[ecrea] New Book - Out Now: Global Cultural Economy

New book announcement:

*Global Cultural Economy*
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Christiaan De Beukelaer & Kim-Marie Spence (Routledge 2019)

https://www.routledge.com/Global-Cultural-Economy/Beukelaer-Spence/p/book/9781138670099 



Global Cultural Economy (Paperback)

Available in paperback (£21.99 / US$31.95 / AU$46.99) and hardcover 
(£83.99 / US112.95 / AU177.00)
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*30% discount with code ADC18 on the Routledge website: 
*https://www.routledge.com/Global-Cultural-Economy/Beukelaer-Spence/p/book/9781138670099 



Global Cultural Economy critically interrogates the role cultural and 
creative industries play in societies. By locating these industries in 
their broader cultural and economic contexts, Christiaan De Beukelaer 
and Kim-Marie Spence combine their repertoires of empirical work across 
four continents to define the ‘cultural economy’ as the system of 
production, distribution, and consumption of cultural goods and 
services, as well as the cultural, economic, social, and political 
contexts in which it operates.

Each chapter introduces and discusses a different theme, such as 
inclusion, diversity, sustainability, and ownership, highlighting the 
tensions around them to elicit an active engagement with possible and 
provisional solutions. The themes are explored through case studies 
including Bollywood, Ghanaian music, the Korean Wave, Jamaican Reggae, 
and the UN Creative Economy Reports.

Written with both students, researchers, and policy-makers in mind, 
Global Cultural Economy is ideal for anyone interested in the creative 
and cultural industries, media and cultural studies, cultural policy, 
and development studies.


/Endorsements: /

Global Cultural Economy is a welcome addition to the literature on 
cultural economies, contributing valuable observations and analyses from 
beyond the ‘west’. At the same time, the authors draw on the reports of 
intergovernmental organizations such as UNESCO and UNCTAD as primary 
source material, thus turning the gaze on these organizations as much as 
the analysis is focused on the destinations which they influence. This 
book thus offers new perspectives and opens up new debates.
*Lily Kong, Singapore Management University *

This book provides a fascinating tapestry and kaleidoscope on the 
commodification of culture and cultural practices, with much food for 
thought for anyone remotely interested in contemplating the resultant 
homogenisation of the world’s creative imagination and diversity.
*Francis B. Nyamnjoh, University of Cape Town. *

This must-read book critically clears a path through the thicket of 
preconceptions within celebratory, aspirational, critical, agnostic and 
reflexive perspectives regarding the creative industries. The authors 
frame a wide range of cultural practices and industries through a 
carefully defined cultural economy that highlights social organization, 
cultural context and political economy, without prioritising economic 
gain or social amelioration, the twin criteria of much creative 
industries hype.
*George Yúdice, University of Miami *

Until now, both research and policy-making on the contributions of 
culture to societies have been blinkered: by Eurocentrism, 
ideas-faddism, and an unerring belief in the divine power of economic 
growth. In Global Cultural Economy, Christiaan De Beukelaer and 
Kim-Marie Spence provide a timely and welcome corrective: questioning 
axioms, widening the empirical field beyond the Global North, and 
broadening the debate to consider what really matters to the flourishing 
of diverse creative lives.
*Chris Gibson, University of Wollongong *
*
*
In spite of the fact that concept of creative industries had been 
developed in a Western world, creative economy of numerous countries in 
development are using music, film, television and design to achieve 
economic impact on both local and world markets. This book skillfully 
combines global approach with focus on very specific case studies that 
can be assessed as exemplary practices of re-evaluating national 
cultural traditions in larger market and business perspectives. 
Challenging research covered places that are not often in the heart of 
scholars’ attention (Burkina Faso, Jamaica, Kazakhstan, Trinidad and 
Tobago) together with more known examples of Bollywood or K-pop.

The discussions dare to challenge numerous controversial issues of 
creative economy concept showing authors’ expertise and vast knowledge 
of body of literature from all around the world starting with knowledge 
economy to the political economy of piracy. As creative economy is and 
should be based on copyrights, on social justice and politics of equity 
that are often contradicting each other, authors question policies and 
market practices that are fostering or preventing successful development 
in this domain.

The book is written in a manner that can be accessible to both scholars 
and practitioners. It is transdisciplinary in its content as challenging 
intellectual property and cultural and social rights, cultural 
appropriation and national ownership, intercultural exploitation and 
many other post-colonial issues that the raise of local creative 
economies is underlining. Thus, it is much more than the book about 
economy – it is a book about need for re-establishment of the new ethics 
of international cultural relations within the scope of global cultural 
economy, and the book about need to re-conceptualize public-private 
relations in the traditional fields of culture and cultural policies.

Variety of academic disciplines might use this book as a learning tool: 
economy and business management, cultural management, cultural policy, 
international cultural relations, law and legal studies, but also 
studies on nationalism, interculturalism and post-colonial cultural 
studies. Cases that were presented and policy recommendations might be 
further discussed and developed in classrooms around the world, 
specifying and remodeling them for local contexts that want to oversee 
themselves in a global world.
*Milena Dragićević Šešić, University of Arts Belgrade*
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*

About the authors:

*Christiaan De Beukelaer* is a Lecturer in Cultural Policy at the 
University of Melbourne, Australia. He is the author of Developing 
Cultural Industries: Learning from the Palimpsest of Practice 
<http://www.culturalfoundation.eu/library/cpra-christiaan-de-beukelaer> (2015), 
and the editor of Culture, Globalization, and Development: The UNESCO 
Convention on Cultural Diversity 
<https://www.palgrave.com/us/book/9781137397621> (2015, with Miikka 
Pyykkönen and JP Singh) as well as Cultural Policies for Sustainable 
Development 
<https://www.routledge.com/Cultural-Policies-for-Sustainable-Development/Kangas-Duxbury-Beukelaer/p/book/9781138494817> (2018, 
with Anita Kangas and Nancy Duxbury).

*Kim-Marie Spence* is a PhD scholar at the Australian National 
University. She has done significant research comparing the popular 
culture industries of Jamaica, India and South Korea, that is, reggae, 
Bollywood, K-pop and K-drama. She is a Rhodes Scholar and former Jamaica 
Film Commissioner/Head of Creative Industries in Jamaica and also worked 
with UNESCO on Oral and Intangible Heritage projects.


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