Governing Baltimore by Music: Insights from Governance and Governmentality Studies

Volker Kirchberg

doi:10.14361/transcript.9783839419656.169

Governing Baltimore by Music: Insights from Governance and Governmentality Studies

Titel in Übersetzung: Das Regieren der Stadt Baltimore durch die Musik: Einsichten der Governance- und Gouvernementalitäts- Studie

Volker Kirchberg

Publikation: Beiträge in Sammelwerken › Aufsätze in Sammelwerken › Forschung › Begutachtung

Abstract

Volker Kirchberg's criticism of a hierarchically implemented cultural policy is based
on the presumption that the current obsession of urban governments to generate
>creative cities< from the top down might not bring expected results. Instead,
he proposes that successful creative self-governance is a bottom-up process, which
can be exemplified by the specific urban structures and socio -political functions
of two local popular music scenes in Baltimore, the Baltimore Club scene and
the Experimental/Instrumental scene. Both scenes are illustrations for a musical
creativity that has prospered in Baltimore over the last years not despite but
because of the lack of any top-down governmental interventions.

Titel in Übersetzung	Das Regieren der Stadt Baltimore durch die Musik: Einsichten der Governance- und Gouvernementalitäts- Studie
Originalsprache	Englisch
Titel	Music City : Musikalische Annäherung an die „kreative Stadt“
Redakteure/-innen	Alenka Barber-Kersovan, Volker Kirchberg, Robin Kuchar
Seitenumfang	29
Erscheinungsort	Bielefeld
Herausgeber (Verlag)	transcript Verlag
Erscheinungsdatum	28.03.2014
Auflage	1
Seiten	169-198
ISBN (Print)	978-3-8376-1965-2
ISBN (elektronisch)	978-3-8394-1965-6
DOIs	https://doi.org/10.14361/transcript.9783839419656.169
Publikationsstatus	Erschienen - 28.03.2014

UN SDGs

Dieser Output leistet einen Beitrag zu folgendem(n) Ziel(en) für nachhaltige Entwicklung

SDG 11 – Nachhaltige Städte und Gemeinschaften

Fachgebiete und Schlagwörter

Kulturvermittlung/Kulturorganisation
Musik
Kultur und Raum
Governance
Soziologie
Kultursoziologie

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10.14361/transcript.9783839419656.169

Die Bedeutung von Kunst und Kultur für die Stadtentwicklung - Ein Vergleich von Baltimore und Hamburg
Kirchberg, V. (Wissenschaftliche Projektleiter*in)
01.10.04 → …
Projekt: Forschung

Datei

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title = "Governing Baltimore by Music: Insights from Governance and Governmentality Studies",

abstract = "My criticism of a hierarchically enforced cultural policy is based on the understanding that the contemporary governmental obsession about generating {\textquoteleft}creative cities{\textquoteright} from the top down is an impossible effort for achieving {\textquoteleft}urban creativity{\textquoteright}. Instead, my concept of a successful creative self-governance from the bottom up is exemplified here by specific urban structures and socio-political functions of two local popular music scenes in Baltimore, the Baltimore Club scene, and the Experimental/Instrumental scene. Both scenes are illustrations for a musical creativity that has prospered in Baltimore in the last years not despite but because of the lack of any governmental top-down interventions. The concept of self-governance is linked with the concept of governmentality by Foucault and his successors. In my own interpretation of governmentality, the chosen music scenes are interpreted as {\textquoteleft}regimes of practice{\textquoteright} with four empirically observable dimensions: visibility (in the case of music: auralization), knowledge (about styles, genres and bands), techniques (means of music production, distribution, consumption), and identities (cohesion through values and conventions). As the major characteristic of these musical {\textquoteleft}regimes of practice{\textquoteright}, the {\textquoteleft}conduct by self-conduct{\textquoteright} expedites a creative process that also has become an important urban political factor because it shapes the community from the bottom up. Baltimore{\textquoteright}s unplanned governmental {\textquoteleft}laissez faire{\textquoteright} attitude toward these cultural regimes is also sustainable because the successful local music scenes are communities steered by networks of artists and arts institutions that are diverse, resilient to outside pressure, and mostly devoid of coercion; instead they are based on volunteerism and inherent gratification. ",

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Governing Baltimore by Music: Insights from Governance and Governmentality Studies. / Kirchberg, Volker.
Music City: Musikalische Annäherung an die „kreative Stadt“. Hrsg. / Alenka Barber-Kersovan; Volker Kirchberg; Robin Kuchar. 1. Aufl. Bielefeld: transcript Verlag, 2014. S. 169-198 (Urban Studies).

