. I’ve seen the Ceausescu culture. You see that during 25 years
he built very particular cultural monuments, very famous, but only with
62

the aim of celebrating his government. It’s not global, nothing interna-
tional. It’s not about the people. Stalinist culture was the same.

Pekka: These are good examples. But we are back to the same question.
Does globalization exists at all? You mentioned Romanticism and the Ren-
aissance. You have to remember when we talk about these historical move-
ments like Romanticism or Renaissance or Enlightenment, they are some
kind of labels to explain that this is what happened. I think the way we use
globalization is in the same way. Look at this. This is an example of glo-
balization again. I agree with you that it doesn’t actually exist; it is just
there.

Kevin: It exists like the others exist. But it’s after the fact that we apply a
label to put into a context what we see. It becomes a variety of things. It
was interpreted by different nations in different ways. That romantic no-
tion of a Geist. It manifested in different countries in different years, some
very unfortunate ones in some circumstances. Here’s an example of what
I want to say. If I say Transylvania in an American classroom, what is the
only thing they would think of?

Amy: Dracula

Lucia: Dracula. An international concept. There was an international

joke. English princess with an Arabic billionaire, crash in a German car in
a French tunnel and photographed by Italian paparazzi. For me, globaliza-
tion is the marriage between European culture, American culture, why not
Asian culture, and Arabic culture too, if they stop the terrorism.
 63

4. What challenges and/or opportunities are

associated with the cultural manager who is a
global citizen?

While the prospect of globalization may pose a threat to cultural identity and
respect for other cultures, it is also an opportunity for artists to expand their
audiences as well as the range of influences they draw from to create their art.
Increased mobility and the presence of technology facilitate global communica-
tion and extend the reach of art and artist to access the benefits of technology
and globalization. To have a strong belief in a global world where everything is
connected is a fine starting point for the cultural manager. It can be an oppor-
tunity for presenting the wealth of world cultures to the audiences they serve.
While these opportunities weigh in favor of global citizenship and a more glo-
bal world, discussants also saw the possibility for many challenges.
This question asks discussants to imagine the cultural manager who is a
global citizen and to identify both problems and opportunities associated with
that role. What is the nature of these challenges and opportunities? Do they
concern practical matters? Are they philosophical at their core, or some combi-
nation of the two?
Community demands, an awareness of ethical considerations, and con-
siderations of the values and purposes of art and culture emerge as points of
tension where cultural managers must find the proper balance. Key issues are
raised about preservation of heritage, the prospect for using culture to unify
rather than to divide, and the need to resolve ongoing oppositions between the
local and global. These are themes addressed in earlier discussions, but partic-
ipants return to them once again. Seemingly prosaic concerns of time, money,
and resources are posed as important challenges, while the less prosaic challenge
of opportunity, especially for cultural managers in developing countries, is also
posed as a barrier where local issues outweigh concerns of more global consid-
eration. As in earlier discussions, commercial culture (with Hollywood as its
greatest manifestation) is posed as an important force in creating both signifi-
cant challenges and great opportunity.
64

Group 1: Annika, Constance, Miia, Sherri, Su

Sherri: From a practical point of view the challenges are focus, time, mon-
ey. Just being able to travel and to take advantage of opportunities out
there to meet with people from other countries often doesn’t come to peo-
ple until later in life and that can be problematic.

Su: The use of diversity as a challenge; how to use diversity.

Miia: I think it’s more like opportunity, because diversity really is a key to
talk about people globally. Maybe diversity is opportunity. Of course it is
a challenge for the cultural manager to keep up diversity. To work as a cul-
tural manager for diversity is the opportunity to give people a playground
for people to deal with each other in peace.

Annika: I can agree with that. Diversity can be an opportunity or a chal-

lenge. By saying that it can be a challenge I mean that when you are a cul-
tural manager faced with a wide selection of things that you can take or
leave, you have the power to choose. And there is the risk regarding what
values, what kind of thinking goes into making a choice. That is also a
challenge for the cultural manager; to make right choices.

Constance: Thinking about how diversity can be a challenge rather than

an opportunity, it made me think about many years ago when I visited
Maison des Cultures du Monde, the director was talking about how the or-
ganization supported indigenous musicians around the world. The direc-
tor said that the potential problem was that they could be imposing on a
group of musicians that they maintain their diversity. They were getting
funding to maintain their traditional music and this was what was meant
by diversity. But what if the musicians didn’t particularly want to do tra-
ditional music? Couldn’t they be diverse in a different way? Then at an
ENCATC meeting in Slovakia, there was a representative from UNESCO
and the question was posed, would UNESCO support say a Finnish mu-
sic group that wanted to do Latin music? And the answer was no. These
 65

cultural managers, then, are dictating a diversity that is very political – a

diversity that maintains traditional culture and not a diversity that allows
musicians to develop as they want to develop. It just struck me that diver-
sity could be seen as a negative when it’s dictated in this way.

Sherri: Another challenge that came to mind was the way the concept
of global citizenship doesn’t fit in the way with the way academics work.
We are expected to specialize in a very narrow area and the more strange
and exotic the better. That goes against what I am. I am a generalist. I’m
not an expert in anything. I know a little bit about many things. And so I
fight against that. But I’m fighting alone. Everyone wants to know what I
specialize in. I specialize in arts management which is already something
quite broad. I don’t specialize in something like marketing to indigenous
cultures in Ontario. That’s not what I do. I’m much broader than that.
That leads me to another point that is a risk. We’re developing breadth of
knowledge at the expense of depth of knowledge. This goes against what
I just said, but it’s also a risk. Being a global citizen risks that you know
a broad range of things but you aren’t deepening your knowledge, except
maybe knowledge about yourself. That goes back to identity in a way. But
only if we take a conscious step to say: what does it mean to me? We might
be risking depth of knowledge by gaining breath of knowledge.

Constance: I think that’s excellent to think about how arts management

gets positioned. Not only do people from the outside not fully understand
what it is, but those of us on the inside don’t always understand what it
is. We kind of think that we do because we teach in it, and I think we do
some wonderful things as teachers. But we don’t have a strong ground-
ing in some basic framework. We end up having to be generalists in our
field and that does work against the model in the university. So, what do
we do about it? Do we get more specialists in the field so we look like oth-
er fields? Is that a value? Or do we continue in the same vein because arts
management is a different kind of field?
66

Sherri: I don’t have an answer to that question, but it isn’t just the world
of academia. It’s also the practice of arts management; it’s true that in
smaller arts organizations you must be a generalist. You must do every-
thing including take out the garbage. But in larger organizations you will
specialize as you will be the head of marketing, for example. Someone who
graduates in my program in four years has just scraped the surface of that.
They don’t really have what it takes to be a specialist although that is a part
of being in arts management. So, it’s not just academia, it’s in practice as
well. And we don’t have that body of knowledge, that framework you were
talking about that other disciplines seem to have.

Constance: Just a follow-up thought to that. When we say cultural man-

ager it isn’t just one thing. It could be someone who is in development,
someone in festival management, someone in marketing. So when we say
the cultural manager as global citizen, does everyone who has that label
have to be a global citizen? Is that a challenge to pose to everyone or is that
an opportunity we want to extend to everyone who is a cultural manager?
Or do we have the “Global Citizen” as a particular person in every organi-
zation?

Sherri: Yeah, it shows up in the job description.

Group 2: Amy, An, Kevin, Lucia, Pekka

Lucia: To unify all these different cultures. This is the challenge.

Kevin: For me it’s the preservation of national heritage while at the same
time creating cultural creativity that can compete on the global market.

Amy: I agree with Kevin. I think that the main thing that the cultural
manager needs to keep in mind when dealing with other cultures is re-
spect because that can ruin a lot of relationships.
 67

Kevin: UNESCO preaches this; cultural respect. Within the United

States, multiculturalism is very simple. It simply means respect for other
people’s cultural values. It doesn’t mean anything more or anything less.
That would be a good start.

Amy: I don’t want to get too much into funding. However, for some areas,
they see commercializing their culture as the only option to become part
of this global movement. The challenge there is how to truly keep the cul-
ture without having to compromise it for economic reasons.

Kevin: Of course they were making these things for visitors. But you are
right that even in the United States there are areas of cultural heritage.
They are very proud of their anthropological character. At the same time,
they are not unaware that there is money to be made in marketing their
unique culture. But it has to be something that the tourist in some way
has come to accept to see. If a Yankee comes and wants to see a planta-
tion and I take them to a real one. They are very disappointed because it
doesn’t look like Gone with the Wind. So, if that’s what they want, I take
them to see something like that, but it’s not the real thing.

Lucia: Europeans as well. People want to see those models. Why not en-
tertain them in this way? It goes back to Hollywood.

Kevin: But we know what’s real for our heritage.

Lucia: We see the role of Hollywood here.

Kevin: We know if something is tarted-up.

Lucia: Made by Hollywood with a lot of money. Bulgarian or Finnish not

a lot of money. It’s also part of the culture, the Hollywood production.

Amy: This brings up the notion of cultural honesty through cultural tour-
ism. How commercialism is causing dishonesty through tourism.
68

Kevin: Cultural tourism is a tricky thing with me. I saw New Orleans be-
fore the deluge. I saw the Mardi Gras transformed from having very specif-
ic traditions to become a sort of college spring break and highly commer-
cialized, branded, corporate names. Some of the old organizations pulled
out of it because they couldn’t adapt and didn’t want to. Very corporate;
they wouldn’t adapt. Cultural integrity is a very important issue here. Here
I am giving people what they want when they come to visit me. Is that
right? The average Hollywood movie costs 70 million dollars.

Lucia: And has a happy ending. I like this.

Kevin: In the European movies the dog dies. In the American movie Las-
sie comes home. The happy ending. 70 million dollars is more than some
countries spend on their whole film industry. This is Mission Impossible 3
which costs almost 100 million dollars. It was thought to under perform
because it only made 200 million instead of 300 million. As the cultur-
al manager, what do you do? In my mind you do not try to fight Holly-
wood. They do what they do.

Lucia: The best cultural managers they work in Hollywood.

Kevin: The best commercial ones do. A cultural manager in a non-com-

mercial setting it’s not the money, it’s how do you do it in a cost efficient
manner? It’s delivering the mission. Which is why the training is not in
the MBA – for arts organizations. Most countries don’t have what I have
argued. Canadians are almost having their culture annexed. I said what
you should do is support the cultural activities that the Americans don’t.
The non-commercial ones.

Pekka: There are lots of different types of challenges and opportunities re-
lated to cultural managers as global citizens. In different countries there
are different challenges. In Finland the challenge is immigration and in
that way, the question of internationalization. How does the cultural man-
ager ease people dealing with immigration?
 69

5. What are the characteristics of the cultural

manager as global citizen?

