When we look closely at how cultural and arts policy operates in the urban settings of Paris and Berlin, we find different policy spheres characterized by a division between ‘high’ culture on the one hand, and urban-ethno-socio-culture on the other. Whilst the majority of funding is allocated by high-culture institutions, whose productions are evaluated on so-called ‘universal’ aesthetic grounds, only a relatively small amount of funding is diverted to the cultural projects in inner-city, ‘immigrant’ areas. However, the key issue in this chapter is not how the budgets get divided up, but rather why certain categories of the population, namely ʼnon-European’ immigrants and postmigrants, are widely expected to engage in cultural projects linked either to ‘ethnic identity’ or to social cohesion and integration. As we shall show below, ʼnon-white’ or non-European immigrant and postmigrant artists can find it difficult to obtain recognition of the ‘intrinsic’ artistic value of their work.
CITATION STYLE
Kiwan, N., & Kosnick, K. (2006). The ‘whiteness’ of cultural policy in paris and berlin. In Transcultural Europe: Cultural Policy in a Changing Europe (pp. 105–130). Palgrave Macmillan. https://doi.org/10.1057/9780230504318_6
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