語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
切換:
標籤
|
MARC模式
|
ISBD
Music Production and Cultural Entrep...
~
Monasterio Barso, Freddy.
FindBook
Google Book
Amazon
博客來
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room./
作者:
Monasterio Barso, Freddy.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:
371 p.
附註:
Source: Masters Abstracts International, Volume: 80-04.
Contained By:
Masters Abstracts International80-04.
標題:
Cultural anthropology. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10999596
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room.
Monasterio Barso, Freddy.
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room.
- Ann Arbor : ProQuest Dissertations & Theses, 2018 - 371 p.
Source: Masters Abstracts International, Volume: 80-04.
Thesis (Ph.D.)--Queen's University (Canada), 2018.
This item must not be sold to any third party vendors.
Cultural production and entrepreneurship are two major components of today's global economic system as well as important drivers of social development. Recently, Cuba has introduced substantial reforms to its socialist economic model of central planning in order to face a three-decade crisis triggered by the demise of the USSR. The transition to a new model, known as the "update," has two main objectives: to make the state sector more efficient by granting more autonomy to its organizations; and to develop alternative economic actors (small private businesses, cooperatives) and self-employment. Cultural production and entrepreneurship have been largely absent from the debates and decentralization policies driving the "update" agenda. This is mainly due to culture's strategic role in the ideological narrative of the ruling political leadership, aided by a dysfunctional, conservative cultural bureaucracy. The goal of this study is to highlight the potential of cultural production and entrepreneurship for socioeconomic development in the context of neoliberal globalization. While Cuba is attempting to advance an alternative socialist project, its high economic dependency makes the island vulnerable to the forces of global neoliberalism. This study focuses on Havana's music sector, particularly on the initiatives, musicians and music professionals operating in the informal economy that has emerged as a consequence of major contradictions and legal gaps stemming from an outdated cultural policy and ambiguous regulation. The research privileges the analysis of alternative music scenes such as hip-hop, electronic dance music, rock and regueton. Several case studies of cultural producers/entrepreneurs that operate at the margins of the state institutions are presented. By using a tailored variation of the creative economy paradigm applied to the Cuban context the study demonstrates the importance of recognizing the new models of cultural management that have emerged in Havana as legitimate economic actors. Although the potential of partnerships between private and state actors is acknowledged, the research concludes that the majority of these new models would have a larger positive impact by operating from a properly regulated non-state sector, where the most important incentives for artists and cultural entrepreneurs are currently located. This would require major transformations in Cuba's cultural policy.Subjects--Topical Terms:
2122764
Cultural anthropology.
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room.
LDR
:03545nmm a2200349 4500
001
2206199
005
20190828133651.5
008
201008s2018 ||||||||||||||||| ||eng d
035
$a
(MiAaPQ)AAI10999596
035
$a
(MiAaPQ)QueensUCan197424851
035
$a
AAI10999596
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Monasterio Barso, Freddy.
$3
3433094
245
1 0
$a
Music Production and Cultural Entrepreneurship in Today's Havana: Elephants in the Room.
260
1
$a
Ann Arbor :
$b
ProQuest Dissertations & Theses,
$c
2018
300
$a
371 p.
500
$a
Source: Masters Abstracts International, Volume: 80-04.
500
$a
Publisher info.: Dissertation/Thesis.
500
$a
Dubinsky, Karen;Lord, Susan.
502
$a
Thesis (Ph.D.)--Queen's University (Canada), 2018.
506
$a
This item must not be sold to any third party vendors.
520
$a
Cultural production and entrepreneurship are two major components of today's global economic system as well as important drivers of social development. Recently, Cuba has introduced substantial reforms to its socialist economic model of central planning in order to face a three-decade crisis triggered by the demise of the USSR. The transition to a new model, known as the "update," has two main objectives: to make the state sector more efficient by granting more autonomy to its organizations; and to develop alternative economic actors (small private businesses, cooperatives) and self-employment. Cultural production and entrepreneurship have been largely absent from the debates and decentralization policies driving the "update" agenda. This is mainly due to culture's strategic role in the ideological narrative of the ruling political leadership, aided by a dysfunctional, conservative cultural bureaucracy. The goal of this study is to highlight the potential of cultural production and entrepreneurship for socioeconomic development in the context of neoliberal globalization. While Cuba is attempting to advance an alternative socialist project, its high economic dependency makes the island vulnerable to the forces of global neoliberalism. This study focuses on Havana's music sector, particularly on the initiatives, musicians and music professionals operating in the informal economy that has emerged as a consequence of major contradictions and legal gaps stemming from an outdated cultural policy and ambiguous regulation. The research privileges the analysis of alternative music scenes such as hip-hop, electronic dance music, rock and regueton. Several case studies of cultural producers/entrepreneurs that operate at the margins of the state institutions are presented. By using a tailored variation of the creative economy paradigm applied to the Cuban context the study demonstrates the importance of recognizing the new models of cultural management that have emerged in Havana as legitimate economic actors. Although the potential of partnerships between private and state actors is acknowledged, the research concludes that the majority of these new models would have a larger positive impact by operating from a properly regulated non-state sector, where the most important incentives for artists and cultural entrepreneurs are currently located. This would require major transformations in Cuba's cultural policy.
590
$a
School code: 0283.
650
4
$a
Cultural anthropology.
$3
2122764
650
4
$a
Music.
$3
516178
650
4
$a
Entrepreneurship.
$3
526739
650
4
$a
Caribbean Studies.
$3
1670141
650
4
$a
Economics.
$3
517137
690
$a
0326
690
$a
0413
690
$a
0429
690
$a
0432
690
$a
0501
710
2
$a
Queen's University (Canada).
$3
1017786
773
0
$t
Masters Abstracts International
$g
80-04.
790
$a
0283
791
$a
Ph.D.
792
$a
2018
793
$a
English
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10999596
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9382748
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入