Cultural management

Το βιβλίο εξετάζει, από θεωρητική και πρακτική άποψη, το αντικείμενο της Πολιτιστικής Διαχείρισης, την εμφάνιση και εξέλιξή της, καθώς και τις προοπτικές, τη δυναμική και τις εκπαιδευτικές απαιτήσεις, που προκύπτουν για τον συγκεκριμένο τομέα μέσα και από τις διαστάσεις που λαμβάνει σε ευρωπαϊκό, αλλά και διεθνές επίπεδο στο πλαίσιο της Διά βίου Μάθησης. Ο πολιτιστικός τομέας διαδραμάτισε και εξακολουθεί να διαδραματίζει, ιδιαίτερα στη σημερινή δύσκολη οικονομική συγκυρία, ένα σημαντικό ρόλο στην οικονομία της Ευρώπης δίνοντας το παρόν όλο και περισσότερο σε σχέδια συνεργασίας, που εμπλέκουν φορείς, άτομα και οργανισμούς, όχι μόνον σε εθνικό, αλλά κυρίως σε διακρατικό επίπεδο. Δυστυχώς τα προγράμματα εκπαίδευσης και κατάρτισης δεν ανταποκρίνονται με τους ίδιους ρυθμούς στην ενδυνάμωση των επαγγελματιών, που αναλαμβάνουν την υλοποίησή τους, με αποτέλεσμα να ελλοχεύει ο κίνδυνος να υπάρξει έλλειψη ικανών στελεχών, που να μπορούν να υλοποιήσουν αποτελεσματικά έργα με διακρατική ή/και διεθνή εμβέλεια. Το βιβλίο εκτός από τις έννοιες, που πραγματεύεται και που συνδέονται με την Πολιτιστική Διαχείριση και την πολιτιστική συνεργασία, έχει ως απώτερο στόχο να διατυπώσει μια διαδικασία πιστοποίησης, με ευρωπαϊκή διάσταση, που θα συνδέεται με προγράμματα κατάρτισης βασισμένων στις δεξιότητες,  για την αναγνώριση των επαγγελματικών προσόντων και την ανάπτυξη του ανθρώπινου κεφαλαίου, που συμμετέχει σε έργα διακρατικής πολιτιστικής συνεργασίας

This paper examines the use of online, three-dimensional, immersive virtual worlds, such as Second Life®, as an interesting platform and tool for cultural management, artistic development, knowledge exchange and cultural business. These contemporary computer technologies provide a new showcase for cultural promotion
and creative production, as they connect artists and producers with an audience around the world, who, in turn, can access in real time a great variety of cultural content through just a few clicks. The various features of this emerging phenomenon all help to democratize culture, the arts and education, as they bring creations closer to consumers, thus reducing the need for intermediaries and breaking down social, economic and political barriers; this offers benefits to cultural industries, non-profit organizations, governments, collective and individual creators and artists. However, the numerous possibilities ushered in over the last few years not only bring benefits but also pose new challenges in terms of regulation. Indeed, this new stage for cultural and artistic expression and management may require new paradigms of control with a different focus, ones which can provide an alternative understanding of online cultural exchange in real time. Virtual worlds make culture more democratic, as it can be reached for free by a wider range of people in real time; furthermore, artists and creators are provided with an accessible showcase in which they can become better known and where they can interact more directly, immediately and closely with their audience. The possibility and ease with which anyone can create original content in the metaverse is an incentive for creativity, because it allows people to express themselves in original ways that enhance the contents of virtual life. Art thus finds new and different formats, and cultural management
discovers new spaces to break into. At the same time, anonymity, privacy and intellectual property are all issues that need to be addressed. The regulation of virtual worlds may require different ways of thinking and the adoption of new paradigms which consider exchange, democratization, cooperation and sharing as essential
ingredients of these new sets; as such, any rules must control but not restrict, thus avoiding anarchy at the same time as keeping interaction levels high. In the European Year of Creativity and Innovation it is important to consider the opportunities being opened up by these new technologies in the world of culture and education, as well as the possibilities that are emerging and which remain to be researched.

