Talking about culture in social work encounters: immigrant families and child welfare in Finland

This article aims at analysing the ways in which people talk about ‘culture’ in social work encounters involving child welfare in immigrant families. The empirical material includes conversations between immigrant clients, their social workers and co-operating professionals at six Finnish social service offices, as well as interviews with the persons participating in these meetings. The theoretical and methodological frames of reference are social constructionism and discourse analysis. The study suggests three ways in which the concept of ‘culture’ is used by social workers and their clients: firstly, as a means of explaining ‘the ordinary and normal ways’ of raising children; secondly, as ‘a difficulty’ in the interaction between social workers and clients; and thirdly, as ‘a methodical tool’ in creating dialogue with clients. As far as the practical implications for social work are concerned, it is emphasized that in order to avoid ethnocentric practice or ‘culturalization’ of problems, it is important for social workers to be conscious of the various meanings of ‘culture’ both in their own practice and in the ways their clients employ cultural symbolism.     

SCALING GOVERNMENTALITY

This article explores contemporary uses of museum co-production for public policy through a sustained theoretical engagement with Tony Bennett's work on museums as an ‘object of government’. The specific focus is a theoretical discussion of the ‘logic of culture’ as it relates to new UK policy uses of participants' ‘experience’ as the desired site of authenticity at the very same time as the process of expressing this authenticity is located as a site for reform. It is argued that Bennett mobilizes two techniques of scale (fixing the analytic lens of governmentality and drawing on a strong scalar correspondence of power) in order to secure a relatively disciplinary reading of governmentality and to foreclose the resistant possibilities of cultural politics. Drawing on the differences between practices associated in UK museums with ‘access’ (which works through the dis-intensification of the difference between the museum and everyday life) and with ‘social impact’ (which requires a re-intensification of this difference in order to increase the visibility of effect), this article concludes by countering Bennett's more disciplinary uses of Foucault with the Foucault of ‘The Subject and Power’. It is argued that the ‘logic of culture’ can be calibrated to varying intensities in considering the coming-into-relationship between the museums and those-to-be-involved. It is specifically argued – following Foucault's spatializaton of ‘thought’ as distance (limit-attitude) and ‘counter-conduct’ as proximity – that the ‘logic of culture’ might be actively re-calibrated to use the spatialized dynamic of distance and proximity to create spaces which might allow the museum and its associated policy – not just those involved – to be affected by the co-production encounter.     

‘Aboriginal mass culture’: a critical history

In Australia, some Aboriginal art objects are celebrated as fine art of great cultural, aesthetic and economic value, while the vast majority are judged to be stylistically derivative and intrinsically compromised by overtly mercenary market forces. This article introduces the concept ‘Aboriginal mass culture’ as a means for understanding the significance of the often maligned forms of the Aboriginal art and culture industry in Australia and to address the problem of why it continues to be difficult to demarcate the space of Aboriginal fine art. While a canonical and connoisseurial art history approach must disavow the vast majority of ‘Aboriginal art’, this article embraces a sociological perspective and turns an analytical eye upon the Aboriginal art and culture industry in its entirety, treating it as a phenomenon of visual culture that mediates Indigenous/non-indigenous relations within national public culture. It offers a critical history of ‘Aboriginal mass culture’ from the market for ‘Aboriginalia’ in the post-Second World War era through to the unruly Aboriginal art market of the present day. In so doing, it illuminates some of the drivers of these cultural forms across commercial, governmental and civil society domains. Its analysis reveals the way in which ‘Aboriginal mass culture’ manifests the unique social and economic circumstances that underpin Aboriginal art practices and the ways in which Aboriginal art is entangled with a redemptive political and civic project in Australia that has sought to affirm a resilient Indigenous presence and stimulate new visions of nationhood, heritage and intercultural fellowship.     

A culture of whiteness: How integration failed in cities,suburbs, and small towns

As America's neighborhoods have become more racially diverse in the last half century, are these shared spaces fulfilling the “promise of integration”? In this study, I review the literature on desegregation as it occurs in urban, suburban, and rural places, illuminating how a culture of whiteness works in each of these types of places to reproduce racial domination. The literature on multiethnic urban areas demonstrates how a culture of whiteness reframes gentrification as ‘revitalization’ and nostalgia, which result in social control and cultural displacement of non-white residents. In suburban places, I draw out the ways a culture of whiteness is expressed as ‘niceness’ and ‘governmentality’, resulting in symbolic exclusion and forced assimilation of people of color. Finally, in rural places, a culture of whiteness uses narratives of ‘pollution’ and ‘parasitism’ to understand often low-income migrants of color, which renders them invisible and reproduces their structural disadvantage in the community. Revealing the subtle and obscure mechanisms through which a culture of whiteness reproduces racial domination in diverse places ultimately provides the key to their undoing and opens the door to the promise of integration.     

