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 <p>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.</p> South Asians in “Asia’s World City”: Postcolonial Identity Struggles and Art Participation in Hong Kong <p>Hong Kong, being the “Asia’s world city”, the government proclaimed itself committed to enhancing an inclusive society. However, critics have been questioning the effectiveness of its policy in bringing social inclusion as many South Asians in Hong Kong have to deal with post-colonial identity struggle in everyday life. By using participant observations and interviews, I will discuss how South Asians engage in community art which enables them to find other realms of (self-)representation beyond those delivered by the state and its failed promise of institutionalised assimilatory multiculturalism. Despite the policy shortcomings, a “dual” Hongkonger identity was found in minority descendants, facilitated by participating in community art activities. This article contributes to the knowledge of cultural inclusion, to understand its empowerment and potential conflicts in community art participation, and to invite more academic discussions on multiculturalism in the context of Hong Kong.</p> <p>&nbsp;</p> Hong Yu Liu Copyright (c) 2021-06-07 2021-06-07 7 1-2 1 16 10.18192/clg-cgl.v7i1-2.4625 Perceptions of Hochelaga-Maisonneuve Neighborhood in Montreal: a Textual Analysis of Written Medias. <p>A number of authors have documented increased diversification and gentrification in a variety of central city neighborhoods. In Montreal, Hochelaga-Maisonneuve is among those with the highest rates of gentrification in the past few decades, creating new social dynamics and often generating socio-territorial conflicts.</p> <p>What is the significance of social changes for the population of Hochelaga-Maisonneuve? What role does recent immigration play in the mitigation or development of social conflict? In this paper we present the results of the analysis of 1 420 articles taken from the six principal daily newspapers published in Montreal.</p> <p>In our target neighborhood, it would appear that the higher socio-economic status of the newcomers is more disruptive than their ethnocultural background because it is associated with a change in the way people live, shop and interact in public space. The data also reveal disruptive effects on the availability of affordable housing, a feature that means increasing displacement of lower income populations.</p> Sylvie Paré Sandrine Mounier Copyright (c) 2021-06-07 2021-06-07 7 1-2 17 39 10.18192/clg-cgl.v7i1-2.4848 Lieux de mémoire et de pouvoir chez les Oman-Jagou en pays Idaatcha : Ègbakokou et Yaka, symboles de la dualité du pouvoir local. <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>In the heart of Dassa-Zoumè, the capital of the department "des Collines", in north central Benin, two places symbolize the ever-renewed vitality of the collective memory of a kingdom whose origins date back to the 16th century, Adjiba (2006). Indeed, Places of Memory are crucibles for anchoring memory, but of a generally collective memory. Their vitality is often the subject of periodic maintenance so that the memory which constitutes their vital essence does not fade. In Benin's urban or rural communities, the celebration of community memory through places dedicated to this effect is quite common. This article proposes however to present the very interesting cases of Ègbakokou and Yaka, two places which represented the dual roots of royal power in Idaatcha land. Their symbolism rhymes with memory and power. Rooted deeply in the structural organization of the kingdom of Igbo Idaatcha, these two places constitute among the Oman-Jagou, two other sides of the same reality: the expression and the manifestation of power. If the Jagou (king) reigns over Igbo Idaatcha and sits in Egbakokou, the Obaloké, the spiritual leader and the first religious authority of the kingdom sits in Yaka.</p> </div> </div> </div> Opêoluwa Blandine Agbaka Copyright (c) 2021-06-07 2021-06-07 7 1-2 40 54 10.18192/clg-cgl.v7i1-2.5921 Professional and personal strategies of documentary filmmakers in Brazil: the case of the State of Rio de Janeiro and Minas Gerais. <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Between 2012 and 2019, this qualitative sociological research was part of a documentary "boom" moment in Brazil, in terms of production and international recognition. Faced with a bottleneck in terms of their distribution, a growing number of festivals have opened up for documentaries, not counting the historical festival "É tudo Verdade" (São Paulo). This period also corresponds to a time when attempts at policies in favor of documentary films were made by the Federation and the Ministry of Culture (MinC) – public channel TV Brasil, TV Cultura, Doc.TV... These various advances have allowed the expression of a "black" cinema (Joel Zito Araujo), LGBT concerns (Karla Holanda), women’s rights (Helena Solberg and Susanna Lira) and the possibility for indigenous people to seize digital tools to reflect their own realities (Vincent Carelli, Video nas aldeias). Thus, while the Brazilian authorities were carrying out unfinished policies facing the weight of the private oligopolistic sector, it was interesting to analyze how documentary filmmakers developed their professional strategies. From this perspective, fourteen directors were the subject of semi-structured interviews in the state of Rio de Janeiro and three in Minas Gerais. In addition, producers and festival managers were also contacted. But the arrival of the Bolsonaro government caused a real rift. Against a backdrop of cultural war, fake news aimed at discrediting artistic circles, the takeover of the National Cinema Agency (ANCINE) and the abandonment of the São Paulo film library, cuts from major corporate sponsors, and beyond, Brazilian documentary filmmakers have found themselves strangers in their own country.</p> </div> </div> </div> Anne-Marie Autissier Copyright (c) 2021-06-07 2021-06-07 7 1-2 55 82 10.18192/clg-cgl.v7i1-2.5922 Cultural Diplomacy and Brancusi’s Reception in the Digital Age in Romania <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The internet and media resources have opened new opportunities for digital cultural diplomacy and management of culture. Theoretically an ideal choice for cultural diplomacy, Constantin Brancusi’s reputation as a representative for government agency has suffered a crisis of reception. A Romanian-born and French-adopted sculptor, Brancusi has become a symbol of folklore and mythology but also a great, internationally recognized sculptor. This has been due to the existence of preferred or fixed models of desigining projects instead of involving teams of different backgrounds and incorporating cultural concepts in the political discourse. Approaching the topic with concepts of cultural diplomacy, media anthropology, heritage and online discourse, this case study deals with media events of cultural diplomacy broadcasted online in present day Romania. It emphasizes the potential that lies in cultural management and the important role of team spirit in designing public cultural policies and implementing projects.</p> </div> </div> </div> Nicolae Stanciu Copyright (c) 2021-06-07 2021-06-07 7 1-2 83 93 10.18192/clg-cgl.v7i1-2.5923 La route comme mémoire et comme technologie : Essai sur la dimension philosophique des routes culturelles. <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>What is a road? Why is it omnipresent? Continuing this investigation into the philosophico- definitional problematic of the concept of the road, this paper first proposes a reflection on the Heideggerian phenomelogy of technology to develop a thought of the cultural route as technè and as a communication medium, therefore a cultural artefact. However, as an artefact, the road also presents itself as the medium through which all other cultural objects, including language itself, appear. It is the mode that all cultural artefacts use to reach the world. The paper will conclude with a conception of the road which identifies it with what Bernard Stiegler (1998) calls (after Gilles Simondon) “preindividual” as the foundation of a philosophical anthropology where the cultural route appears as a source of both politics and culture.</p> </div> </div> </div> Abakar Malloum Copyright (c) 2021-06-07 2021-06-07 7 1-2 94 108 10.18192/clg-cgl.v7i1-2.5924