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  • 1.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Cultural cooperation between a regional government and idea-driven organisations: seven music projects applications2016In: Proceedings of the 18th International Seminar of the ISME Commission on Music Policy: Culture, Education, and Mass Media / [ed] Hung-Pai Chen, Patrick Schmidt, International Society for Music Education , 2016, p. 169-188Conference paper (Refereed)
    Abstract [en]

    In recent years, the culture department of the regional government in Dalarna has earmarked some of the funding for non-formal education to finance grants for musical projects, which can be applied for by “idea driven organisations”. It is often music professionals that initiate these projects, backed by the organisation. Theoretically informed by Michel de Certeaus concepts of tactic and strategy (Certeau, 1984) this paper discusses how musicians and organisations position themselves and their projects in relation to government strategies when applying for these grants.

  • 2.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies. Dalarna University, School of Humanities and Media Studies, Sound and Music Production.
    Musical collaboration – or cooperation?: Exploring newspeak in Swedish arts policy2017Conference paper (Refereed)
    Abstract [en]

    The recent years have seen a process of regionalisation in Swedish culture and arts policy. This change goes under the name Kultursamverkansmodellen, which on the government’s webpage translates to “the cultural cooperation model” (Government Offices of Sweden 2015).

    The way samverkan is used in daily talk it should rather translate to collaboration – discussions, exchange of ideas and mutually beneficial activities. However, my material suggests elements of hierarchy in the system of cultural policy and funding where the term samverkan seem to signify a logic of consensus, in effect making it hard for cultural actors to challenge a system where certain music and art forms hold a hegemonic position.

    Drawing on Michel De Certeau’s concept of tactics and strategy (1984) and Ruth Finnegan’s pathways (Finnegan 1989), this paper uses a discourse logics approach (Glynos and Howarth 2007) to disseminate the term samverkan in multiple musicking contexts: in policy, by musicians, regional government officials and concert organisers, as well as in connection with other nodes such as “quality” and “projects”.

    The paper is part of the author’s on-going PhD project, which aims to shed light on how conditions for music making are constructed, protected and challenged by studying the intersection between governing and musical processes.

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  • 3.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Musiklandskap: musik och kulturpolitik i Dalarna2018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    In this thesis, I study how conditions for music-making can be developed, maintained and challenged through government support processes in the Swedish region Dalarna. The research questions focus on the ways music, policy and governance relate to each other, what kinds of musicians and ways of making music are favored in these relations, and the agency and meaning of place. The study is made through participant observation of musical events, cultural policy meetings, and the everyday practice of cultural policy officials; interviews with musicians, organizers and cultural policy officials; cultural policy documents as well as musicians’ and organizers’ public documents such as concert posters and websites.

    The musical landscape of Dalarna is summarized as a complex web with pathways that reach far beyond the geographical borders of the region. The cultural cooperation model works as a hierarchy from center to periphery, from the national government, through agencies, regional government, musical institutions and organizers, musicians and audiences. We can analyze all these practices as being part of music, as musicking. But we could also describe them another way, where the practice of cultural policy is dependent on and conditioned by the musical practices it is set to govern. In this way, musicians are always in some way also creating policy.

    I discuss genre hierarchies and further argue that music can, or should, not always be motivated by its effects on regional development or its social impact, it also needs to be allowed to be unhealthy and unprofitable. When we support music, we should be aware that it can be a hobby as well as a business, a serious artistic endeavor as well as play. And more often than not, music is all of these things at the same time.

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  • 4.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies. Dalarna University, School of Humanities and Media Studies, Sound and Music Production.
    Pathways of pop: Arts and educational policy, cultural industries and studieförbund2017In: Popular Music Studies Today: Abstracts for the conference of the International Association for the Study of Popular Music, June 26–30, Kassel, Germany / [ed] Julia Merrill, Jan Hemming, 2017Conference paper (Refereed)
    Abstract [en]

    Through the Swedish voluntary education organisations called studieförbund bands get access to musical education, rehearsal space, gear and gigs. It’s a modest but long time funding without any demands on return. Studieförbund are considered to be one of the most important factors for the success of the Swedish music industry due to the educational role it plays for amateur musicians. As musicians gain experience they tend to “outgrow” the studieförbund. There are often no institutional aids to continue their progress, since arts policy regards pop genres to be commercial by default. Recently, former musicians and festival arrangers have developed regional coaching programs for pop bands, leaning on policies of “cultural and creative industries” instead of arts policies. Drawing on Michel De Certeaus concept of tactics and strategy (1984), as well as Ruth Finnegans pathways (1989), this paper discusses these efforts as tactical manoeuvres by music creators as they navigate regional spaces of education, arts policies and industry strategies.

  • 5.
    Fredriksson, Daniel
    Umeå University, Faculty of Arts, Department of culture and media studies. Dalarna University, School of Humanities and Media Studies, Sound and Music Production.
    The Musical Landscape: Music and cultural policy in Dalarna2017Conference paper (Other academic)
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