Keywords: Virtual worlds, cultural management, virtual art, creativity, regulation, fair use

The research aims to reflect on the question of documentation of performing arts and provide elements to the constitution of a documental heritage in that field. That involves the discussion of concepts related to the nature of performing arts and the role of specialized documentation, taking into account the ephemeral and fugacious nature of staging and the absence of policies, programmes, methodologies and actions that could stimulate the production and preservation of documental records in the field. The role of documentation as an artistic and cultural asset is discussed, as well as the notion of cultural heritage since its origin till present time, when intangible and documental dimensions of culture start to be comprehended by the official heritage policies. Having as a goal the formulation of specific policies for the constitution of a documental heritage of performing arts, by means of the development of performing arts collections, a documental typology is presented at this point, elaborated upon the study and analysis of the most common research methodologies in performing arts, specifically of those that have as a focus the theatrical staging. This typology maps out, defines and discusses the various types of document that can be produced for and upon staging. Those documental sets are grouped according to the production phases of a performing show: process of creation, staging, repercussion, study and research, systematic records and executive production. In order to prove the validity and effectiveness of that typology, it has tested by collecting examples from some performing arts collections in Brazil and abroad. The typology, besides enabling the elaboration of diagnoses on the existing collections, has proved adequate to guide the formation and development of performing arts collections.

It should be obvious that culture matters to sustainable development. Yet almost 30 years after the Brundtland report ‘Our Common Future’ the incorporation of culture into sustainability debates seems to remain a great challenge, both scientifically and politically. There have been some recent attempts to bring culture into sustainability, by trans- and inter-national organisations and by cross/trans-disciplinary scientific endeavours, but they continue to swim against the prevailing current of conventional sustainability discourses rooted in environmental and economic perspectives. Culture, sustainability and sustainable development are complicated concepts that are not always easy for scientists, policy makers or practitioners to grasp or apply. In the course of our four-year (2011-15) COST Action, IS1007 Investigating Cultural Sustainability, we explored all three concepts and learnt to embrace their multiple meanings and connotations. In this final report from the Action we pres...

The focus of this exploratory research is how cultural networks are managed, what characterizes their management style - assumingly less hierarchical and more participatory, what values this style promotes and what is the motivation of managers to take part in it. As a case study, Cultural Innovators Network (CIN) is addressed, as an independent network existing since 2012 and operating in the Mediterranean region.

While researchers have noted that networks have become increasingly present in our societies thanks to process of globalization and technological developments, this work is focusing less on networks as social systems, rather as an organizational model. Furthermore, in literature concerning cultural networks, little has been said about why cultural managers decide to implement non-hierarchical types of management and foster various participatory approaches and values. Therefore, this research takes into account internal group dynamics - among the managers of CIN and between them and the network’s members, in understanding the underlying values, motivations, procedures, interactions, as well as mapping key challenges of running such a network. The idea is to ground management and participatory
ideals into a given context and understand better their implementation. In the case of CIN, it was also important to relate its foundation to a specific geopolitical context - the Arab Spring and cultural diplomacy activities of the Goethe-Institut in the Mediterranean region.

Among the main motivations for cultural managers to take part in the network’s operations were noted constructive and proactive approaches, professional growth, networking, and belief in a similar set of values such as cultural diversity, democracy, experiment and innovation. The use of non-hierarchical management and participatory approaches are seen as ways how to achieve these values and ideals. While the management in this setting becomes more decentralized and shared, focusing on tasks rather than hierarchies, wider participation of network members requires clear ground rules, self-motivation, and often more time for decision-making. Lastly, key challenges and observations are provided in order to offer a constructive feedback and discuss more efficient way of managing a cultural network in a more participatory manner.

invites you to submit abstracts for an online colloquium on 'South African Music Abroad Since 1994: Meanings in Cultural Diplomacy, Exchange and Collaboration'. The colloquium will be hosted virtually (online) on 8-9 July 2022. The colloquium aims to document, discuss, and locate the cultural, diplomatic, economic, capacity building, skills development, and other political or public policy-related dimensions of the presence(s) of South African music, whether temporary or prolonged, in different countries from 1994.

