How is the existence of a state museum cultural policy?
The museum is the primary carrier of the public cultural service system while also is an institution that most often connected with cultural policy (). In modern society, museums not only focus on preservation and collection, but also emphasize on how to interpret and disseminate cultures to the public. Take the Museum of Florida History for example, which I visited on February 10, 2016. The Museum of Florida History opened in 1977, and collects, preserves, exhibits, and interprets evidence of past and present cultures in Florida, encouraging appreciation of Florida’s legacy (Museum of Florida History, 2016). Moreover, the Museum of Florida History is operating by the Florida Division of Cultural Affairs’ (Florida’s state arts agency) administration.
The Museum of Florida History’s official mission is that “through exhibits, educational programs, research, and collections, the Museum reflects the ways that people have shaped and reacted to their cultural and natural environments” (Museum of Florida History, 2016). The mission has given a proper perspective on the site’s recourses to the visitors for how they seek education. As a state history museum at a conceptual level, it focuses on bringing public attention to what has previously happened in the development of Florida and the roles of Floridians in various environments. From my observation, the admission of Museum of Florida History is free and docents are available for the visitors. Visitors are comprehensively educated by a series of relevant ways, such as interpretation of the docent, wax models, reproduced portions of some previously achievement, history video, etc. The role of cultural policy in state museums is to make state history and culture accessible to the public, which is what the Museum of Florida History does.
Why does the state of Florida need the Division of Cultural Affairs (DCA)?
On February 7, 2016, I visited the Division of Cultural Affairs (DCA) in Florida. DCA is a state arts agency of the state of Florida that administers state grant programs for arts and culture and is committed to advance, support, and promote arts and culture to strengthen the economy and quality of life for all Floridians (Division of Cultural Affairs, 2016). Because arts and culture play an important part in people’s life (Mankin, Cohn, Perry & Cayer, 2001), the DCA recognized this vital point and took a stewardship role in public funding for arts and culture in order to better develop Florida’s communities.
A strong state arts agency is essential to a state; it can make sure that all communities are being served equitably and systematically (Love, 1991). For example, individual artists and small organizations are two important areas that receive less operating grants and funding from foundations or corporations than the well-established arts organizations. In comparison, state arts agencies highly value the individual artists and small organizations and provide operating grants and funding for them toward a better development. In order to support all areas of the state of Florida, DCA as the state arts agency is positioned to provide this kind of strategic and equitable leadership to the state of Florida. Further more, DCA possesses the specific knowledge of local and regional issues which can better develop processes, strategies, and resources for investments in Florida’s communities. In other words, DCA not only plays the role of Florida’s expert, but also plays the role of a branch of government for the purpose of improving the quality of life of all Floridians.
Rushton (2004) argued against earmarked taxes for the arts. If not through earmarked taxes, by what means might the DCA secure funding for culture?
According to Rushton (2004), some cities in the United States have agreed to go through earmarked taxes to fund arts organizations. However, Rushton (2004) doubted whether earmarked taxes for the arts is a good idea and suggested that arts administrators and advocates must ask themselves some relevant questions before thinking about adopting an earmarked tax for the arts.
Based on data from the National Assembly of State Arts Agencies (NASAA), “state arts agencies receive 0.040% (less than one-half of one-tenth of one percent) of total state general fund expenditures in FY2016” (2016). Therefore, the arts and culture comprise a very small portion of state spending. It is possible and necessary for the DCA to secure more funding from state government support for arts and culture. First, a vital step is to let the government realize that investing in the arts and culture can help sustain diverse economies and thriving communities (Hodsoll, 1996). Second, the DCA needs to leverage the power of individuals to lobby the legislature for more support to arts and culture (Hawkins, 2012). Individuals have always been at the core of advocacy strategy. The more people support the development of arts and culture, the more possibility the DCA has to secure more funding. More importantly, lawmakers always highly value individuals’ views and concerns. Last but not least, the DCA needs to prove to government why DCA deserves the government funding. For example, the DCA can provide the highest levels of service and guidance, thus stimulating and advancing the creative economy, diversity, and well-being for all Floridians.
Conclusion
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