This question raises issues that are closely linked with a cultural manager’s in-
dividual character. A central question posed by discussants, for example, was
whether a global citizen should, by definition, be an ethical person. It also
looks at how national background might be an influence.
The cultural manager is in frequent battle between the artist’s artistic am-
bitions and public need. As a global citizen this confrontation rises to a new
level. What used to be personal and local becomes social and global. Stable or
permanent cultural identities no longer seem to exist. There are only temporary
needs, with life lived more rapidly than before. In this kind of situation the
cultural manager’s own ethics are put into question. Does the cultural man-
ager fight to save a disappearing culture, or look to the future where some cul-
tures survive and others may not? Is the cultural manager a hedge against the
negative effects of globalization, or one who facilitates transitions in the face of
forces beyond control? What role must the cultural manager as global citizen
play and what are the skills needed to serve that role?
While it is clear that the cultural manager as global citizen needs to be
more international, discussants express concern that preservation of local cul-
tural identity is an important goal. The ability to balance the conflicts inherent
in a globalized world emerges as a dominant theme. Other themes concern the
need to develop a global perspective, the value of broad education for cultural
managers, the influences of modernity on culture and on the role of the cultur-
al manager, and the responsibility – for cultural managers – to develop a set of
ethical values in carrying out their role. Discussants also consider the dangers
to cultural managers on whom values of local versus global are imposed.

 Editor’s note: Following a break, the composition of the groups changed. As in the case of pre-
ceding questions, members of each group are listed above their responses.
70

Group 1: Annika, Constance, Kevin, Su

Kevin: What is really a challenge, in my mind, for the cultural manager is
that they are entrusted with the preservation of heritage and identity but
at the same time have to participate in the asymmetrical world that glo-
balization inevitably is; if they’re going to be on the creative edge as well.

Annika: What comes to my mind as the characteristics of the cultural

manager as global citizen is that he or she would have a global perspective
on matters. And also, that they would have; well, this is the more or less
the same thing as I said in the previous discussion; he or she would need,
or would have a genuine appreciation of their own history and identity
and a genuine appreciation of the culture of others. In sum, a global per-
spective and appreciation of others.

Su: They should speak more than their own language. And, they should
speak other languages, not just English or French or one of the dominant
languages.

Constance: I agree with Su about speaking another language. But, does

the cultural manager need to have lived in another country or just have
traveled in other countries? I make that distinction because you certainly
learn different things from living abroad versus just traveling.

Kevin: In so far as it’s possible, yes. It is good to have at least one level of
references if not a couple. Some of us are fortunate that we’ve had this op-
portunity through fellowships or other means. We’ve lived in other places
and taught in other countries and you do get a different feel for a culture.
This goes again to the notion that the global citizen – the cultural manag-
er, in particular – has to be a very open person and if you’re going to me-
diate, as well as preserve [cultural heritage], you have to have a very broad
psychological capacity to deal with change and yet not abandon your own
heritage. You have to be able to help people understand and say who they
are and what they could become. If anything, it’s Americans that need to
 71

learn languages and to have some familiarity with other cultures. Everyone
is speaking English and everyone is familiar with American, or some ver-
sion of American culture that they see on television or in movies. It never
ceases to amaze me, though, when people take all that literally; that Amer-
ica is like Baywatch. Typically a national can filter out the absurd. But if
you didn’t know that what was on TV wasn’t the real America, that’s a
problem. Americans are terrible about that when it comes to what they
know about other countries.

Constance: That is a good point that you raise, the ability to filter out;
that you have some skill to be able to get into a culture and understand
what it really is. In other words, the difference between what the culture
really is and what is the stereotype, or the mediated version. Mediated
through the media, right? I think that is really a good point and actual-
ly let me say something in here because very often globalization has been
discussed as Americanization. Not as much anymore. I think the conversa-
tion is changing, but it has been seen as Americanization, and I think that
it badly serves the rest of the world to think of globalization so narrowly.
It also badly serves Americans when it is thought of this way. If any nation
has been “globalized” it’s the United States because we really do embrace to
varying degrees, whatever comes our way. So, as somebody who was born
and raised in the United States, even though I’ve lived all over the world,
one could wonder, one could put oneself in the position of saying, wait a
minute, what’s wrong with Americization. We’ve embraced every country
into our culture. I do know what’s wrong with Americanization as a hege-
monic model of globalization. I’m posing it as something to think about.
Every country has come to us and changed us. It’s happened for good and
for bad but there is this firewall going the other way. People are saying we
don’t want American culture back. So it’s just an interesting aspect to dis-
cuss and I think a cultural manager should be able to sort through some of
these issues and be able to help people sort through them for themselves.
72

Kevin: I would add to that the other side. Globalization can be politi-
cal hobby horse to ride. It’s an easy way to explain loss of jobs, and eve-
rything can be blamed on it. Many people see globalization of the world
as Americanization of the world. Once I came to realize that other people
might see it that way, the prism changed for me. I could see how people
would feel that their cultural identity is threatened by Americanization. So
the cultural manager has to have a lot of courage sometimes, to say, look
we’re going to keep our identity. But it’s not Americanization that’s really
the problem. It’s just a shorthand way of saying what’s wrong. But it’s real-
ly a battle about modernity, and about cultures and civilizations that have
different value systems, that feel particularly threatened by the shorthand
words.

Constance: Courage sounds like a real interesting characteristic of the cul-

tural manager as global citizen.

Kevin: I would add breadth of vision. International experience, if possi-

ble.

Constance: Let me throw this out. Is it possible that characteristics

change depending on the country of origin of the cultural manager?

Annika: I don’t know the answer to that question, but I think it depends
on what you do and where you work. It depends on the level you’re at in
your job, and the situation you are in. I don’t know if the characteristics
depend on the country of origin. Maybe. To some extent.

Su: I’ve never thought about it. Yes, maybe. It should, because for exam-
ple, international experience. It’s not so easy to have an international expe-
rience when you’re from a developing country. Maybe, like the American
example, you feel you are embracing all the cultures. You have an inter-
national experience in America, actually. But some countries don’t. They
don’t have immigrants from everywhere.
 73

Annika: I want to get back to an earlier question: Do you have to live

abroad or travel abroad to be a global citizen? In my view it depends on
how you define global citizenship because you can learn to have a cer-
tain openness to different cultures and global issues even if you have never
traveled abroad or lived abroad.

Kevin: You can certainly travel abroad and live abroad and never learn a
darn thing.

Annika: That’s true. And you can be quite open and cultivated and think
globally even if you live in a small village. You can be open to different
people and meet people and use these situations well.

Constance: I think that again raises the issue of modernity. I know it’s a
huge issue to bring up, but perhaps it’s one of those things that needs to
be on the list to be discussed at some point. We do conflate modernity and
globalization. Or we say globalization sometimes when we mean moder-
nity. I think that what modernity brought was a more global perspective.
With modernity, the perspective changed, especially in the case of identi-
ty. I think much of the resistance to globalization is a rejection of a global
perspective because it introduces the change in the individual.

Kevin: Well, we’re there again. Globalization was originally just a trade
issue, an economic issue. Not simply, but was it was not perceived as so
threatening. But culture is like religion. It deals with values, and when
values are seen as threatened or challenged it can be a very emotionally
fraught problem. I think there are different challenges in different coun-
tries for a cultural manager. If it’s a big language country, it’s easier than in
a small language country. That’s one. Two, if it’s a country with a very long
extant cultural heritage of its own that hasn’t been subsumed into the Ot-
toman or the Hapsburg, or something similar, then it’s easier. And if glo-
balization as modernity is not seen as a threat but as an opportunity it’s
easier. But if it’s seen as a threat, and part of the problem is that it is being
74

associated in that way, it makes it very tough for the cultural manager to
mediate heritage and the creative forces that a global perspective might of-
fer.

Constance: I think that we’re agreed that the cultural manager as the glo-
bal citizen needs to know about arts and culture, and culture is a very
broad term which probably embraces history. But in a previous session we
talked a little about what you would teach the prospective cultural man-
ager. Does the cultural manager as global citizen need to know about his-
tory, about politics? In other words, to be broadly trained in these kinds of
subjects?

Kevin: It’s impossible to be responsible for curating your national herit-

age and animating a creative force that’s consistent with that without un-
derstanding what it’s about. My students talk about their own history very
vaguely. When it comes to knowing about other nations, forget it. It’s very
lamentable that they don’t know enough about different cultures. You
know, there are two meanings of culture: there is culture as a way of life
and culture as aesthetics. When I first started in this twenty-five years ago,
we always said arts policy. What we meant was government subvention
of arts. Then there was a sea change about ten years ago when we started
talking about cultural policy: the anthropological as well as the aesthetic.
I think that is an interesting development for cultural policy – one is pop-
ulist; it’s about people and the way they live. The other is about the artist.
Getting back to my point, though, how in the world do you make choic-
es as a cultural manager if you don’t know what choices there are to make.
Otherwise, you end up making the choices that are provided by the profit-
making sector. I’m not criticizing that sector. But they make choices based
on very different values – on what makes money. They have to talk about
what is mainstream — not minorities, not avant-garde. But that’s a limit-
ed range of choices.

Constance: Let me summarize some of what you’ve said to bring it back to

the characteristics of the cultural manager as a global citizen. This person
 75

has to be able to critique the dominant paradigm. In the United States,

the cultural arena increasingly adopts the for-profit paradigm and ignores
the non-profit. I think it’s happening in other parts of the world as well.
So, training people to be critical of whatever is the dominant paradigm is
really important.

Kevin: Yes.

Group 2: Amy, An, Miia, Pekka

Miia: We were talking, in the earlier session about the role of cultural
manager as global citizen and this is a bit of a similar question. I think one
thing is that the cultural manager as a global citizen is an ethical person;
thinks about ethical matters and is aware of the values. The other thing we
were talking about is that diversity of art is the value. Those are the two
things that I can remember that I’d like to add here.

Pekka: Every time we speak of the cultural manager, we talk in that way
that the manager will be a kind of positive person, and we want to give
him or her positive features. You mentioned the ethical side of the cultural
manager. Does it necessarily have to be that way? Is it really important for
the person? Is it necessary for the person to be aware of ethics. Can a bad
person be a good cultural manager?

Sherri: Perhaps, but not a good global citizen.

Pekka: So when relating to global citizenship, it has to be a good person;

He has to have an ethical side.

Sherri: I think the idea with the concept of global citizenship is just that.
It’s a concept. It’s almost like arts management; value driven, mission driv-
en. It’s not a tangible thing. It’s an idea. If we are to agree that it is a good
thing, it is hard to believe that an unethical, bad person could be situated
in something that is mission driven; value driven.
76

Pekka: Do you all think that for a cultural manager, it is possible to take
up certain activities; organize for example, a Nazi festival, or be somehow
involved in something a kind of sex expo like we have in Helsinki and
Turku? Is it okay to be involved in that kind of thing; to organize some-
thing like that? In other words, is there a job that is not possible for a cul-
tural manager?

Amy: I think that as members of a sector of society concerned with cultur-

al issues, we always have to keep in mind that when we are doing projects
we’re working with communities. We need to think of ways to justify how
it benefits humanity. And if it contradicts what our project is and contra-
dicts what our philosophy is, then it really isn’t worth doing.

Sherri: It really depends on whose idea of the ethical we’re talking about. I
personally have no problem with a sex expo. That’s not necessarily a prob-
lem. Even a show of art from the Nazi era might not be problematic. If it’s
promoting anti-Jew hatred, that would be unethical. We always have to be
careful about whose idea we are advancing.

Amy: That starts to get into the issues of political issues and agendas.

