Culture and Local Governance <p><strong>Culture and Local Governance</strong>&nbsp;(CLG)&nbsp;is a peer-reviewed online journal. CLG offers a space for dialogue across disciplinary boundaries, between established and emerging scholars, and between academics and practitioners. In order to enhance the social impact of work published in its pages, CLG emphasizes research diffusion and communication, following a double-blind peer review process. In keeping with this philosophy, CLG is an open access journal.</p> University of Ottawa en-US Culture and Local Governance 1911-7469 Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="" target="_new">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. La politique de l'emploi comme instrument de politique culturelle implicite <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>In 2002, the New Brunswick government developed a cultural policy of unprecedented scale for the province. This policy aimed to respond to the challenges of community museums. Among the challenges identified were the need for professional development, financial stability and visibility in their communities. This article examines how this ambitious strategy for the cultural sector has encountered pathways dynamics and the effects of other public policies. Based on an analysis of the sector and its evolution following the implementation of the cultural policy, this article relates the unsuspected effects of the program Student Employment Experience Development (SEED), a program related to the politics of training and employment in the province.</p> </div> </div> </div> Robin Nelson Copyright (c) 2020 Robin Nelson 2020-07-09 2020-07-09 6 2 76 91 10.18192/clg-cgl.v6i2.4753 Earned Income and American Museums <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The basis of the American approach to culture eschews any collective state intervention. Cultural institutions, such as museums, originated as the beneficiaries of private donors. Such philanthropy benefits from a tax code that provides financial incentives for contributions to private organizations. For institutions, funds raised from ancillary activities, such as gift shops, also enjoy significant tax exemptions. Yet, despite these publicly financed tax deductions, cultural visions are privately conceived, and reflect the agendas of the donors. This attitude represents the basic principle of the American patronage system: one that is facilitated by a tax policy, not a cultural policy.</p> </div> </div> </div> Kevin Mulcahy Copyright (c) 2020 Kevin Mulcahy 2020-07-09 2020-07-09 6 2 92 102 10.18192/clg-cgl.v6i2.4752 Discourses of Cultural Continuity among the Bakweri of Mount Cameroon National Park <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>In recent years, the separation of people from their land through protected areas and conservation initiatives of local governance has been at the core of criticism in the people–park discourse. However, vital questions remain as to how people maintain cultural relations to parks and their peripheral zones. This paper explores circumstances where people are not entirely disconnected from their culture despite the state management of Mount Cameroon National Park (MCNP) in West Africa. In this example, people uphold subsistence activities and spiritual interaction with ancestors and deities steered under the umbrella of ritual beliefs. Based on an ethnographic inquiry among the Bakweri in the southwest region of Cameroon, we found that factors of remote settlement, an urge for collective assurances among people, and a sense of belonging in an ethnic group enhance a reciprocal attachment between people and place. This observation helps bridge gaps in people–park relations through cultural continuity.</p> </div> </div> </div> Ayonghe Akonwi Nebasifu Ngoindong Majory Atong Copyright (c) 2020-07-09 2020-07-09 6 2 103 121 10.18192/clg-cgl.v6i2.4754 Mémoire collective dans les industries culturelles <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The cultural industries participate in building collective memory because, in many cases, public decision-makers have chosen to elevate individual memories to the rank of collective memory. Cultural industries are faced with systemic discrimination (Eikhof and Warhurst, 2013), which suggests the collective memory of these industries face the same challenges. In this theoretical article, we propose a framework based on Boltanski andThévenot’s (1991, 2006) theory of justification in order to make collective memory in cultural industries more inclusive. First, we conceptualize collective memory as a compromise between the domestic and civic worlds of Boltanski and Thévenot (1991, 2006). Then, the artists and their individual memories are presented using the world of inspiration. Finally, we propose using the world of projects to make the collective memory of cultural industries more inclusive. We, therefore, propose greater openness and democratization of collective memory in the cultural industries due to the world of projects.</p> </div> </div> </div> Julie Bérubé Copyright (c) 2020-07-09 2020-07-09 6 2 122 134 10.18192/clg-cgl.v6i2.4751 Preserving and Promoting Colonial Architecture <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Da Nang’s urban landscape reveals more than a half century of colonization and French presence on its territory. The buildings carry the imprint of the colonial experience, as they were once considered a symbol of domination, linking Da Nang to the global history of colonization. After years of independence and reconstruction, the public attitude towards French colonial heritage has changed. Despite its roots and historical origins, today, French colonial architecture is engrained into the collective understanding of Da Nang’s urban landscape and has shaped the local visual identity of the urban space. More importantly perhaps, this architectural style contributes to the city’s connection with cultural tourism, an important tool for economic development. As Da Nang is on a path of constant growth, this paper engages with issues around architectural preservation of built colonial heritage, in terms of both the values of preservation, and the challenges it presents for contemporary urban planning.</p> </div> </div> </div> Le Minh Son Linh Ngoc Thao Dang Copyright (c) 2020-07-09 2020-07-09 6 2 135 150 10.18192/clg-cgl.v6i2.4755