A discourse of civilization/culture and nation/ethnicity from the perspective of inner Mongolia,China

After tracking the Chinese historical trajectory on the discursive relationship between Chinese civilization and the northern nomadic group, this paper examines the official discursive construction of the ‘civilization’ and ‘culture’ of ethnic minorities in contemporary China. Through the analysis of the Grassland Culture Research Project (caoyuanwenhua yanjiu xiangmu), an official project conducted in China in recent decades in response to the emergence of nomadic civilization studies as a distinct academic field, this article aims to show the way in which the concepts of civilization and culture are utilized in order to correspond to the official discourse of nation state and ethnicity in China, and the process by which Mongolian culture is thereby transformed. Civilization as a larger body supposed to include cultures was/is entitled to Chinese nation (zhonghua minzu), and a culture (wenhua) of a certain ethnic minority could only be a part of the Chinese civilization in Chinese academia today. ‘Grassland culture ’ is defined as a culture that is static, ahistorical, and therefore has to be reframed within the larger system of Chinese civilization. The concept of ‘grassland culture’ seems to be based more on the particular territory, rather than on the types of culture that have created and are owned by different ethnic groups. Therefore, it might be concluded that the project emphasized the geo-body of the Chinese nation state in order to retain the culture within the territory of China.     

Reframing Tri Hita Karana: From ‘Balinese Culture’ to Politics

This article takes issue with the uncritical way in which claims of ‘culture’, ‘tradition’ or ‘local knowledge’ are used in science and policymaking around the Balinese irrigators' association (subak). The growing problems of Balinese irrigated agriculture are increasingly framed in ‘cultural’ ways that are not neutral: such accounts of irrigated agriculture in relation to Balinese culture deeply influence the world of policymaking. In this article we discuss the emergence of Tri Hita Karana (THK; ‘the three causes of well-being’) as an ideology, scientific concept and policy concept in irrigated agriculture and the subak domain. We argue that this ideological concept is not simply ‘local wisdom’, ‘tradition’ or ‘culture’ but requires critical scientific scrutiny as part of wider processes of socio-political change. How is it mobilised? What does its growing popularity mean for our knowledge of Balinese irrigated agriculture, of policy processes directed at the subak and of the workings of policies in real-life contexts?     

For whom the bell tolls: An ethnography of a night nurse sub-culture

This paper explores a night nursing sub-culture which is struggling to survive. The context is the NHS in the UK. Temporal separation and hostility towards the culture emanating from environmental actors helped mould a distinct subcultural group which recognise their difference and revel in their espoused camaraderie and ‘splendid isolation’. They carry the yoke of the ‘unloved’ while enjoying a ‘special relationship’ with patients and shouldering considerable responsibility for those in their care. The culture may be likened to other marginalised and powerless workplace or societal groups. Labelled by their ‘professional' colleagues as ‘babysitters’ and marginalised, they face extinction. This paper, based on ethnographic methods, explicates and describes that culture and explores issues of gender and of choice in the workplace. It focuses on professional sub-cultures, particularly in healthcare, by examining the centripetal forces which keep cultures together and the differentiating factors which separate them from others.     

On the relation between ‘visual research methods’ and contemporary visual culture

One of the most striking developments across the social sciences in the past decade has been the growth of research methods using visual materials. It is often suggested that this growth is somehow related to the increasing importance of visual images in contemporary social and cultural practice. However, the form of the relationship between ‘visual research methods’ and ‘contemporary visual culture’ has not yet been interrogated. This paper conducts such an interrogation, exploring the relation between ‘visual research methods’ – as they are constituted in quite particular ways by a growing number of handbooks, reviews, conference and journals – and contemporary visual culture – as characterized by discussions of ‘convergence culture’. The paper adopts a performative approach to ‘visual research methods’. It suggests that when they are used, ‘visual research methods’ create neither a ‘social’ articulated through culturally mediated images, nor a ‘research participant’ competency in using such images. Instead, the paper argues that the intersection of visual culture and ‘visual research methods’ should be located in their shared way of using images, since in both, images tend to be deployed much more as communicational tools than as representational texts. The paper concludes by placing this argument in the context of recent discussions about the production of sociological knowledge in the wider social field.     