An: I just want to add something to the idea of the cultural manager and
his characteristics. First, he has to think global, act local. Second point, he
has to coordinate to seek balance between different stake holders. It can be
economic stakeholders, cultural stakeholders. It can be the state, it can be
the market, it can be the nation, it can be the whole universe, or a specif-
ic institution, or a specific space. He has to be a networker. This also goes
to the previous point that he has to be coordinating and balancing. And,
he has to be aware of public value and of course what public value means.
I think it is an interesting value. What is of value for the public? Of course
we have to know the public in that case. That for me is the cultural man-
ager.

Pekka: What do you mean with the value of the public?

 77

An: It is a concept that is used within the BBC. It tries to put another per-
spective on culture and economic value. When we are talking about cul-
ture, cultural industries, media, and broadcasting then it is always confus-
ing. What should be the aim of public service broadcasting? Do we have
to have a lot of people watching programs or do we have another aim, a
cultural aim, an aesthetic aim, a social aim? Public value is a concept that
tries to balance them. So we have a cultural aim, an historical aim, an aes-
thetic one, or a social aim. It’s concerning community building. You have
an economic one because it has to have some economic benefits. You have
to make money. That concept tries to combine those things. That’s why I
use “public value” and certainly for public service broadcasting it’s rather
important to balance between both of them.

Amy: I hear you saying that it’s a balance between what the public wants
and what the public needs.

An: Yes.

Amy: It’s a great responsibility for cultural managers to have; to decide

what the public needs and that’s an ethical issue as well.

An: It is also consumer and citizen. I went shopping thirty minutes ago
and I felt like a consumer but I also felt like a citizen because it was about
consuming Finnish culture. I was combining both of them. So cultural
management has to combine the two. Consumerism is not, per se, nega-
tive. It could be negative, but it doesn’t have to be.The combination of the
two. Also we have to think about the worker.

Miia: About the ethics, again, I have combined my thoughts about what
the public wants and what the public needs. I think the cultural man-
ager has to be able to speak out what the ethics are; either it’s good or
bad. They should be able to talk about what they think about and what
they stand for. It’s the only opportunity for the public to choose; to make
choices. It’s unethical not to say it out loud. So I think it’s a practical abil-
78

ity to be able to say out loud whatever your ethics are. If you are going to
organize a Nazi festival, then that’s what you are going to do. But, the re-
sponsibility is for the manager. It is also for the public.

Sherri: Something I wrote down before when I was thinking about this; a
characteristic or someone who takes responsibility for her own actions but
also recognizes her responsibility toward others. So it’s really seeing your-
self in a global context. Seeing how what you do affects others. You are
learning from others but they are also taking something from you. It’s im-
portant to be very aware of that when you are working.

An: I think it’s an interaction between the two; interaction between the
citizens and the cultural managers.

Amy: It seems that what the public wants is often something more com-
mercial and what the public needs is something that we think is of high-
er value. We discussed before about cultural integrity and finding the bal-
ance and letting other cultures and communities know about the local cul-
ture without selling out, and what that balance is, and whose responsibil-
ity that is.

Pekka: I think that when we are talking about the ethics or a cultural
manager taking care of public value; taking up the question of public val-
ues and interaction, are we not talking about the cultural manager as a
political person at the same moment. So, are you saying that the cultur-
al manager as a global citizen is also a political point of view, or he or she
has to have a political stand? I don’t mean political parties, but that this is
a political statement: to be a cultural manager.

Sherri: Yes, I think so. The reading that I’ve done about the overall con-
cept of global citizenship has to do with the promotion of social justice;
the fighting for what’s right. I can’t see that as divided from taking a politi-
cal stand on something.
 79

Miia: I agree.

Amy: I think that when you are dealing culture to culture it’s hard to stay
away from government and legislation. You need to keep that in mind
when you are working. And that comes back to defining people as con-
sumers or citizens. It starts to get questionable when the government starts
to call you a customer instead of a citizen. Cultural managers should be
watchful for problems like that and maybe have some sort of insight from
problems that might arise from that.

Miia: Do I understand correctly that a cultural manager should be able to

“read” what kind of political decisions are made? Do you mean that?

Amy: Certainly.

Miia: So, cultural managers should have the ability to analyze the political
climate and stand for those values he or she is standing for.

Amy: They should have the analytical capabilities to recognize that, and
that will contribute to how they respond ethically.

Sherri: I’m just wondering since we all seem to have a nodding agreement
that global citizenship and the political are related to each other. What
happens in terms of cultural managers who work in areas of high censor-
ship? Someone in China for example, when they can’t address certain is-
sues? Does that mean that cultural managers in China can’t be global citi-
zens? If their governments are censoring art, their ability to communicate
with their audience, their public, is diminished.

An: Maybe there is the same question for institutions and cultural manag-
ers that are financed or subsidized by government.

Sherri: Self-censorship?
80

An: If you are financed by government, what are you doing then?

Pekka: I agree, that can be a problem and the situation is exactly like that
in Finland. The state is giving us money to train new cultural mangers and
what we teach them is to have critical views on society. With this govern-
ment that we have right now, everything runs smoothly and we have no
problems. But in twenty-five years it may change. There can be a situation
when there is another kind of government and they question what we are
teaching.

Amy: I think you are going to come across cultures that are shutting them-
selves off from globalization. That’s just going to exist.

Pekka: Somehow I think the question of the cultural manager as global

citizen is also a question of pedagogy and what kind of students we have
and what is the curriculum. Is it possible to put these views on global cit-
izenship inside our curriculum and should we do that? How do we raise
the question of global citizenship? How do you see this relationship be-
tween the question of global citizenship and pedagogy?

Sherri: There seems to be conflicting schools of thought in this area. One

thought is that it should not be taught as a separate subject; that it should
carry through. It’s a way of thinking, a point of view rather than a sub-
ject to be taught and tested. The other idea is that if we have professors
who do not agree, for example, that when they talk about fundraising that
should also include something on global citizenship, then there should be
a separate course. We have something like this at the University of Toron-
to; not on global citizenship, but on diversity. We have a series of cours-
es on diversity. We see it within a broader context. It’s good in some ways
and problematic in other ways.

An: I think we have to be aware of transformations within the context of

globalization. What is happening, what has happened, and what will hap-
pen in the future? What are the problems and tensions that have to be
 81

solved. May be globalization is not so new but there are some things that
are rather new. Students have to be aware of the transformations. But, it’s
not really a subject. It’s something that is everywhere.

Amy: I wouldn’t see the point of having global citizenship targeted in a

curriculum. It would need to be truly integrated throughout the curricu-
lum in order to keep the students truly open-minded. Because if they shut
down to that then it’s going to shut down to the future of the subject.

An: I think you have to ask what does it mean for the different subjects
to be taught. What does it mean for communication skills? What does
it mean for management skills? What does it mean for ethics and so on?
That’s why I think it must be incorporated in all parts of the curriculum.

Sherri: One of the problems that we found, whenever we talk about in-
tegration, is that this is a holistic idea that needs to be everywhere, but it
ends up not being taught anywhere. What made me think of that is that
in my University we are dealing with writing and research skills. We’ve
been lamenting the writing and research skills of our students. The pre-
vailing thought is that it has to be taught as an integrated part of eve-
ry course. But not all of us can teach writing; not all of us can teach re-
search. And even those of us who think we can, we don’t want to divert
time from the discipline of the subject we are teaching. We don’t want to
give up two or three class meetings to teach how to use the library. We feel
that they should already know how to use the library, or that it’s someone
else’s job to teach that. They say: I want to teach them just what my sub-
ject is about. So, we all agree that it’s a really good idea, but it just doesn’t
get done.

Pekka: This is exactly what is happening here in our university. Everyone

is aware of internationalization. International relationships are very im-
portant and you have to be international. Its all written down somewhere.
But, it’s another question how to teach to someone to be international.
How do you create international experiences for students? Who is going
82

to do that? It’s all a matter of willingness; what everyone knows is good

and should be done. But will they do that? When you are dealing with the
question of globalization, it usually means internationalization. But may-
be there are also some other points of globalization to be considered. Not
just people coming from other cultures. Maybe globalization is something
like a critical view of things.

Miia: Concerning what is global, of course it’s something international.

But, I think it has something to do with responsibility. They are connect-
ed; globalization and responsibility, much more than internationalization
is. I would be very, very critical about globalization and internationaliza-
tion. We were talking about imperialism in the earlier group. There are
critical points to be considered in using these words.

Pekka: Every time we speak of globalization we have to remember that

what we have is a Western view of things. If we name, as an example of
globalization, the internet. I don’t know what percentage of the world is
using internet. Maybe ten percent. It’s a very bad example of globalization.
It’s a very Western example of globalization. It is very important for every-
one to be aware of these ties that are building our own mind set. You have
to look inside also, just to be able to look outside.
 83

6. What problems are associated with the

cultural manager as the global citizen? What
solutions are there?

7. What issues are there for future exploration

of this topic?

To adopt a new kind of role as a cultural manager, where global tensions are
identified, means to deal with new problems. Language is just one of these
problems that will inevitability arise when working on a global scale. The pres-
sure of Anglo-American cultures is felt everywhere in the Western world and
beyond. Nonetheless, national cultures and other languages are alive and work
as basic tools for many cultural managers. This set of questions asks discus-
sants to look at what problems might arise for a cultural manager who takes
on the mantle of global citizenship and how these problems might be solved. If
it is the case that global citizenship is a viable role for the cultural manager,
one that cultural managers should embrace, then what issues must the cultural
manager address in becoming a global citizen?
Discussants again return to many of the themes raised in answering earlier
questions; most prominently the issue of local versus global and how to ensure
cultural diversity given the tensions of globalization. The theme of commercial
culture, its values, and demands receives more focused discussion, as well as is-
sues of language and other concrete manifestations of cultural identity. The
case for cultural education as a solution receives considerable attention. Discus-
sants also look at cultural managers as leaders in ensuring that dominant cul-
tural communities take an active part in helping minority cultural communi-
ties to preserve cultural identity and to access advantages of the dominant com-
munity.
84

Group 1: Annika, Constance, Kevin, Su

Su: Maybe the main problem is the tension between the local and the glo-
bal and how to communicate between the two. If you take one of these to
be more important than the other, that can be a problem.

Annika: Another problem is how to make sure that we give enough possi-
bility for diversity and to make it as wide as possible.

Kevin: UNESCO had a report showing that the number of languages in

the world is shrinking rather dramatically. In other words, we are losing
diversity. To the extent that language is what you are, no matter how you
participate in the world, the loss of diversity is a real problem. The op-
portunity for the cultural manager within globalized, modernized, inter-
nationalized forces is that there is a real arena where there is a void; the
assertion and preservation of identity, heritage, values and critiquing the
dominant paradigm. It is the great battle we fight. If it’s not too much of
a sidebar, I think it’s lamentable the degree to which governments every-
where – increasingly – are being asked to privatize in every policy sector,
not just in the cultural. The American model is thrown up as one to em-
ulate. We have to be careful because what works for Americans, in a way.
What would be acceptable as part of a social contract for Americans is
very different from what might work as a social contract for the Finnish,
or the Turkish, or for anyone else. The dominant paradigm is celebrat-
ed. In Praise of Commercial Culture became a hit. It was by an economist.
Just the title gave me a fit. Why do you need to praise commercial culture?
People in that sector are carrying sacks of money to the bank. Why not
celebrate the starving artist who is able to maintain artistic integrity; who
celebrates tradition and other values?

