Culture? Politics?

Economics a study to problems and perspectives of the culture promotion of

Peter Wicke (Humboldt university, Berlin) liberty of the art is called not only liberty of the state, but
at the same time liberty by the state. Hilmar Hoffman 1. Breaks and pagings of savings obligations
control in increasing measure the public discussion on all politics fields and do not make also before
the culture not stop. The social structural change as a result of global economic and technological
paging processes, the overcoming of the postwar order from each other hostilely facing power
blocs, the progressing integration of the European marketing area and not least than result of the
German reunification seized and goes all social ranges obviously more deeply than so far been
entitled. Before the background of clearly more closely becoming public households it is badly
with the financial perspectives of the culture. The come ralistic administered budgets offer hardly
still clearance, ever more noticeably begin the red pencil to govern. The culture budget in the
households of the countries and municipalities stands frequently first for arrangement, goes it
around the search for savable means. On the other hand the value of culture clearly increased itself
in the last two decades, readable at the grown role of politico-cultural subjects in the local and
federal state policy, to in this period continuously and compared with the total expenditure of the
public hand culture budgets risen superproportionally. The public expenditures of federation,
countries and municipalities rose between 1974 and 1980 by 66,7 per cent, the expenditures for
culture in the same period by 97,5 per cent. This trend continued until 1990. From 1980 to 1985
the rise of the total expenditure amounted to 22.3 per cent, that of the expenditures for culture 26.9
per cent. In the period 1985 to 1990 the expenditures of the public hand rose altogether by 26,2 per
cent, which the cultural center stops again around 35,9 Prozent.1 this meaning increase increased
corresponded with an expansion of the culture offer into public and free working group just like
itself the field of the commercial culture producers immensely. Culture "boomt" like never before,
so that the shears between the requirements at the public households and their financing possibilities
continue to come up always. If this development is not to become the Substanzgefaehrung or lead
to material losses, then a critical stocktaking of the public culture promotion is urgently required.
National and/or local cultural policy must again be considered in its basic beginnings. The situation
does not force only to analyze financing modalities but it requires for fundamental re-orientations.
Considering of politico-cultural basic positions is required not least also in view of the changes
within the culture process. Cultural activities out-differentiated themselves clearly. Those formerly
rigid borders between high and width culture, between Soziokultur and representation culture,
between education and experience culture, between commercial and publicly promoted culture
forms smear themselves ever more strongly. Beside the traditional central cultural facilities
(theatre, opera houses, concert halls etc..) and commercially producing institutions for culture
(media, meeting agencies and producer etc..) decentralized culture places in the residential
environment gained significance clearly. With them new, usually private-economical types of firm
within the culture range emerged (e.g. GmbH in local working group), which organize culture not
only differently, but also another culture. The cultural practice of free initiatives, groups and new
social movements gave new participants to the culture enterprise. Laminate and life-style-specific
environments with more or less concisely from each other distinctive cultural activity profiles
stepped to the place of relatively more stably socially determined culture samples. Self-activity,
participation and rezeption turn into increasingly into one another. The public of cultural meetings
is not only substantially more unheitlicher than in former times, its requirements witnesses from a
radically changed value of the cultural one in the way of life. In the developed pluralitaet and
Diversivitaet of life-styles culture functions as a crucial differentiation factor. The cultural
spectrum of activity became substantially more flexible thereby altogether more broadly, more
varied, more dynamically and. Refrained once from the addressed drastically changed in particular
financial basic conditions, the conception beginnings of the past turned off to "culture supply"
seize? bundled in the Inklusionspostulat "culture for all" as well as the participation postulate
"Soziokultur"? in this developed complex cultural reality only much causes. Above all however
they were formulated in an unparalleled economic Prosperitaetsphase, in which with completely
different basic conditions than in the today's Federal Republic could be gone out. Cultural policy