@GaddafisGhost: on the popular memoro-politics of a dead dictator

Qaddafi was widely lampooned in American popular culture before his death. This paper addresses this, together with representations after his death on Twitter and other social media sites, to explore the figure of the ‘dead dictator.’ It argues that the display of the gruesome body of a ‘dead dictator’ is enabled by the material and discursive construction of ‘dictators’ in contemporary narratives, which posit them as easily deposed with Western assistance and internal protests, thereby legitimating the triumph of democracy. It explores these constructions via a comprehensive analysis of Twitter accounts satirizing Qaddafi, which invoke a particular audience that ‘gets the joke.’ In this instance, jokes about Qaddafi’s death circulated in popular culture media enabled the display of his dead body, together constructing the figure of the dead dictator for a Western audience marked by being part of the in-group who were preconditioned to assume dictatorship as a form of political deviance. The paper seeks to contribute to literature on visual culture and visual politics by exploring the popular construction of memorial narratives, and to contribute a theorization that blends materiality and visuality by looking at the dead body and the way it is visually reproduced.     

Girls being Rey: ethical cultural consumption,families and popular feminism

ABSTRACT

This paper argues that consumers of popular culture engage in practices of ‘ethical cultural consumption’, whereby the consumption of cultural texts is imagined as having the potential to ‘do good’ both individually and socio-politically. The paper explores data from an online questionnaire and drawing activity with girls aged 5–10 and their parents on the experience of costume playing as Rey from the contemporary Star Wars trilogy. Imagined as a ‘girl who can do anything’, Rey represents a new kind of popular feminist hero and role model for girls, enabling a degree of critique of normative gendered role models for children. ‘Being Rey’ also represents a deterministic project through which parents aim to cultivate the ‘right’ kind of girls, seeking to instil the resilience to ‘cope’ with unknown futures. More than a purely individual project, we argue that parents invest in an individualized idea of doing ‘good’ through consumption, drawing on a notion of the consumer as a political actor with the power to affect social change. Investigating the project of participating in and consuming culture ‘ethically’ allows for an exploration of what it means to ‘be political’ and ‘do good’ as a consumer in neoliberalism.     

Gender differences and anti-school boys

This paper explores and contrasts the gender value systems of two groups of anti-school boys. It suggests that cultural differences in specifically gender values can lead to (i) polarisation between anti-school boys and (ii) confrontation with school authorities in ways not explained by the traditional theory of culture clash between the working class pupil and the middle class school. It is also noted that the label ‘counter-school’used by Willis to convey the culture of some working class boys (‘the lads’) may need to be refined if the culture is reassessed in a way which acknowledges the commonality between the gender value systems of ‘the lads’and those of the school. In fact, the research reported in this paper found that another group of anti-school boys (not working class) was much more counter the gender value system of the school than ‘the lads’and did not uphold traditional masculine values.     

From ‘Asylum-Seeker’ to ‘British Artist’: How Refugee Artists are Redefining British Art

This essay takes a case-study approach to examine how culture may be transferred from immigrant cultures to a so-called host culture. Considering the work of three visual artists who came to the UK as refugees but who are now considered ‘British artists’, it examines the effect this curatorial definition may have on gallery viewers. The author proposes that looking at work that previously might have been viewed as ‘exotic’ or ‘foreign’ but that is now classed as British forces viewers to reassess and renegotiate their understanding of the nature of ‘Britishness’ and indeed of place-Britain. Drawing on the ideas of Edouard Glissant and also of contemporary geographers about the nature of place, the study proposes that place-Britain, like all places, is in a constant and never ending state of production. The work of artists from refugee populations, shown now as ‘British art’, becomes a dynamic part of this process and a means by which new elements are transferred and added to an ever-changing British cultural fabric     

Rowing ‘at home’ and ‘away’: sport,heritage and identity in the Malay world

This paper is grounded in a comparison of the cultural identifications that accompany Sambas Malays’ participation in rowing competitions ‘at home’ and ‘away’. Sambas Malays are Indonesian citizens from the regency of Sambas, who ethnically identify as Malay. There, rowing competitions provide the sociocultural infrastructure for developing local and translocal cultural identifications. Two related, yet distinguishable, cultural identifications are evident, each associated with a specific rowing infrastructure. When contests occur ‘at home’, rowing is steeped in local Sambas Malay culture and heritage. However, contests ‘away’, in areas loosely identified as ‘Malay’, generate identifications with a regionally based Malay culture and consociality. Utilizing a non-positivistic conceptualization of ‘border’, this paper considers the intersection of culture, politics, economy, geography and mobility in everyday bordering practices producing two overlapping cultural identifications.     