Constance: I thought you were going to go in a different direction with

your comment. I think what you said was very important, but I’m going
to pick up on this idea of language. I think one of the problems; and it
becomes a paradox. If we are global citizens – citizens in the same coun-
 85

try, in general, speak the same language, whatever that language is and we
communicate the same way. Global citizens need a shared language, what-
ever that is. Perhaps Esperanto, but that didn’t work. The more and more
we are global citizens, the more the diversity of language diminishes. We
know that diversity in biology is good. Not only good, it’s vital, with eve-
rything that word means, because without diversity we all die. Something
dies in us if we don’t have diversity in this world in terms of cultures, but
in order to be global citizens we have to be able to communicate, so it’s a
paradox and I think that’s a very big problem.

Kevin: Just to follow up on the language; performance is a language. Nov-

els, poems are language, a mode of expression. Literally a linguistic a form.
The extent to which those are diminished because they aren’t supported,
because we operate in a for-profit paradigm, means we lose something im-
portant in culture.

Constance: This has to do with lack of diversity. Sometimes I go some-

where and I feel way too comfortable and I get along too easily and the
problem with that is that maybe you stop discovering. It’s not fresh and
new and if there’s nothing fresh and new to discover then what’s the point
of traveling. As we become more global we become more alike and that
makes it easier to go to other places. Perhaps it becomes artificial to pre-
serve the diversity. So, perhaps the problem is how to keep the world worth
discovering; how to keep culture and art worth discovering. Let me name
what I think are some of the problems that we identified. Then we can talk
about solutions. If I’ve left something out that you think is important, tell
me. The problems we’ve identified are: you have to preserve some equal re-
gard for both global and local so one of those does not take precedence
over the other. If one does take precedence that’s the problem. Diversi-
ty presents a wide range of problems; how to preserve diversity in terms
of identity and heritage. So, how can we keep a culture diverse enough to
make it worth discovering? The problem of language. Does the fact that
we have a lingua franca prevent diversity from occurring? We talked about
the pull of commercial culture having such power over us, so that’s a prob-
86

lem. The problem of how to educate somebody so that they will be cog-
nizant of these problems. Let’s offer some solutions. Identify the problem
when you offer a solution so we know what you’re talking about.

Kevin: Balancing global and local.

Annika: I think we should try to praise people and educate people to be

conscious about their own history and give them possibilities to find their
own history and their own roots. I’m repeating the same thing all over and
over again because I don’t think you can be a global citizen if you don’t
know your own roots. So, I think people should have the possibility to get
to know and appreciate their own heritage and their own culture. That is
an essential part of human identity. Then you grow to become more glo-
bal.

Constance: Kevin brought up the Roman Empire. Their strategy was that
they would globalize their political system and allow local populations to
retain their customs and cultures and languages. I think that even though
we often see governments as repressing culture, and they certainly have
sometimes. But, there is a great deal of difference between government as
the entity that works this out, and business. Business seems to be the lev-
eling kind of globalization that makes us all one. Government is where it
might be protected; where diversity might be protected.

Kevin: Business defines us as consumer not as citizen. We’re all equal be-
fore consumption. The Ottoman Empire granted the same thing as the
Romans, as I understand it; the same basic philosophy within a broad al-
legiance to hegemonic power, or government. It allowed much more reli-
gious diversity than Western governments did. Business does what it does
very well. It provides certain commodities, but that’s presumably not the
only thing we are.

Constance: What about this notion of a language? Again the imbalance

that you have to have a global language but there are all the local languag-
 87

es. How do you resolve that problem? Because we can’t speak with each
other if we don’t choose a language.

Kevin: It should be mandatory. That’s all. Anglophone people have to

learn another language or they can’t graduate from high school.

Constance: Or be accepted among cultural managers? I feel very com-

fortable speaking English with everyone here, but I know it’s difficult for
other people to express themselves. However, in many international con-
ferences I find that I’m not really speaking English – well we might call it
Pidgin English, perhaps. I’m speaking in English that is rather different
from my own language. I don’t know if non-English speakers notice that,
but I see many Anglophones change the way they speak so they can be un-
derstood. I wonder if we enter into a new language when we come togeth-
er. It just happens to be closely aligned with English. But if the solution is
that we continue to have large gatherings where we are all out of our com-
fort zone when we’re communicating is that a possible solution?

Annika: Yes, that can really happen. It’s a hard thing to say because I am
a Finnish person, and I don’t know how you feel. I rarely have to speak
Finnish with someone who doesn’t speak Finnish as his or her mother lan-
guage. But I think with this language issue – I was surprised to hear that
the number of languages is diminishing. For me as a Finn; the Finnish
language is something that I would never give up. It is something so essen-
tial. It’s really hard for me to imagine a situation when I wouldn’t think in
Finnish or speak in Finnish. It’s so essential a part of me.

Constance: But it wouldn’t happen to you, that you would stop speaking
it.

Annika: Right.

Constance: It would be your children or your grandchildren or your great

grandchildren that wouldn’t be learning it.
88

Annika: Yes, but I don’t know. Maybe it’s because I’ve lived my whole life
in Finland. We speak Finnish or Swedish. So, I haven’t been in a situation
where people have to change their mother language over a period of time.
But for me it is something so essential that I would speak Finnish even if
I moved into another country and even if I had children with somebody
else. It is my way of expressing myself. I don’t think I would ever be able
to express myself in English in the way I express myself in Finnish.

Constance: Actually I do know people in the United States who have

stopped speaking their mother tongue. People who immigrated, including
my own grandparents whose German started to disappear because they
didn’t speak it enough. After a time there were words that they couldn’t
think of. Then they made up words that sounded German. Maybe one
of the solutions is this idea of cultural citizenship. So many people, in the
past, have been forced, in some way to give up their language and their
cultural identity. The idea behind cultural citizenship is that you wouldn’t
have to do that.

Annika: I’d like to comment about the problem of commercial culture.

I don’t know if commercial culture is something that we need to fight
against. What we need to do is provide alternatives. One day someone
wants to see a movie, the next day they want to see an art exhibit.

Constance: Or Formula One racing?

Annika: Formula One racing, or wrestling, or whatever.

Kevin: I’ve argued for years, don’t take on Hollywood. You’re not going to
win that, you are doomed to defeat. Provide alternatives. Support your po-
ets, your serious novelists, hockey. Support non-commercial culture. Fairs
and festivals, things that make Finns Finns or Canadians Canadians.

Constance: I think that getting lost in the global culture or how not to get
lost is an issue we need to discuss. I think I would add that it would also be
 89

interesting to discuss what are the ways you could get lost? You could get
lost in many different ways. That in itself is worthy of lengthy discussion.
What are the ways one can get lost, and then how could you find yourself
again? The beginning point of this whole symposium was the state of the
field of cultural management. So one question for future discussion is to
make the connection to how envisioning the cultural manger as global cit-
izen gives us a framework for understanding the state of the field.

Kevin: I think a very important thing that must be in the curricula in this
area is that we are not MBA students. We are public administration or in
the American context what we call “not for profit management”. That is
to say that the criteria for success for our management is not profit maxi-
mization but mission-driven. We are in the values business, not the com-
modity business. These have become fighting points with people because
the direction has gone the other way. One has to be naïve not to real-
ize that missions have to be accomplished in cost-effective ways. One has
to be realistic, but one has a mission. It’s articulation of values of a differ-
ent sort. But there are so many other things one has to do beside just raise
money. One has to mediate cultural values; other types of value.

Constance: Money values?

Kevin: I don’t consider money a value. Money is a commodity.

Constance: I don’t say that because I think money should be the value.
I’m actually going to agree with you. But I bring it up for a particular rea-
son. I lived for a time in one of the most commercial cultures on the plan-
et: Las Vegas. As a philosopher I am always concerned with the question
of what it means to be human. We find it in a variety of ways, but one
way is that we connect to things. But, it’s how you connect to things that
makes a difference. You connect to a building, for example, because it’s al-
ways been in your town. When you look at pictures of your grandparents
in that town, there’s the building in the background. One day if the build-
ing disappears it’s as if a part of you disappears as well. This happens in Las
90

Vegas all the time as buildings are imploded to make way for new, bigger,
better casinos. It would be really interesting to examine the effects on cul-
ture in a place like Las Vegas – is it a place that is a-cultural, so to speak.
I use to find it very troubling that a building that had always been there
suddenly wasn’t there anymore. It seems to me that commercial culture
calls for this kind of constant change in service of profit, with no thought
to the effects on the people who identify with buildings and other artifacts
of culture. How we connect to our world is very important. Commer-
cial culture has to be new, new, new all the time. But that’s not necessarily
what people need. So, it is a value, but perhaps not the value that we want
to uphold. In any case, even if your aim is profit, I don’t think that it has
to be profit at all costs. I think you could value profit and take care of oth-
er values that are important to people. Just as in a nonprofit you have to
look at the idea of effectiveness and how to make money, a for-profit com-
pany can think about how products contribute to the development of a
person as a human being or detract from it.

Kevin: Good luck in business school with that one. I mean first of all, it’s
semantic, but to me money is a commodity not a value. “Business culture”
to me is oxymoronic, unless what we’re talking about is corporate culture.
The problem with culture is that as Randolph Williams says, it’s the most
defined word in the English language, and the most slippery word in the
English language. Maybe at one time what you are saying was true, but
anymore quarterly statements is what drives them. When did the idea of
“rational” come to be associated with the profit model? When did we cede
that argument in the English-speaking world, that if it doesn’t make mon-
ey it’s bad?

Constance: You mean the actual moment in history? Which economists

made the argument about rationality? We inherited that model in the
United States.
 91

Kevin: We’ve given up that argument almost without a fight. There is an

assumption that “rational” means ”cost-effective”. It angers me that even I
fell into the trap.

Constance: What you are talking about is utilitarianism. We can blame

Jeremy Bentham to begin with and Mill, and even Benjamin Franklin.

Kevin: Benjamin Franklin?

Constance: Yes, Benjamin Franklin was a utilitarian. Let’s relate it to look

topics for future exploration. Because we don’t always know where our
views come from, we’re in danger of accepting views without understand-
ing their theoretical or historical basis or trying to deal with the practical
without wrestling with the theoretical. When we can say that these peo-
ple came up with this model at this time for this reason, then we’re able
to ask, does it still fit? I think your point is well taken. We need to look at
the roots that we actually have and know what they are. Identify them and
then critique them. A future discussion might consider that.

Kevin: If I could just follow up, it really is a question of these arguments

from utility. We make so many of the arguments for support of arts and
culture on the basis of cultural tourism or Richard Florida’s concept of
Creative Cities. Listening to Mozart improves your math scores on stand-
ardized tests, is another one. There is an issue of clarity of concepts that is
important.

Constance: So you’re saying that one of the issues that we think belongs
in this area, as a value in educating the cultural manager, is how to com-
municate. Cultural managers need to be aware of communication and its
effects. I think it’s really important, too, for us to be forgiving with com-
munication. It’s happened to me and I’ve seen it happen to others in inter-
national gatherings of cultural managers. Someone uses particular words
92

from their cultural perspective and others hear it through theirs, and in-
stead of trying to understand what has been said, they attack the particular
words that have been used not realizing that they way they use the word
might be different from the way others use it. I think for cultural manag-
ers in a global context, in particular, we need to be very open to what peo-
ple are saying and trying to say and perhaps try to help them formulate a
point instead of attacking them for the point you think they are making.

