In lieu of an abstract, here is a brief excerpt of the content:

Books 169 states of Unesco. The following monographs have been reviewed in previous issues of Leonardo: Cultural Policy, A Preliminary Study (Leonardo 3, 359 (1970)); A Study of Cirltural Policy in the United States (Leonardo 3, 360 (1970)); Cultirral Rights as Human Rights (Leonardo 5, 79 (1972)); Cultural Policy in the Union of Soviet Socialist Republics and Cultural Policy in Czechoslovakia (Leonardo 5, 173 (1972)); Cdtural Policy in Great Britain (Leonardo 6, 365 (1973)). Cultural Policy in the Federal Republic of Germany. 1973. 53 pp., illus. Reviewed by Gerhard Charles Rump* The monograph has the following headings: Culture and the State; Institutions and Instruments; Cultural Sectors; Training for Artists and Art Teachers; and Art Education. In the chapters are described the various institutions, activities and governmental regulations that form part of what is termed ‘Cultural Policy’. Thus, the book is a useful companion to Federal German cultural policy and by reading through the pages one obtains an overall view of the subject. One cannot expect here a critical analysis of the nation’s cultural policy and one does not find it. In Federal Germany, freedom of the arts is a constitutional guarantee, as ‘after the bigotry and mediocrity of National Socialist State policy on the arts, the main aim after 1945 was to ensure a neutral and liberal attitude on the part of the State’ (p. 11). The State cannot interfere in artistic life by imposing prohibitions or other regulations or interfere with styles of individual artists. (The study bluntly overlooks the part played by penal and civil codes, which are misused from time to time against individual artists and art works, mainly because of alleged ‘obscenity’ but more recently on political grounds; examples are the Staeck-trials and the dismissal of Beuys from the Diisseldorf Academy.) The official neutrality of the State towards the arts does not result in a complete disengagement in cultural matters. It is a widespread view that public art and cultural promotion are essential. The relevant activities in this field are listed in the book and the list is a useful guide to official cultural policies, however the book does not provide insights into their fine structure. Cultural Policy in Iran. Djamchid Behnam. 46 pp., illus. Reviewed by Fazlollah Reza** The author begins with a historical review of the origins of the different forms of Iranian culture and their evolution under foreign influence. He then embarks on the main subject by first discussing the organization of the Ministry of Culture and Art and its affiliated groups. No mention is made of secondary schools, universities and the Ministry of Education. Archeological and ethnological research, the conservation of ancient monuments, manuscripts and language, the various media for the diffusion of culture and the teaching of art are discussed briefly in succeeding chapters. In conclusion, the author expresses his views on Iran’s cultural policy as regards how leisure time should be used and the impact of Occidental art upon the policy. The appendix contains material on the coordination of cultural activities and an organization chart of the Ministry of Culture and Art. Cultural Policy in Sri Lanka. H. H. Bandara. 1972. 70 pp., illus. Reviewed by Ellen DissanayakeS The author gives a comprehensive account of the ‘state machinery for cultural action in Ceylon, its growth and development, and its relationship with the normal channels *D53 Bonn-Bad Godesberg, Romerstrasse 32, Fed. Rep. Ger. **Ambassador ofIran, Iranian Embassy, Ottawa, Canada. $5 1/5 Bahirawakanda, Kandy, Sri Lanka. of cultural dissemination’. With few exceptions, the report is descriptive rather than analytical. For me to make critical comments on Sri Lanka’s cultural policy is more complicated. Policy is one thing and its implementation another. Cultural aims, like other government plans, look impressive in print but do not necessarily reflect realities. Moreover, Bandara’s study was completed before the world economic situation demanded that developing countries, such as Sri Lanka, devote the bulk of their financial resources to feeding their people. In former years Ceylonese involved with the arts would have been surprised to know that a government cultural policy existed; today one reads about the ‘policy’ as described by Bandara and recognizes that, illimplemented as it was, the situation...

pdf

Share