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By Caroline Andrew, Monica Gattinger, M. Sharon Jeannotte, Will Straw

Accounting for tradition is a special selection of essays from top Canadian and foreign students that significantly examines cultural citizenship, cultural signs, and governance within the context of evolving cultural practices and cultural policy-making. it will likely be of serious curiosity to students of cultural coverage, communications, cultural reports, and public management alike.

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Extra resources for Accounting for Culture: Thinking Through Cultural Citizenship (Governance Series)

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To citizenship in its fullest sense, that is. To agree on a framework and agenda for cultural mapping in this sense, we need to be attentive to—and informed by—the special contours, features, and textures of the ground that we are surveying. This will require agreement both on appropriate and sensitive tools and approaches and on the stakeholders to be involved in the mapping process. On both these counts, there is an urgent need for new forms of collaboration and cross-fertilization between research, community, industry, and government sectors.

A few comments are necessary in this context. • Planning is not a physical science but a human science. The Scottish founder of town and regional planning in the early twentieth century, Patrick Geddes, insisted that all planning must take account of the three fundamental coordinates of Place-Work-Folk. That is to say that planners need to be—or be informed by—anthropologists, economists, and geographers and not just draftsmen. They need to know how people live, work, play, and relate to their environment.

But recognizing that there is a "chain" in which value is added at every stage to the original creation or content is the first step in both recognizing and engaging with the strategic context in which culture is now to be understood: as both local and global, as both "authentic" and able to be shared on agreed terms. This calls for an equivalent value chain of indicators. To "win it" is a longer term task in a context where, the global cultural economy there are only (subject to occasional variations) about three net exporters of cultural product—the USA, Japan, and the UK.

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