Annika: I think you could call that cultural sensitivity. You need to listen
to, and understand people coming from different cultures.

Group 2: Amy, An, Miia, Pekka, Sherri

Miia: Of course the connotations of the term; “global”. That is one thing.
Solutions for these negative connotations? Put pressure on the concept of
responsibility. Now I’m repeating myself.

Amy: In a very practical approach to this question, it is possible that a cul-

tural manager who is not truly globally minded might be an issue in deal-
ing with other cultures. If they have some loyalties to their own culture
and local community they may not be open-minded enough to be able to
appreciate the differences they find in other cultures.

An: One problem may be about expectations. Maybe we expect too much
from the cultural manager as a global citizen because he has to do a lot of
things. He has to think global. He has to balance between stakeholders. So
maybe we expect too much. So, that is one problem that I want to men-
tion. Solutions? I don’t know. Maybe the cultural manager is between the
market and the state and it is a sort of new person who has to solve all the
problems. That won’t be possible, of course.

Sherri: A number of problems related with time, focus, and money. To

be a true global citizen, does one need to be well-traveled, well-read, have
a wide network? If that’s the case; at least in Canada our cultural manag-
 93

ers are very poorly paid. So, going back to expectations, you’re asking this
person who already does so much, and makes almost nothing, to also be a
world traveler.

An: That’s what I mean.

Pekka: I think questions of cultural differences and how you come to deal
with cultural differences that are just basic; inherent in everyday life. Also
should one stress global understanding or local understanding? I don’t
know which one of these possibilities is better for a cultural manager as
global citizen. Should one start with local issues and take care of smaller
societies or should one have this global view about things right away?

Sherri: All of us work locally to one degree or another. I think this con-
cept of global citizenship is putting the local into another context. So, still
working with local issues, working with traditional cultures, or whatever
you are dealing with on a local basis, but putting it into another perspec-
tive; a global perspective.

Amy: Even though you are working locally and thinking globally some-
thing that needs to be asked is who do the cultural managers have alliances
with? Who do they have partnerships with? Who do they share ideas with?
Who forms their network?

Miia: So the question is who are the other citizens?

Amy: Yes.

Miia: One problem about this global citizenship among cultural manag-
ers is censorship, which Sherri talked about. What if it is not possible, for
whatever reason to be a global citizen? What if it is for lack of money that
you can’t be global? Or, it is dangerous for you to do something other than
what your government says. You have a poor education? Or, what An says,
is this too much to ask one to be all these things? Should we do a little bit
94

less first? Should we concentrate on local first and then global? We can’t
stay silent about this global thing. Is it too high this target, that when we
are aiming we miss? If you aim for a little bit lower target you will hit it.

Pekka: Maybe we don’t see the forest for the trees.

Miia: I’m a little bit critical about this starting point; the cultural manag-
er as global citizen. Yes in some contexts. But is it the right moment, now,
to completely embrace it? I’m a little bit critical about it. I agree it is an
important target. What solution can I offer? One is that we are aware that
the target may be too high and figure out what should we do first before
fully adopting this notion of global citizenship. Because it’s only ten per-
cent of people who use the internet. How many cultural managers use the
internet? Maybe it’s too early.

Sherri: I look at it as branching out into greater communities. We’re here

representing urban areas, some major cities in countries, so we are branch-
ing out urban to urban, big to big. Whereas I can see global citizenship
starting out with small, little rural towns being a little more open to an-
other rural town and then branching out to the urban area. So it’s a col-
lection of small communities and understanding other communities. And
eventually, yes, it’s a global community. It is this value of seeing yourself in
a greater context. So that greater context could be just one step up. And
then the neighboring communities, then neighboring countries.

Pekka: There is also a danger that if you are really aware that I am a man-
ager who has a strong global view on things and I am strongly supporting
my own global citizenship, the danger is that while trying to be too glo-
bal you forget the people around you, the surrounding society. I was just
thinking that we should just skip the whole idea of globalization, of be-
ing a global citizen. In the other group we questioned is there really such
a thing as globalization. Does it exists at all? Something happened in the
world that can be called globalization. Maybe it’s there without us really
doing anything and we can just ignore this phenomenon.
 95

Sherri: On your earlier point, you made me think about how we are in-
serting ourselves in a global context. In a way I am here representing Can-
ada because I am the only Canadian delegate. But can I really represent
Canada? I have been to all the provinces so maybe I know more about
Canada than some people, but I haven’t been to the Northern territories,
I haven’t been to all the rural areas, I don’t know all the specifics of all the
different communities. I can’t sit here and pretend to know all about Can-
ada. Is there some falsity in being here and pretending to be global and
saying I represent Canada? I can’t even speak for my next door neighbor. I
can only speak for myself.

Amy: You have to speak for your own community and work with people
who are speaking for their own communities and that keeps it authentic
and keeps the integrity in check.

Pekka: We haven’t had enough practical solutions to these problems we

have been talking about. What I have in mind is pedagogy as a solution.
What we are teaching in HUMAK is that these issues of globalization are
inside these different courses that build together; something we like to call
“cultural education”. That may be one solution that can help people to be
aware of globalization and be aware of what it means to be a global citizen
for a cultural manager.

Sherri: Can you explain what is included in a cultural education?

Pekka: It’s a kind of combination of psychology and cultural studies and

pedagogy.

Miia: It’s also a way of thinking about how you offer cultural products to
different groups of people. How you go about making cultural products
available to people. It’s an educational point of view in production of cul-
ture. For example in museums they have museo-pedagogy or you have fes-
tivals for children where children do things instead of just us doing things
or the artist doing things for them. For elderly people, they participate. We
96

take art to them. We don’t do things for them. In cultural education the
point of view is that people are not just customers, they are participants.
And, they are constructing their identity with art and culture. The aim of
the cultural manager is to help them to do that. So, cultural education is a
point of view. It’s nothing new. It’s just a new concept we are using.

Pekka: I would like to add that the aim of cultural education is to teach
our students to work with socially excluded groups: immigrants, or handi-
capped, for example.

Miia: Also those who don’t have the possibility to participate in arts and
culture.

Pekka: It’s a kind of high capacity of cultural awareness to produce a new

kind of cultural manager, maybe even global managers.

Sherri: Is it part of the cultural management degree program or is it part

of the public schools requirement?

Pekka: It’s part of the cultural management degree.

Amy: So you are teaching students how to go into a community and teach
communities how to take responsibility for their own culture.
 97

8. Globalization in action?

With this final issue discussants are asked to make a plan or give a concrete
suggestion of an occasion where global cultural issues will arise and be put into
action. Unresolved issues present a challenge for some participants to envision
concrete plans. Some suggest that any international cultural event or activity
automatically requires the sensitivity of the cultural manager as global citizen.
One group suggests that successful integration of immigrants, in a way that al-
lows access to what is needed to live in the new country is an opportunity for
the cultural manager, especially in creating programs that make immigrants
feel welcomed. Cultural diplomacy is raised as a needed skill; one that receives
little attention in the education of future cultural managers.
A dominant theme is education; future cultural managers as students, and
cultural managers as educators who facilitate, or mediate the challenges inher-
ent when people of differing cultures come together. Key themes include: the
need for respect, the need to question given ways of thinking, and the need for
cultural managers to come to terms with the challenges of globalization. Par-
ticipants also look at the process by which cultural managers understand their
role and their relationship to constituents, artists, and to the art and cultural
activities for which they are responsible.

Group 1: Annika, Constance, Kevin, Su

Annika: This is a really concrete and simple example. We have a lot of co-
operation with Tanzania with our program in youth work. I have had my
students in those programs. I think in that kind of project where we have
teachers, students training to be cultural managers, and the people you are
working with in a developing country. They all meet and have a project
together; this is one situation where everybody needs all those skills we
have been talking about today.

Kevin: One suggestion I have was that we haven’t dealt explicitly with
the issue of cultural diplomacy. I think there is going to be a great need
98

to reconceptualize, especially for the Americans, what cultural diploma-

cy is about. Particularly in respect to the Islamic and the Chinese cultures.
There is a real disconnect there. “War on terror” is definitely not the way
to go about developing global cultural understanding. There really hasn’t
been any fresh thinking on cultural diplomacy since the end of the Cold
War. I think the long term difficulty in understanding each other is cul-
ture. It’s not ideological, geopolitical, or economic. It’s cultural. As cultur-
al managers what we have to offer is something very positive for a nation,
for all nations.

Constance: The cultural manager as diplomat – we don’t often enough see

ourselves entering into that in a significant way. It is a position of potential
power, as we talked about in one of the morning sessions. We could really
embrace this role in a stronger way in order to make those bridges.

Su: Any international project requires the cultural manger to think inter-
nationally. In any kind of international project, like international festivals.
You have to be aware of what’s going on to do what’s required. So, any-
time you have the word “international” at the beginning of a project name
you have to use these skills.

Constance: I think where these issues really need to arise, be discussed,

and be put into action is in the area of training because that’s where it has
to begin. It seems to me that even the person who works on the local-est
of levels in this time period cannot ignore that we are in a global world.
Even if you choose not to confront it, somehow it is going to have an im-
pact on you.

Kevin: I think that at the forefront of the cultural manager’s mind must
be that there are asymmetrical relationships. We should really be sensitive
about asymmetry – not just the Americans, not just the Western powers,
but also within countries. We are an educated elite and we should be very
sensitive to the privileges that accrue and the responsibilities we have.
 99

Constance: As a cultural manager you are automatically in an asymmetri-

cal relationship with others in the world. Because we are educated in this
area, we understand it in ways that other people might not, and we care
about it in ways that other people might not. So that sensitivity must be
something that we bring to programs.

Kevin: It’s respect isn’t it?

Constance: I think it’s respect and being humble and understanding that
it is a privileged profession, even if you came to it by accident – as many
people have. We participate in a part of human existence that many peo-
ple don’t have the opportunity to participate in.

Kevin: I think because we are part of the converted, we forget that not
everyone values culture.

Group 2: Amy, An, Miia, Pekka, Sherri

Pekka: I guess what we need to have now is sort of brainstorm and just
put some ideas and broad thoughts forward.

Miia: So we are thinking about an occasion. Is that a festival, symposium,

a seminar?

Pekka: But what kind of festival? What kind of symposium? Or seminar?

Miia: The kind where questions of global cultural issues arise.

Pekka: And what would that be?