Good Governance as Managerialism: Rationalisation and International Donors in Vietnam's Rural Water Supply and Sanitation Sector

Donors’ appreciation of their relationship with Vietnam as a ‘mature development partnership’ requires explanation. Drawing on Rural Water Supply and Sanitation policy, the article argues that the success of donor collaboration with Vietnam is based on Vietnamese political culture coincidentally aligning with a managerialist ‘world culture’, presently extant in the form of neoliberal ‘good governance’ development orthodoxy. The article shows that Vietnam ‘delivers’ rationalised development policy to international donors through its system of state administration and planning, the implementation of target‐oriented planning and the role of statistics in the policy process. The strength of the ‘darling’ partnership is explained in relation to this cultural dimension of legitimacy creation through the performance of rational development planning and administration.     

Eloquent Silence: Akhmatova,Mandel’shtam,Early Cinema,and Modernism

Abstract

Given the conservative nature of the Acmeism movement, which placed emphasis on ‘high’ cultural production, it might be expected that a mechanical medium such as cinema would engender a hostile reaction. Through readings of selected early lyrics it is demonstrated that, despite a measure of suspicion towards cinema as a manifestation of mass culture, both Mandel’shtam and Akhmatova engaged creatively with film from the outset. Readings of later poems which invoke popular mass icon Charlie Chaplin show that ‘low’ and ‘high’ culture are now drawn into much closer proximity. Overall, the lyrics discussed serve to illuminate some of the complexities and tensions inherent to the interaction between modernist literature and the cinema, as well as providing examples of their convergence.     

‘This is Our City’: branding football and local embeddedness

In 2005, with a view to cultivating the loyalties of local supporters rather than attracting new support, Manchester City Football Club launched its Our City branding campaign. The campaign suggests that ‘real’ Mancunians support City and not local rivals like Manchester United, which it implicitly conceives of as a global, non‐local, corporate entity. By building on established fan culture and the myths surrounding the local and the global, City is portrayed as ‘authentic’, ‘cool’ and rooted in a traditional ‘working‐class community’. Contending that football is a revealing field in which to explore contemporary formations of identity, in this article we critically explore the relationship between branding, place and identity. We describe the campaign, explore the myths with which the Our City campaign is aligned and discuss the embedded contexts that constrain the global branding of football.     

In search of disability: a critical discourse analysis of a Key Stage 1 guided reading scheme

This paper employs critical discourse analysis to examine the representation of disability in the children’s Oxford Reading Tree Series Read with Biff, Chip and Kipper. The representation is found to influence self-identity and social attitudes towards disability, for it grants ‘normalcy’ a status of idolatry. Such elevation of normalcy elicits ‘normate’ culture, which, in turn, can generate ‘aesthetic nervousness’. This hegemonic tradition therefore produces a replicative process that is consequential to the production of future texts, social justice and an inclusive society.     

‘In the Company of Men’: A Reflexive Tale of Cultural Organizing in a Small Organization

A tale of fieldwork in a small organization is discussed in this article with a view to highlighting how social processes, cultural understandings and expressions of gender are produced during fieldwork interaction. The tale is told reflexively and retrospectively, recording an ongoing conversation about fieldwork experience. Central to the tale is discussion of how the researcher is drawn into ‘culture–making’ within the organization and the ways in which fieldwork interaction creates a ‘space’ through which organizational members engage with, work through and realize work–place values. In this article there are multiple levels of reflection. At one level it is examined how the organizational–researcher role of ‘emotional nurturer’ was constructed during fieldwork. At the same time some cultural insights drawn from ethnographic inquiry and intensive interviewing within the small organization are presented. The analysis is also shaped by a further layer of post–fieldwork reflection and interpretation which draws in emotional issues and expressions of gender. It is argued that a close scrutiny of fieldwork roles is important to organizational research in that it makes explicit how the researcher–‘native’ interaction is central to the theorizing process and how the researcher can become a participant in organizational culture–making.     

Working together, working apart: management culture in a manufacturing firm

This paper presents a case study of management culture in a manufacturing organisation. Its general aim is to assess the usefulness of the concept ‘culture’ as it applies to organisations. After first establishing that the organisational members had a sense that their organisation was an unique ‘family’ the article then proceeds to argue that this ‘togetherness’ was, in many contexts, divided. Managers also had a series of conflictual orientations to other members that were partially defined by the managers organisational role but were also underwritten by assumptions about organisational history, community, biography and profession. The paper concludes by suggesting that, at this level of analysis, managers are not often an unified block with a common identity and that management culture is hence best seen as a map of oppositions and commonalities that reflects the wider culture that the organisation is a part of.