Contemporary systems of cultural institutions, its programmes and policies of operation are under the great pressure from new public policies and economic demands of its boards which are limiting institutions' already questionable autonomy 1. Due to austerities in public budgeting and influences of globalization, cultural institutions are becoming mutually competitive, closely looking at each other's (market) achievements and development trends instead of developing according to their values and specific needs of their communities and environments. Quantitative criteria became the key "benchmark" of development thus making cultural institutions' projects bigger and bigger (spectacular) and often populistic. Projects have to become competitive on the global market, attracting the audience and tourists from different countries that could make each programme profitable or at least (financially) sustainable. At the same time, at the end of 20 th century, cultural institutions have contributed a lot to the changes in the cultural sector by engaging new generation of artists and mediators (connectors) aware of socio-political and cultural contexts through integrating critical issues in their programming. For the first time in their history cultural institutions started to be inclusive, still keeping their main programming process based on excellence and quality while introducing certain openness in making programmes widely accessible, even sometimes opening to participation processes that would address those from de-privileged social background or migrant communities. However, the new millennium has brought different challenges as cultural policies turned more to sustainable cultural development, markets and sustainability of art institutions (Dessein et. al., 2015) thus asking cultural operators and artists to behave accordingly using managerial and marketing techniques in governance and audience development. These demands have made it necessary for the cultural system to introduce an entrepreneurial approach in those organizations that are still keeping their nineteen-century structures (museums, libraries, national theatres) and which has resulted in them adopting a more "intrapreneurship2" mode of operation. This new approach demanded refocusing of the institutional arts management that was standardized since the beginning of New Public Management3 toward entrepreneurialism that, besides creativity and openness to innovation, demands transversal skills (skills related to communication, persuasion, fundraising, team work, etc.) from a majority of employees, especially those having important leading positions in programme design (content and methods of implementation).

En los últimos quince años se ha estado dando un proceso de formalización de la gestión cultural como profesión y como campo disciplinar, a través de acciones de profesionalización que han realizado tanto el Estado Mexicano como las Universidades. Se registra un crecimiento exponencial de las ofertas de formación universitaria y el surgimiento de grupos de investigación, que desde diversos canales de so-cialización, contribuyen a la definición conceptual, metodológica y epistemológica de la Gestión Cultural.

In the last fifteen years it has been undergoing a process of formalization of Cultural Management as a profession and as a disciplinary field through professional practices that they have been made by the Mexican government and universities. It is observed an exponential growth offers university education and the emergence of research groups, which since various channels of socialization, contribute to the conceptual , methodological and epistemological definition of Cultural Management.

The thesis presents an interdisciplinary research on the corporate instrumentalization of art, as well as on the formation of art historical narratives regarding art in corporate context. The first chapter gives an overview of the history and the discourse around art related corporate activities and corporate art throughout the 20th Century. The next chapters offer close readings of three seminal works of corporate commissioned art and their discursive canonization through the medium of text. These are: Museum for the Workplace: Portrait of a Working Community (1995) by Clegg & Guttmann for the DG BANK headquarters in Frankfurt; A Project in Two Phases (1994-1995) by Andrea Fraser for the Viennese art exhibition space of insurance company EA-Generali; and an untitled installation (2004) by Maurizio Cattelan for the temporary appropriation of a Milanese city square by luxury brand Trussardi. Through their variation in kind (office floor, gallery setting, public space), country (Germany, Austria, Italy), genre (participatory art, institutional critique, public installation art), and institutional agenda (presentation as democratic, presentation as self-critical, promotion through stealth marketing), they allow for the critical discussion of a broad spectrum of issues around art related corporate activities and corporate art. A close and critical reading of both primary and secondary sources, the comparison of insights won from a thorough analysis of the respective corporate processes with the critical close reading of the texts produced to promote and disseminate the works, uncovers the blind spots and hidden agendas which inform art historical canonization of corporate (commissioned) art.