Sherri: There is an inherent problem here that it depends on your perspec-

tive. What Americans think of the global world is much different from Ca-
nadians, and we’re just the northern neighbor. I don’t have a solution for
that one. I don’t think there is one answer to what “global” means. And it
100

should be such a simple term. The one thing that came to my mind when
I read this, and I wasn’t thinking of cultural managers, but educators of
cultural managers. One of the ways that we go about this at the Universi-
ty of Toronto is through case studies. We point them to certain things that
have happened in recent years to do with diversity and pluralism issues. So
it certainly gets into global issues. In Toronto, for example, when the mu-
sical Showboat was performed. It’s an historical look at southern Ameri-
ca following the black slave trade. When it was shown in Toronto there
was a huge backlash from the black community. Some cultural managers
were saying it was an historical account: it’s showing what things were like.
Why can’t we use this as an opportunity to talk about these things and
learn from them? But the protesters did not see it the same way. We show
that case to our students and talk about it at some length. We struggle
with how to attune them to the complexity of all the issues. So it is aware-
ness. But we also have them consider: If you do want to produce some-
thing like that, if you want to do a show that investigates the idea of racial
difficulties, how do you do that in a responsible way? What are the ways
that you can do it in a responsible way? So it’s looking at concrete issues
and at theory. I’m thinking now that the question is a little more broad
than that.

Pekka: What you mentioned is a very nice example of how you can pick
up themes from one show and find these global issues. These are global
cultural issues. And how well you described how you work with students
with these issues.

Miia: In Finland we have only a few people who live here who are immi-
grants. Among those that we have it’s not unusual that there are elderly
people moving with the family, grandmothers and grandfathers. They live
outside of society. They don’t have the language. They don’t have people of
their own age. They don’t know the habits; how to use the bus or how to
get out of their homes. If they are sick, they are so ashamed that they don’t
know how to use the doctor. Do you raise a discussion or an action about
this? In Turku, there is an association for immigrant women; Daisy Ladies.
 101

They have rented a house where they have tried to create a homey, cozy at-
mosphere where people can come to share their feelings and experiences.
But, there are many problems in getting them out of their homes. So these
cultural issues can be very hard. And, what can a cultural manager do?
How does he or she find money to do that and who is going to support
it? Let’s say this is this case. Let’s help those older immigrants. What can
this global citizen, this cultural manager do? I don’t have an answer. How
should we educate people to have a solution for this kind of question? Is it
too much to ask of educators?

Pekka: They also make projects for immigrant families where they plan
some things for the kids. But the idea is to do something that brings the
whole immigrant family to these meetings just to look at what the kids do.
This is also one example how to work with the new challenges that have
arisen because of globalization.

Sherri: I’m just speaking for myself, but I am not ready to make a plan.
I’m still struggling with the definition of global citizen and the concept of
cultural manager. I’m not sure that we’ve worked out whether it’s good,
bad, or indifferent. I would like to have worked it out, but I’m not there.

Miia: I agree. But, what are those global cultural issues? Immigration is
one thing. Racism. This kind of situation in China; censorship. Those are
three things. Maybe I am naïve but I can’t think of anything else. There
must be more. Maybe also peace and people getting along with each oth-
er.

Amy: It sounds like all of these issues are one’s that arise when you try to
combine cultures. It’s going to come from resistance; from joining with
others. It’s fear that causes these problems. Fear of losing identity in cul-
ture. Fear of things they’re not familiar with. That’s why we have racism.
So you can go back to pedagogy. Education is going to be key to making
sure that those issues are dealt with.
102

Sherri: Education from the very earliest ages. That’s why I asked if cul-
tural education was part of a graduate program. Because by then it’s too
late. Well, perhaps not. It’s never too late. But, it’s not early enough. I am
working with a number of high schools in Toronto. There is a project I
haven’t even looked at yet. It’s called One World One Youth Arts Projects.
This teacher is involving his students in everything. It’s taught from a glo-
bal perspective. He’s seeing one big problem. His students are wonderful-
ly well-rounded, highly ethical. They understand the world, and have all
those wonderful characteristics. But then they get into the “real world”
and realize that it doesn’t work that way. They get into the university and
they find out that the body of knowledge that you must know amounts
to: I’m the professor and I know what I’m talking about. I’m the expert
and don’t question it. The students are saying: but we just spent several
years learning these wonderful things and to be open-minded, and now
we are being asked to close our minds again. These students are struggling
mightily. There needs to be concentrated effort, but through all the ages of
students. We need to think about taking a group from the age of five; one
cohort of students and take them all the way through. I’m not sure how
all of this going to work. So, there are things that are happening. This One
World One Youth Project is a wonderful thing, but it’s been a struggle.

Amy: It’s been an issue for quite awhile about educational style. Imple-
menting a program like this would require moving away from what Pao-
lo Freire calls the Banking Method and throwing information at students
and expecting them to be a container, and applying, instead, some critical
thinking skills. Unless there is some consistency in views among govern-
ments and the legislation towards education then there is not going to be
an openness towards this kind of program.

Sherri: You can’t legislate open-mindedness. I agree that there needs to be

a broader view. But unless you go to governments legislating every kind of
assignment all the way along it’s not going to work. In Toronto the curric-
ulum is all decided on the provincial level. What is taught is already decid-
ed. But, how it’s taught and what particular assignments are used is up to
 103

the teacher. In geography you are going to talk about whatever the themes
are that are necessary. Like media literacy. You’re told it needs to be taught
and you’re told what the outcomes are supposed to be. But that’s all. But
how you approach that is still up to the teacher.

Amy: I think that how the government outlines what will be taught dic-
tates the style of teaching. No Child Left Behind is all based on standard-
ized testing. If that’s your goal, then the teaching method has to be the
Banking Method. There’s not time for critical thinking. You’re on a time
schedule. These things have to be covered by this test date and you don’t
have time for anything else.

Pekka: One example of the way to work in school with students in teach-
ing global cultural issues is a project we had couple of years ago. It was
called, Act and Change. One of the results of this project was a hand-
book that was published on the web. This project talks about how to use
theater in order to help communities. The project handbook is designed
to help cultural managers, artists, actors, non-actors, youth groups; in a
word, anybody who wants to use the arts to create dialogue between peo-
ple in communities. The background of the project was a theater method
called Theater of the Oppressed. The idea behind this is that communi-
ties can find solutions to their own problems. The handbook has examples
of projects in different countries. In Finland, there was a project working
with Russian immigrants, in Great Britain with Travelers and Gypsies.

Sherri: There is a lot of talk about the Theater of the Oppressed in Can-
ada right now, and it’s not all positive. What I wrote down here is “trans-
formative”. The idea is that it would be a transformative experience. But
there are people who believe in ‘art for art’s sake’. They don’t think that
you should be pushing something down people’s throats with the arts as
actors or cultural managers. My question would be if a cultural manager
wants to consider herself as a global citizen, must she necessarily be pro-
ducing social commentary? Is that what defines her as a global citizen. Do
you have to be agenda driven? What if you are putting on Guys and Dolls?
104

Pekka: Can one make some money out of it, also?

Sherri: Or the musical Rent, which did certainly have social commentary
about AIDS and about youth but it was still entertaining. Does there need
to be a division? Does there have to be an agenda? Do I have to make a
statement that as a cultural manager I want to put on a show that is go-
ing to work with these people, and speak to these people, and helps them?
And isn’t that almost an imperialistic way? Let me help these poor people
with my theater performance.

Amy: There’s a movement that’s going on right now in the US that there
are these philanthropists making films, not necessarily to make money but
so they can bring awareness about issues. Like Al Gore with global warm-
ing. I think for them it provides some feeling that it’s rewarding. They’re
bringing awareness to society about these issues. Being agenda-based
doesn’t have to be a negative thing. I think it just depends on the personal
philosophy of that person or that organization.

Sherri: I somehow have less of a problem with documentaries or artists,

if they have a strongly held belief that they want to express through their
art. But to have a regular old arts organization deciding to move in this di-
rection because they want to consider themselves as a global citizens, I’m
struggling with that a little bit.

Amy: It depends on what the organization is and how it began; what the
mission was and if they are staying true to that mission. Or, are they letting
the environment that’s changing around them change them too much. Be-
cause you always need to refer back to your mission statement and make
sure that your programs and your projects are consistent.

Sherri: Yes, absolutely. I also have less of a problem with organizations that
have a mission to promote that. We have a wonderful theater company in
Toronto that is called Buddies in Bad Times that deals with gay and lesbian
issues. That’s what they were formed for, that’s their mission. So I wouldn’t
 105

have a problem with that. But, how do you take something like, I’m run-
ning just a regular old theater company. How far do you push it to take on
social issues? And one problem is trying to decide what is social and what
is cultural and that there isn’t a real dividing line. That’s where my struggle
is. I’m not looking for an answer. That’s just where my struggle is.

Pekka: That’s also the question of the identity of the cultural manager.
The first question, of course, to ask as a cultural manager is why am I do-
ing this. What are my own purposes as a cultural manager? Why am I a
cultural manager? And I think global awareness begins with this. I’m quite
sure that every cultural manager asks that, almost everyday of himself. Es-
pecially on days when it’s going bad.

Sherri: In my introductory class we ask ourselves some of these quasi-phil-

osophical questions. Who am I? Who do I want to be? What do I see my-
self as? And some of the wonderful, insightful things that come out of my
students has to be the dividing line between cultural manager and manag-
er. They say, yeah, I could manage a factory, I could manage a store with a
lot of the same skills I’m learning. I could manage anything that needs to
be managed. But one thing that keeps coming out of students, and I’m not
sure how aware they really are of what they are saying, but they say: I want
to make a difference in this world. And they say: “this world.” They don’t
say I want to make a difference to this art form or to my local communi-
ty. It’s always: I want to change the world. Is that just freshman naïveté?
I don’t know. That’s the difference. We are constantly differentiating our-
selves from the business school. “We’re different because…” And that’s one
of the things the students hang their hats on. They want to make money.
We want to transform lives. We want to make a difference in the world.

Amy: But they are concerned with the same issues that we are. Globaliza-
tion is huge in marketing.
106

Miia: Another answer to why am I doing this. What I hear is I want to ex-
press myself in this world as who I am. An individual. Not so much citi-
zenship or political. I think it has a lot to do with the age of our students.
They think more individually. ‘I want to change this world’ is a very young
and nice identity. I hope we help them develop this idea.

Pekka: I think it is a peculiar to talk about “expressing oneself ” by being

a manager. I can understand that someone who is an artist wants to do
that, or a consumer reads books or watches a film to express oneself. To be
a manager, though is to organize something for other people not just for
oneself.

Sherri: As part of my introductory class I put up a quote from a UNESCO

text. I don’t remember the quote exactly right now or who said it, but it’s
something like: An arts manager is that person who doesn’t concern him-
self with arts per se, but is the pier under water holding up the rest of the
world. I put it up and ask my students to talk about it. I ask if it bothers
them that it says ‘doesn’t concern himself with the arts’. And they say: no,
I got into this because I want to work with the artists and I want to work
with arts, so no, I don’t really like that part of it. And I ask them what they
think about being the pier under water. You’re the one that’s drowning.
And they say: no, I don’t really like that part either. But that’s a really good
introduction of what someone has said an arts manager should be and I
ask them if that’s really what you want to be. They think I’m asking them
are you ready to be this poor thoughtless person who is completely self-
less and doesn’t get any credit. But that’s not how I see arts management.
That’s not what I want to be. When I work as a cultural manager that’s not
what I’m doing. I’m not someone who is drowning so the rest of the world
can see what art is. No, I’m an active facilitator. I’m bringing artists and
audiences together. So, I am active. I am creative. I’m an artist in one way.
I’m bringing these things together, more curatorial than managerial.
 107

Amy: That’s an interesting point. It’s the difference between altruism and
martyrdom. You have to decide which path you are going to take. It’s pos-
sible – if programs are badly run and there aren’t enough resources to draw
on, and you just have to be aware of that. But again, if you know what
your philosophy is and you remind yourself of that when you work; if
that’s consistent then you should be successful.