Publikation: Beiträge in Sammelwerken › Aufsätze in Sammelwerken › Forschung › Begutachtung

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Y1 - 2014/3/28

N2 - My criticism of a hierarchically enforced cultural policy is based on the understanding that the contemporary governmental obsession about generating ‘creative cities’ from the top down is an impossible effort for achieving ‘urban creativity’. Instead, my concept of a successful creative self-governance from the bottom up is exemplified here by specific urban structures and socio-political functions of two local popular music scenes in Baltimore, the Baltimore Club scene, and the Experimental/Instrumental scene. Both scenes are illustrations for a musical creativity that has prospered in Baltimore in the last years not despite but because of the lack of any governmental top-down interventions. The concept of self-governance is linked with the concept of governmentality by Foucault and his successors. In my own interpretation of governmentality, the chosen music scenes are interpreted as ‘regimes of practice’ with four empirically observable dimensions: visibility (in the case of music: auralization), knowledge (about styles, genres and bands), techniques (means of music production, distribution, consumption), and identities (cohesion through values and conventions). As the major characteristic of these musical ‘regimes of practice’, the ‘conduct by self-conduct’ expedites a creative process that also has become an important urban political factor because it shapes the community from the bottom up. Baltimore’s unplanned governmental ‘laissez faire’ attitude toward these cultural regimes is also sustainable because the successful local music scenes are communities steered by networks of artists and arts institutions that are diverse, resilient to outside pressure, and mostly devoid of coercion; instead they are based on volunteerism and inherent gratification.

AB - My criticism of a hierarchically enforced cultural policy is based on the understanding that the contemporary governmental obsession about generating ‘creative cities’ from the top down is an impossible effort for achieving ‘urban creativity’. Instead, my concept of a successful creative self-governance from the bottom up is exemplified here by specific urban structures and socio-political functions of two local popular music scenes in Baltimore, the Baltimore Club scene, and the Experimental/Instrumental scene. Both scenes are illustrations for a musical creativity that has prospered in Baltimore in the last years not despite but because of the lack of any governmental top-down interventions. The concept of self-governance is linked with the concept of governmentality by Foucault and his successors. In my own interpretation of governmentality, the chosen music scenes are interpreted as ‘regimes of practice’ with four empirically observable dimensions: visibility (in the case of music: auralization), knowledge (about styles, genres and bands), techniques (means of music production, distribution, consumption), and identities (cohesion through values and conventions). As the major characteristic of these musical ‘regimes of practice’, the ‘conduct by self-conduct’ expedites a creative process that also has become an important urban political factor because it shapes the community from the bottom up. Baltimore’s unplanned governmental ‘laissez faire’ attitude toward these cultural regimes is also sustainable because the successful local music scenes are communities steered by networks of artists and arts institutions that are diverse, resilient to outside pressure, and mostly devoid of coercion; instead they are based on volunteerism and inherent gratification.

KW - Cultural Distribution/Cultural Organization

KW - Musik

KW - Culture and Space

KW - Governance

KW - Sociology

KW - Kultursoziologie

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DO - 10.14361/transcript.9783839419656.169

M3 - Contributions to collected editions/anthologies

SN - 978-3-8376-1965-2

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BT - Music City

A2 - Barber-Kersovan, Alenka

A2 - Kirchberg, Volker

A2 - Kuchar, Robin

PB - transcript Verlag

CY - Bielefeld

ER -

Governing Baltimore by Music: Insights from Governance and Governmentality Studies

Abstract

UN SDGs

Fachgebiete und Schlagwörter

Zugriff auf Dokument

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Projekte

Die Bedeutung von Kunst und Kultur für die Stadtentwicklung - Ein Vergleich von Baltimore und Hamburg

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