complete thesis http://dare.ubvu.vu.nl/handle/1871/55979

I have the impression that many of the elements that are supposed to provide access to music actually impoverish our relationship with it.Michel Foucault, “Contemporary Music and the Public”As a theory discourse, audience development offers suggestions about changes to arts organizations, such as the orchestra concert. At the same time, these proposals are rather ambiguous about the underlying aesthetical ideals.

Report on theatre - Changes in Theatre Organization from 1989 to 2009
The culture-generating role of theatres and the development of commercial and independent theatres which offer its audiences more and more interesting and diversified products, make it necessary for us to develop a new cultural policy in this field. One of its elements should be clear-cut criteria for the distribution of funds for that purpose, having regard to the diversity of entities operating within this field. The report on organizational changes in the functioning of theatres in Poland after 1989, ways to finance them, and the infrastructural base and the status on non-public theatres has been presented by Paweł Płoski from the Art Institute, Polish Academy of Science.

In occasione delle giornate in onore di Giovannangelo Camporeale (Massa Marittima, 23-24 settembre 2017), si è svolta una giornata di studi su Costruire il passato in Etruria. Il senso dell'archeologia nella società contemporanea, sui temi dell'archeologia pubblica.

In Val di Cornia, una ricerca archeologica che si interroga sulla sua utilità come scienza compiutamente sociale e che trova nella salda concatenazione tra scavo, valorizzazione e fruizione pubblica è alla base del progetto dei Parchi della Val di Cornia, nato negli anni '90.

Dal 1993 a oggi la Società Parchi, nata per creare e gestire i parchi, ha attratto notevoli investimenti che hanno ridisegnato in chiave culturale e turistica un territorio connotato economicamente e socialmente dalla monocultura industriale.

Lo testimoniano i dati del bilancio sociale che certifica che per 1 euro investito dalle amministrazioni nella società Parchi la ricchezza che essa produce sul territorio è pari a 10 euro.

Oggi la progettualità di parchi e musei è tesa al superamento delle barriere fisiche e culturali che separano i parchi e i musei dal proprio pubblico e alla definizione di nuove strategie per il coinvolgimento e la partecipazione.

Vanno in questa direzione il progetto sulla tomba dei Carri, per un contesto di fruizione emotivo grazie alla musica e alla lettura che ne amplia la portata informativa, le visite serali animate, per una fruizione empatica, allargata ed emozionale,  e gli open day gratuiti ai cantieri di valorizzazione in corso, tali da trasformare il parco da luogo dei divieti a luogo delle opportunità e della partecipazione.

Această carte propune o perspectivă analitică, exhaustivă asupra managementului infrastructurilor destinate teatrului – indiferent dacă este vorba de teatre obișnuite, teatre mari, săli de concerte, spații alternative sau alte tipuri de spații de joc destinate spectacolelor. În ea sunt combinate contribuții din economia culturii, a științelor politice și ale planificării strategice, propunând, dintr-o perspectivă critică, un model de management ușor de adaptat la diferite realități. Lucrarea încorporează, de asemenea, experiența mai multor tipologii de teatre și a unui număr mare de prevederi legale, încercând să acopere o mare diversitate de aspecte.

This article is an adapted version of a text originally published in Turkish in the historical materialist journal PRAKSIS in 2016, and translated into English by the author. It focuses on performative protest acts and the role of the performing artist in Turkey in the context of the Gezi Park uprisings of 2013. The article examines how some of Gezi's performative protest actions evidence a larger cultural transformation, of which we can see a continuation in new theatre playtexts.