Pekka: This brings us back to globalization and the whole issue of what
it means to be a global citizen. Maybe it’s there already. To be a cultur-
al manager is to be a global citizen. In the other group someone said that
globalization means communication. Maybe that’s already another point
of “cultural manager”. To speak with people and for people.

Sherri: I was in the other group earlier. I think we came to the conclusion
that global citizenship is not something inherent. It’s not something that
you just are. It’s something you have to accept or take on. And that just
might be a growing awareness. There is some step to be taken.

Miia: If I think about it, it bothers me, this China example. Are they ex-
cluded from global citizenship, those cultural managers? Or, if your global
citizenship is something you grow into, what is the step that cultural man-
agers in China should take? Is it that they take a risk, go against what they
are told? It’s a big step.

Sherri: I think it depends on your definition of risk. Something that is

a risk in an urban center in my country is different than taking a risk in
another country. And, what the consequences of that risk are. Risky art
might be something that someone doesn’t like, or objects to. But in an-
other country, risky art might be something you could be arrested for. You
could go to jail, or your family could be killed for it.

Amy: This goes back to the issue of how much is too much for a cultur-
al manager to take on. In our first session we talked about North Korea.
It’s not just that they have censorship issues. They are completely cut off.
108

So you will meet challenges that are too much for you as a cultural man-
ager and it becomes more of an issue of policy. You have to accept that, I
think.

Pekka: I think what the cultural manager as a global citizen also has to re-
member is that it is his or her point of view. For us, it’s often a Western
point of view. We like to see ourselves as more free than we actually are.
Here in Finland, there isn’t open censorship, but there is a kind of censor-
ship, I’m sure, that is always going on. We just don’t recognize that kind of
censorship. What we need to do about that kind of censorship, our inner
censorship, is build a kind of critical capacity. And that’s one way to work
with that. Still, the problem doesn’t go away. We can just be aware of that.

Amy: This is getting back to social issues. So even if there aren’t official
censorship policies in place, you have to be aware of the social taboos that
are in place. Some things that are acceptable in one place like foul lan-
guage that are okay in one culture could cancel a show in another culture.
It means that we have to be educated about the social issues of that area
and not just the cultural history of the area.

Sherri: One of the reasons I’m pushing against making a plan comes back
to what I was going to say in response to the question; is global citizenship
something to be embraced or resisted? My idea is that it’s both. But I also
wrote down that it’s something that should be questioned, should be chal-
lenged, and considered. Those are the things it should be. I’m not ready
to give an answer because I think it should be a question. So, in a rounda-
bout way, I am giving a concrete plan. Part of my plan would be that peo-
ple interested in these issues continue to meet, continue to talk, contin-
ue to investigate these issues and create new opportunities for considering
these issues. Not towards an answer. I don’t think we are going to get an
answer. But, we can work towards greater knowledge.
 109

Pekka: So you’re saying that this symposium that we are having right now
is an example of how to put these issues into action. So, maybe our future
book will be such an action.

Sherri: It would be wonderful if it could be the fodder for an action plan.

Miia: I would like to go back to the characteristics of the cultural manag-

er as the global citizen and about taking the hard steps towards global cit-
izenship. One of the characteristics of a good manager is to understand
the concept of risk; what costs there are. And, to have the ability to weigh
the options. One thing that is connected to the understanding of risks is
the understanding of social taboos. See the points where different kinds of
culture and different funding systems are clashing with each other. To see
all the different surfaces and lines that cross each other. I’m talking about
analytical skills, but also the very practical skills associated with risks in
culture.

Amy: I was going to go back to that too. I think that through our dis-
cussions, one of the main things we saw is that being a cultural manager
means being an analytical thinker, a critical thinker. Always questioning.
Not necessarily trying to answer. But that the questions are the most valu-
able part.

Pekka: Would it be helpful for a manager to have a clear goal for what he
is doing in terms of breaking taboos? I mean, to know about social taboos
and say, I want to break them. I want to open them up and show people
how to break them.

Sherri: I was going to agree with you at first until you brought up taboos.
Like Amy said, I think that depends on what your mission is. But, should
a cultural manager have clear goals. That’s something that when I started
teaching cultural management, I got a lot better at doing cultural man-
agement. I tried to investigate why that was. Is it just because I’m more
aware and thinking more critically? And I realized that what really helped
110

me as a cultural manager is that in teaching I had to come up with cur-

ricular outcomes. We have to ask what we expect the students to get from
this. What will they learn? And I took that, not overtly, at first. But I took
them into my cultural management. What benefits are people really go-
ing to have? More than what just the grants applications ask for. It’s more
of a changing the world thing. And when I think about that I’m a bet-
ter cultural manager. I try to tell my students that. I don’t want you to be
a teacher, but I want you to take the skills of teaching. The best of many
worlds. So, yes, I want them to have clear goals.

Amy: There’s no way to evaluate that without defining it. You have to have
the goal, design the outcome, and based on that you can evaluate success.

Pekka: What I mean by goal is to have a kind of narrow interest.

Amy: Agenda?

Pekka: Yes, right. An agenda for the things I have to do.

Sherri: I could see that if you are an artistic director or a curator. If you
have a certain artistic vision that you are trying to achieve. But if you are
talking from an administrative point of view, I would say that is wrong. I
don’t know if everyone agrees with that. I’m a very opinionated person if
you haven’t figured that out. But in managing, I try to step back. The ac-
tual artistic vision should be the artist’s or the artistic director’s. But that
doesn’t mean that my agenda doesn’t get addressed. But is your question,
Pekka, that we should always have a social goal in mind when you are
managing something?

Amy: Or is it an ethical question?

Pekka: Yes, both.

 111

Miia: Were you thinking about the curriculum? That we should design a
curriculum like that? We should have one goal?

Pekka: No, I’m not suggesting that’s the way it should be. I’m saying that
maybe the cultural manager is the kind of person who does anything. I
manage anything. Just mention it and I do it. I care a lot, and I am aware
of global issues, but just give me some money and I will manage whatever
you want me to manage.

Sherri: To be a great cultural manager, I don’t think so. I talk about this in
class. Can you manage something you don’t truly believe in? Sure. But do
you have the passion to balance out the long hours the low pay? Would it
be worth it? Is it sustainable? In global citizenship sustainability is a big is-
sue. Another tenet of the global citizen that we talked about is that being
aware that things are unequal and unfair and that’s what we live in. But,
the global citizen tries to do something about that. In my own beliefs, I
think the artist needs to be taken care of, so I try to teach that to my stu-
dents. Ironically, I am teaching about the labor point of view. What does
the artist need? Being a good manager means that you understand what
the artist needs to do their art. I’m going to teach you the artist point of
view and not the manager point of view because I think that’s important.
So the idea of helping artists. You know a rising tide raises all ships. So,
making things better for artists makes things better for cultural managers;
makes the world a better place.

Pekka: Another way to ask the same question of what the cultural man-
ager should be is should the cultural manager be in the front line or back-
stage? I think many cultural managers have the idea that everything is
good as long as nobody sees me. I think it’s a kind of interesting attitude.
You don’t try to manipulate artists or audiences. Manipulation is some-
thing that the artist does with his or her audience. The cultural manager
just relaxes, just sits and watches after organizing everything. In that way
it’s possible for the artist to manipulate an audience.
112

Amy: You can compare that to the way the conductor works with an or-
chestra. The conductor is the one who runs all the rehearsals and does
all the hard work with the musicians. Then when it comes time for the
performance people aren’t really looking at the conductor. They’re looking
past him at the performers. No one’s saying: oh, that conductor put on a
great concert tonight. It’s the musicians who put on a great performance.

Sherri: At least in Canada there is no star system for cultural managers.

We ask students: do you want us to bring in guest lecturers? They say:
yeah. But, if we ask who would you like, they say: someone really big in
the arts management world. And I ask who, and they don’t know. Arts
managers are technically behind the scene. I’m not a behind the scene per-
son. If being the person under the pier is what arts management was, I
wouldn’t be an arts manager. But, the idea is not to have me on center
stage. When we talk about the person who is the cultural manager as glo-
bal citizen, I’m not willing to work quietly in the corner. I’m working with
a community.

Amy: I think in order to answer that question you have to ask when in
the stage of the festival or the theater production you are talking about. In
some ways you have to be a star. You have to get out there in order to pro-
mote your artist or your organization in order to get people excited. They
have to see you and you have to be very visible and likable and make them
want to be part of what you are doing. But when it comes time for the
performance to take place, you have to step aside and let whoever had the
artistic vision bring that out and connect to the audience.

Pekka: One art form where people, like producers, are really brought out
is movies. They get nominated for awards. When you mentioned conduc-
tor as an example of a manager, I was thinking about editors, book pub-
lishers. Nobody knows them. Everyone assumes that when a writer writes
a book it’s finished. But that’s not the case at all.
 113

Miia: I would like to add to what Amy said about how visible the manag-
er must be. She must be the kind of person that everyone wants to work
with. That kind of professional. Back to the characteristics, maybe manag-
ers should have an opinion about where the manager stands in the organi-
zation. Is it in front of? Behind? Next to? How is the manager positioned?

An: To add something to the position of the cultural manager; in terms

of networks, it has to be someone with a lot of connections, a strong posi-
tion, a lot of skills.

Sherri: When Miia was talking about where the manager stands, I was
thinking ‘between’. You have to stand between people – funder and audi-
ence, funder and artist. It’s like being a translator.

Miia: This is an important question; the position of the cultural manag-

er. In teaching students we have to know what they imagine their posi-
tion will be. Are they going to be artists? If so, that’s a problem. They have
to have an interest and a commitment to art and the field. But if they are
the kind that wants to be out in front of the stage, they can’t be. So, it’s
very, very problematic to turn that kind of student into a manager in four
years.

Sherri: I want to second what Miia is saying. I’m involved in recruitment

and I try to weed out that kind of student. The student who really wants
to be a painter, but their mom and dad want them to do management, so
this is a middle ground. Or, they aren’t going to make it as a dancer so this
is a fall-back position. To maintain the integrity of the profession we have to
protect it from being a fall-back position. But it is, historically, a fall-back
position. I personally chose to be a cultural manager. I wasn’t a failed artist.

Amy: There is an argument for it being a fall-back position. In the Unit-

ed States there are people who were performers who later in life decided to
become managers. The idea is that they know about performing and un-
derstand what needs to be done.
114

Sherri: I don’t have a problem with performers who are looking to change
careers. The problem I do have with that position is that often perform-
ers who think that because they know everything about performing, they
know how to manage. There is that whole idea of skill development:
“Why should I go back to school? I’ve been a performer for twenty years, I
shouldn’t have to go back to school for this.” It’s the idea that it’s just a set
of skills and not about knowledge.

Miia: One more thing about this relationship to art, or being an artist.
Yes, you can have a career behind you when you work as a cultural man-
ager, but you have to accept or know where you are standing now. If you
are still struggling or never have started to struggle with this positioning
thing, four years is too short.