The aim of this text is to present −what is rarely found in Spanish− a
theoretical and bibliographic summary of the origin of the “arm’s length” principle, on which the mainly Anglo-Saxon tradition of arts councils is based. This with the aim of being useful for analysing cases of implementing this type of institutions in other contexts

The paper reflects on the general change in the attitude of cultural organisations and of cultural policy
makers towards stimulating entrepreneurs to initiate a lasting change via innovation partnerships. The
author’s empirical study suggests that there is a shift in the mode of organising cultural resources. The main
types of innovation relevant to the context of cultural operators (direct, indirect and open) are analysed. They
foster a new approach to formulating strategic goals and measuring the impact of cultural activities on local
and regional level. The new skill required from the cultural entrepreneur is the management of innovation
impact – direct benefits as well as externalities1. As globalisation is drawing regions with diverse industrial
history and cultural traditions towards competing and complementing each other on one market, there are
similarities in the shaping of cultural re-production that implicate the artists, the entrepreneur, the local
authorities and public involvement.

Kako je jedna stručna knjiga beogradskih autora šetala sve-tom i šta je svet iz nje saznao. Voleli bismo i trudimo se da postanemo deo Evrope, da nas svet uvažava, voleli bismo da i oni nešto nauče od nas, da u nama ne vide narod koji ratuje već narod čiji kvalitet, znanje i veština utiču na opšti razvoj. Evropa i svet, naravno, nemaju ništa protiv toga, ali ili retko kad hoće da obrate pažnju na naše proizvode, ili ih retko kad nešto made in Serbia zainte-resuje. Ovo je priča o jednoj od takvih retkosti. Radi se o knjizi "Kultura, menadžment, animacija, marke-ting" Milene Dragićević-Sešić i Branimira Stojkovića. (Čude-nje tipa ,,zar ima nešto što oni još ne znaju o menadžmentu" opravdano je i očekivano.) Nakon što se 1994. godine pojavila u Beogradu u izdavačkoj kući "Clio", objavljena je i na još četiri jezika. Iz nje uče ministri kulture i stručnjaci sličnog ranga u mnogim zemljama sveta i, naravno, studenti-što je rečit po-datak o kvalitetu i značaju knjige, kao i argument protiv našeg kompleksa niže vrednosti od sveta.

The world is globalizing, which makes it more and more important for international companies to look for ways to increase their cultural awareness, making it easier to work both with and in different cultures. Different models in the forms of dimensions have been created by Hofstede and the GLOBE project to find greater understanding. However the question is whether the dimensions are relevant to international business issues and if so, how they can be used in order for international companies to become more succesful in dealing with different cultures or cultural settings (e.g. Setting up new business abroad). In the future this topic will become very important for the business world as borders are fading because of globalization. That is why this paper has an interesting perspective on the matter.

Viel wurde bereits über das Dekolonisieren der Museen, das Dekolonisieren der Universitäten, das Dekolonisieren des Kuratierens gesagt. Wenig jedoch wird von der Notwendigkeit gesprochen, neben all der Theorie auch das Kulturmanagement zu dekolonisieren. Nie war es notwendiger, neu über die Paradigmen dessen nachzudenken, was Institutionen unter Kultur verstehen und wie sie dies der Öffentlichkeit vermitteln.

N el 1998 il legislatore ha avviato in Biennale una fase di rin-novamento alla cui guida si sono alternati tre presidenti. Confrontandone strategia e operato, nonché le relazioni che hanno instaurato con l'ambiente di riferimento, si intende verificare il grado di successo del cambiamento nonché il diverso ruolo gioca-to dal presidente, dalla strategia adottata, dalle pressioni politiche, legislative e del mondo culturale. In altri termini, si vuole valutare se il cambiamento previsto dal legislatore sia stato effettivamente realizzato e in quale misura, oppure se, al contrario, si registri la mera adesione formale ai nuovi valori aziendali. L'analisi ha evidenziato come ciascuno dei tre presidenti abbia adottato soluzioni di governance e a livello organizzativo molto dif-ferenti. Le differenze strutturali non sono imposte solo da pressio-ni istituzionali, ma anche da un diverso approccio culturale e stra-tegico ai problemi dell'istituto, che trova nel background dei tre soggetti parte della spiegazione.

diagnóstico y caracterización de la formación
en emprendimiento cultural que actualmente se implementa en algunas regiones del
país. Este diagnóstico proporciona lineamientos básicos sobre los procesos formativos
en emprendimiento cultural desarrollados en cuatro (4) ciudades del país. El presente
informe muestra los resultados de esta investigación.

(Documento técnico para el programa de alta dirección en gestión cultural de Goberna América Latina).
¿Política vs. Cultura? ¿Propaganda, subsidiaridad o intervencionismo? ¿Público o privado? ¿Derecha e izquierda? ¿Cuándo y cómo surgen los políticas culturales? ¿Son deseables? ¿Es coherente hablar de política cultural fuera de un marco democrático? ¿Cuáles son los distintos modelos de política cultural existentes? ¿Qué  peso tiene la cultura en la agenda de los gobiernos? La respuesta a estas preguntas se enfoca desde la idea de que la cultura es siempre histórica y de que la producción simbólica puede servir tanto para cohesionar y para discriminar como para generar distintas cosmovisiones de individuos y grupos en los conflictos de intereses, económicos y políticos existentes en la sociedad. Lo cual exige contextualizar el concepto de cultura y analizar su evolución, así como identificar un ámbito específico de acción política en el campo cultural en el que se definen estrategias, objetivos y programas para cuya realización se asignan recursos económicos, técnicos y humanos.

In this study, we present Practices and Communication Strategies of European Photo Festivals. The aim is to understand the communication policy, which should be followed to achieve the objectives of a well-structured cultural event. Through the detailed presentation of the practice which followed from five photographic festivals in Europe for their communication, we try to realize the most proper communication practices should follow homologous events. The selection criteria for those festivals is that they are organized in cities with a population less than 120,000 with great success.

The experiment was conducted with the existing bearing trees of different jackfruit genotypes at Jamalpur region during the year 2014–2015. Twenty-three jackfruit germplasm viz., AHJ-01, AHJ-02, AHJ-03, AHJ-04, AHJ-05, AHJ-06, AHJ-07, AHJ-08, AHJ-09, AHJ-10, AHJ-11, AHJ-12, AHJ-13, AHJ-14, AHJ-15, AHJ-16, AHJ-17, AHJ-18, AHJ-19, AHJ-20, AHJ-21, AHJ-22 and AHJ-23 were selected for the study to identify superior ones. The recorded age of the selected tress ranged from 8 to 29 years. The selected superior genotypes differ widely among themselves. Great variability exists with regards to many desirable characters viz., bearing (once or twice a year), yield per tree (02–60 fruits per year), average fruit weight (2.57–11.00 kg), number of bulbs/flakes per fruit (41.00–181.00), number of seeds per fruit (39.00–180.00), total weight of bulbs (0.90–6.381 kg) and flake’s TSS (13–23%). Jackfruit trees are cross pollinated and are mostly seed propagated. As a result, morphological and agronomical characters of jackfruit showed a distinct range of variation. The quantitative data of jackfruit germplasm and their range, mean, standard deviation (SD), standard error (SE) and coefficient of variance (CV%) are presented. The highest quantitative variation was observed for total number of fruits per plant (CV 80.98%) which was followed by total bulbs weight (CV 56.02%) and weight of rachis (CV 49.64%). Minimum variation was noticed in seed breadth (CV 8.13%). A total of six qualitative characters were recorded and evaluated to the variability among the studied jackfruit germplasm. Wide range of variability regarding qualitative characters was observed among twenty-three jackfruit germplasm. Fruit skin colour, fruit shape, bulb colour, bulb firmness, sweetness & taste and seed colour of jackfruit germplasm were investigated. The maximum variation was observed in fruit skin colour and bulb firmness of jackfruit germplasm. Among the twenty-three jackfruit germplasms, one germplasm AHJ-02 showed early bearing habit (Off-season). So, the quantitative characters viz., age of plant 25 years, total number of fruits per plant 32 nos., weight of individual fruit 7.57 kg, date of harvest 05.03.2016, stalk attachment depressed, fruit length 33 cm, fruit breadth 22 cm, weight of rind 2.90 kg, weight of rachis 733 g, rind thickness 1.03 cm, total number of bulbs per fruit 288 nos., bulb length 4.29 cm, bulb breadth 1.93cm, 10-bulb weight 122.92 g, total bulb weight 3.54 kg, total number of seeds per fruit 284, seed length 2.56 cm, seed breadth 1.27 cm, 10-seed weight 34.01 g, total seed weight 966 g, edible portion 52% and TSS 23% were recorded. Qualitative characters viz. fruit colour-greenish yellow, fruit shape-oval, bulb colour-yellow, bulb firmness-medium soft, taste-sweet and seed colour-brownish patch in colour were recorded. Considering fruit characteristics i.e., taste, sweetness, hardness of bulb, bulb color, fruit size, %TSS, %edible portion and yield, the germplasm AHJ-02, AHJ-03, AHJ-04, AHJ-05, AHJ-06, AHJ-07, AHJ-09, AHJ-11, AHJ-14, AHJ-16, AHJ-18, AHJ-19, AHJ-21 and AHJ-23 were found to be suitable for jackfruit cultivation at Jamalpur region, Bangladesh. The present finding shows the great genetic potential of the studied germplasm. It can be used in future breeding programmes for getting productive and quality traits. Moreover, the variability observed in the current study could be used in jackfruit improvement programme. Finally, the plant breeders and horticulturists can choose germplasm according to their needs. Therefore, these jackfruit germplasms can be included in the variety development programme in future.