Amy: How does an eighteen year old student know?

Miia: It’s difficult.

Sherri: It goes back to the question of cultural management as an academ-

ic discipline. It’s still so new that people don’t really know how to think of
it. They know they can go to school for theater or dance. But they don’t
think of cultural management as something that they can study. In gener-
al, most of our students – eighty-nine percent last time I took percentag-
es – happened upon our program accidentally. They were looking for arts
programs or they typed in management because they thought about busi-
ness as well, and they just happened upon it. Can I offer one more char-
acteristic? Advocate. The idea that you are a promoter of an art form or an
organization.

Amy: I think that goes back to Pekka’s point about having an agenda. It
could be negative or positive. You could be an advocate, or you could have
selfish interests.
 115

Conclusion

What is most striking, for the editors of this report, is the wide range of is-
sues raised and discussed by the symposium participants. While the cen-
tral theme, and a pre-defined set of questions, was the focal point of the
symposium, participants took the opportunity to address many issues and
controversies that have been simmering both under the surface – as well
as within full view – in the field of cultural management since its begin-
nings as a formalized field or discipline. Many issues, like the commercial
versus non-profit debate, are perennial. Other issues are new, such as the
many types of risks that may arise for cultural managers doing their jobs,
as the result of novel roles and the fresh realities of a globalized world.
While participants made an effort to confront the questions as posed, the
forum also allowed for many tangents that often became the more cen-
tral focus of discussion. Our conclusion is that the symposium provid-
ed a much needed opportunity, and venue, for airing of views and hash-
ing out of ideas. This suggests the importance of this kind of forum, and
this kind of discussion, in the on-going development of the field. It is also
worth noticing the facility with which the discussion moved between con-
sidering philosophical and practical issues with both types of issues carry-
ing equal weight as areas meriting full exploration. This suggests that the
dividing line between practice and theory is much thinner than we often
imagine. For those practitioners, students, and academics in the field of
cultural management who might wonder exactly why familiarity with the-
ory might be required, these discussions provide a good answer.
Many participants expressed the idea that culture, in itself, is the ba-
sis for our identity. Culture works for us as a fundamental element or a
tool for self-understanding. From this point of view it is not hard to un-
derstand why the question of global citizenship or global cultural manage-
ment is so comprehensive. It is a matter of our future, which arises out of
our yesterdays. Both are of equal importance. An appreciation for one is
dependent upon an appreciation for the other. Our experience of the past
and our expectations of the future help us formulate and appreciate our
116

individual and cultural identity. The process also raises many important is-
sues, not the least of which has to do with concerns for ethical responsibil-
ity, both for the practicing cultural manager and for the teaching of future
practitioners. How do cultural mangers develop knowledge of their ethi-
cal responsibilities? How do we teach it to students? Does working with
culture, and all that it implies in terms of human self-development and
identity, require a heightened ethical awareness? Discussants seem to be-
lieve that it does. If so, then how does the cultural manager develop such
awareness? How should it be taught to students?
The global cultural manager has many challenges that can be divided
into three categories: focus, time and money. He or she has to make deci-
sions for artists and people who are sometimes properly seen as consum-
ers and at other times as citizens of communities whose needs are categor-
ically different than those to be satisfied through the consumption of cul-
tural goods. In the production and dissemination of cultural goods, they
operate as cultural workers and must supervise the cultural work of oth-
ers. Managers occupy a position of leadership and authority, which carries
with it the power of choice and decision-making. Cultural managers of-
ten decide, in effect, what is meaningful and what is deserving of support.
While the role carries a great deal of responsibility in any context, in the
global context, the effects of these decisions have the potential for wider
effect. A simple decision between commercial profits and supporting cul-
tural values (if it is ever so simple) has ramifications beyond just the local
community.
While commercial culture and entertainment affect our everyday life,
it is not trivial to look at the underlying and ethical frameworks that un-
dergird them, or the choices of cultural managers within a reality where
commerce and entertainment are the dominant face of culture. Many dis-
cussants expressed concern about cultural one-sidedness. In an area of glo-
balization, tension between national cultural heritage and international-
ism – sometimes referred to as “Anglo-Americanism” – is quite evident.
Cultural managers need cultural sensitivity just to keep our cultural scene
as colourful or as diverse as possible. Everything is not about money; it
is also about people finding the intrinsic value of arts and culture, about
 117

being enriched, educated, and even about experiencing what is good for
them. There is much, within the sphere of culture, therefore, that requires
the mediation of a cultural manager, even ignoring the added dimension
of historical, political or economic forces.
Participants in these discussions were all educators, or teachers, or
those working in close connection with pedagogical issues. In their com-
ments, pedagogical concerns often take center stage as they wrestle with
how best to train cultural managers of the future. From this perspective
cultural education comes to forefront. To be a global cultural manager, or
to possess a global ideological perspective on culture, means to be edu-
cated in a certain way. It requires that you have developed an ideological
core that supports your individual perspectives and choices. This does not
mean that one’s ideological core is set in stone. In fact, we hope that stu-
dents continue to interrogate their own views and beliefs throughout their
lifetimes. But, if we acknowledge the link between philosophical perspec-
tive and practice then one’s ideological core is a beginning point for carry-
ing out the role of cultural manager.
The participants in these talks made up an international group of indi-
viduals from different countries and national cultures. There was much va-
riety in education and cultural background. But there was also a common
ground; an interest in cultural management and its development as a field.
Culture has different connotations depending on whether you are from
North America, Europe, or elsewhere. Even the situation inside these con-
tinents has differences that can sometimes be quite fundamental. But de-
spite this, or maybe because of this, participants created much new com-
mon ground and the results of these talks were illuminating. Globalization
is in progress and presents many different faces. For cultural managers and
educators these talks provide an opportunity to investigate globalization
from a variety of perspectives, as well as to interrogate, more thoroughly,
the meaning of the term within the cultural context. This is impossible to
do without truly international participation.
118

As Toby Miller and George Yúdice stated in their challenging view on

cultural policy citizens of today are surrounded by mixed identities that
can be both national and international. From our sociopolitical construc-
tion of citizenship we are sometimes (or constantly) moving towards our
identity as consumers and more market-oriented workers. Despite our
own desires and personal aspirations we are confronted with the rules and
realities of the everyday global market. Either we are defined as nation-
al subjects or rational ones, or – even better – as transnational human be-
ings. Seeing our discussions from this perspective it is hardly surprising to
come to this kind of self-evident conclusion: the state of the field of cul-
tural management is one which is played out in a global field full of social,
historical and political gaps which must be bridged in order to be crossed.
Some of those “gaps” were filled in during our talks but most were left
open. As for the latter possibility – bridging the gaps – it might also be the
place for a cultural or arts manager to intervene by taking on a role that
is more about raising appropriate questions then giving definite answers.
Global issues need to be dealt with by groups and individuals themselves,
not just by single players, though the role of the cultural manager in the
process is an important one. Specifically, there is a place in the process for
helping individuals and groups come to the answers themselves.
Global citizenship may be a necessity of the future. Cultural managers
have the opportunity to be at the forefront as mediators of global realities.
Their contribution is in helping individuals realize, through culture, their
potential within a globalized world. In other words, the cultural manag-
er can play a significant role in defining the terms of globalization for hu-
manity, instead of allowing globalization to decide the terms of humanity
within the demands of globalization.

 See DeVereaux’s article in this book.

 119

Afterword

The idea for an international symposium on the state of the field began in
the cold of a Finnish winter, which started as a conversation between the
editors, originally that came to include other faculty of the Cultural Man-
agement Programme at HUMAK University of Applied Sciences. The ed-
itors met at the 2005 conference of the Association of Arts Administra-
tion Educators in Pittsburgh, Pennsylvania. A Fulbright Senior Specialists
Grant allowed Constance DeVereaux to accept an invitation by Pekka Var-
tiainen to lecture at HUMAK University in February 2006 and to consult
with faculty on curriculum. We acknowledge, therefore, the contribution
of the J. William Fulbright Scholarship Board and the value of organiza-
tions like AAAE in providing opportunities for scholarly interaction and
exchange.
Additional thanks are due to Ms. Annika Mäkelä who, as a visiting
scholar to Shenandoah University, made significant contributions to the
planning of the symposium.
Participation of Shenandoah University students Diane Poff and Sere-
na Robbins was made possible by a Faculty/Student Collaboration Grant
from Shenandoah University.
120

Glossary

AAAE The Association of Arts Administration Educators

(AAAE) is an international organization incorpo-
rated as a 501 tax-exempt nonprofit institution
within the United States and Europe. Its mission
is to represent college and university graduate and
undergraduate programs in arts administration,e
ncompassing training in the management of vis-
ual, performing, literary, media, cultural and arts
service organizations. Founded in 1975, the AAAE
was created to provide a forum for communication
among its members and advocate formal training
and high standards of education for arts adminis-
trators. More information: http://www.artsadmin-
istration.org/index.html.

BBC British Broadcasting Company (BBC) is world’s

largest broadcasting corporation. It has almost
30 000 employees in the Great Britain alone. BBC
was founded in 1922. It produces programmes and
information services, broadcasting globally on tel-
evision, radio and the Internet. More information:
http://www.bbc.co.uk.

ENCATC European Network of Cultural Administration

Training Centres (ENCATC) is the European net-
work of institutions and professionals involved
in training and education in the field of cultural
management. It was founded in 1992. ENCATC
is an independent network of 127 members and it
operates through 38 countries. More information:
http://www.encatc.org/about_encatc/index.
 121

EU European Union (EU) is a political and econom-

ic community of 27 member states located prima-
rily in Europe. It was founded in 1957 by a small
number of countries. In past years it has expand-
ed in number of participating countries. The EU
established a single market applied in all member
states. Freedom of movement of people, goods,
services and capital is also included in EU’s system
of laws. It maintains common policies (trade, ag-
ricultural, fisheries, regional development) and in
1999 it introduced a common currency (euro),
which has been adopted by fifteen member states.
More information: http://europa.eu/index_en.htm

No Child Left Behind Legislation in the United States that aims to im-
prove the performance of US primary and second-
ary schools based on theories of standard-based,
or outcome based educational reform. The legis-
lation emphasizes accountability for states, school
districts, and schools measured primarily through
standardized tests. The legislation is controversial
for a variety of reasons, but is also seen, by some
critics, as responsible for decreased emphasis arts
education in the schools. The U.S. Department of
Education maintains a website relating to this leg-
islation at http://www.ed.gov/nclb/landing.jhtml.

Soros Foundation U.S. based grantmaking foundation founded by

philanthropist George Soros, which promotes
the concept of “open society” through its affiliat-
ed foundations in regions, 29 countries, including
Bulgaria. More information: http://www.soros.org/
about/foundations
 UNESCO United Nations Educational, Scientific and Cul-
tural Organization (UNESCO) has been estab-
lished in 1945. It’s a specialized agency of the
United Nations. By promoting international col-
laboration through education, science and cul-
ture UNESCO’s purpose is to contribute to peace
and security. Universal respect for justice, the rule
of law and the human rights and fundamental
freedoms proclaimed in the UN Charter are cen-
tral cores of its actions. More information: http://
portal.unesco.org/en/ev.php.

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