This study uses a structured literature review method to examine the concept of ‘canteen culture’ which has been identified as a feature of police forces around the world. Theories from the fields of sociology, organisation/management studies and gender/diversity studies are used to define the origins and nature of police canteen culture and gain an understanding of why it arises, how it influences the effectiveness of police forces, and which factors might be relevant in promoting or suppressing it.
The historical origins of police culture and authority are examined and a number of key policy changes affecting the police over the last century are traced, with particular reference to evolving views about the direction in which policing culture should be heading.
Chapter five examines a range of empirical studies on police culture under the thematic headings of a) use of force; b) stress and coping mechanisms, c) diversity and resistance to diversity and d) peer group networks. This empirical review shows that police canteen culture in the UK and in other contemporary police forces is an enduring phenomenon which is fuelled by the nature of the job itself and the underlying values and beliefs which motivate people to take up a career in the first place. These underlying values and beliefs are modified through the experiences that younger officers have in their first operational shifts, highlighting a built-in dynamic of limited resistance to senior management and visible loyalty to fellow members of the immediate working unit.
Referring back to the theoretical part of this study, it is found that these behaviours are amply explained by organisational and leadership theories about culture and change management. There is a particularly acute problem in contemporary police culture, however, due to the proliferation of major policy changes in recent years, and the addition of multiple layers of governance including now an elected Commissioner role which brings added political pressure to bear on an organisation which is under-resourced in terms of its remit to combat crime on a fair and equal basis.  Moreover the empirical studies appear to show that many attempts to combat the negative aspects of police canteen culture may in fact reinforce it by increasing the pressure on serving police officers to relinquish features which many of them regard as non-negotiable of elements of both individual and corporate police identity.
This dissertation concludes that police canteen culture is gradually being changed over time, but that because of the fragmented and often contradictory nature of policy development, this change will contain good and bad elements and it will include planned changes as well as some unplanned changes for the better and for the worse. If any recommendations can be made in this area, they should be in the direction of encouraging individual value formation, questioning and openness in daily interactions between all grades of staff. Canteen culture is here to stay and the best that can be achieved is greater diversity within this canteen, and greater consistency in the messages that are being heaped upon rank and file officers from above.