must be asked therefore thereafter whether the social actually still correspond effects to their
ambitions, whether the promotion mechanisms set by it in course can still carry out, what it to carry
out would have. The drastically narrowing financial clearance of the municipalities leaves no more
other alternative. Save through bare shortening of household titles, without adjusting itself with
new concepts to changing conditions, are not politics, but politician set. The question about
problems and perspectives of the public culture promotion stands before an explosive socio-political
background, which continues to decrease German industry resulted from the fact that the active
volume to the acquisition work the available is reduced permanently, in which within the last twenty
years already by 40,8 per cent sunk ist2 and in the course of always new rationalization measures.
The classical service sectors do not catch this development already for a long time. Unemployment,
shorter hours, making flexible of work time and part-time job do not only undermine a substantial
point of reference of the social detection in society, but they entail a substantial increase of the time
set free saved in the economic production process and, which is open thereby to individual
acquiring forms. These carry out themselves mainly over cultural activities, handling the media
enclosed, so that the socio-political meaning of the culture range continues to increase. Cultural
policy stands here before increasing challenges, which make an argument with their premises
compelling. If the promotion of culture is to remain received as a public task, then it applies to
think about their forms, their eligible for financingness and above all their contents again. The
following considerations understand themselves therefore as suggestion and impact to necessary a
discussion become. That they are formulated from a point of view rather unusual for bringing up
for discussion politico-cultural matters of principle, from which occupation with youth culture and
popular music forms result, are discreet. But it is often a straight radical change of the perspective,
to which lets familiar circumstances in new light appear. 2. Culture over ever more complicated
the becoming question about "from where" the financial means for the culture promotion seems
about question "for what" increasingly into the background to come at some places even into
oblivion. On the by program the "hour of the Macher" overshot in the politico-cultural discussions
of the seventies followed in the eighties: "cultural policy is not no more justified today, but the
public discourse dominating statement that culture is important, it stands for gemacht."3 for a
consent, which covers itself not many more than the smallest common denominator in outdifferentiating cultural reality embodied and thus that the conceptions of it, which" culture is "are
not only most different, but pluralisiert themselves substantially. With thought patterns like
"advanced culture", "everyday culture" of "commercial culture" and "Soziokultur" is not to be
seized the multilayered cultural reality in the Federal Republic of the nineties no more. Implicitly
or explicitly in promotion strategies written conceptions after these rasters unfold, a normative
effect, which occurs although unintentional the Subsidiaritaetsprinzip counter productive. As one of
the last free spaces of local autonomy the culture work stands in an area of conflict of diverging
views of culture, which will ever more vaguely have the goal regulation of public culture promotion
to leave. Under the hand shortened instrumentalization strategies begin such as culture as "location
factor" or as "preventive strategy", approximately for the search and force prevention in the
jugendalter to receive into hard becoming distribution fights around public means gradually
dominance. To that extent the self making sure must, what is actually meant, if of culture it is
spoken necessary starting point of each thinking about culture as politics field to be. It does not
concern in such a context definition coherency of a conceptualness generally which can be set,
because the Ausdifferenzieren of the culture process along more different and quite also opposite
Kulturaufassungen belonged to the thing and gives evenly its dynamics to this process. Just as little
aims at the guidelines by program of this politics field, but it concerns rather the completely
fundamental question about the cultural limitation of the community, because from this the
necessity for public culture promotion is derived. The budget entry of culture in special household
titles, its administration in special administrations and its establishment as a relatively independent
politics policy did not only bring and altogether a quite efficient cultural infrastructure out
considerable in their quantitative dimensions, but also the view feed motion performed that culture
is more taken off from the social lebensprozessen, a separately administering social range for the

refinement of humans, whose arrangement has to depend on the disponiblen financial means. But
culture is not improving added human activity, but the basis the same. All lebensprozesse in society
are filled from culture. They carry out themselves over sense regulations and value orientations,
which, often over many switching members away, which lead individual acting and constitute in
their whole the culture of a society. Everything that the term "culture" designates colloquially, is
only an per special existence form of these sense constructions and basic values working in society.
In this existence form they are project on a relatively independent social action field, on which they
can be brought to consciousness and made accessible for active argument. Here the individual
argument with sense defaults and sense offers takes place, models by reality accomplishment and
life style drafts is spielerisch tested, new values in the changing living conditions explored. From
the sinnlichen, mental and social experiences accumulated thereby the individuals refer their life
perspective, confirm these, develop them or renew them. The resultant of all individual life
perspectives however is nothing one but the development perspective of a society. In other words:
Culture is a kind social laboratory of being lived new sense giving, worth and action orientations in
here and now an experience-oriented and present-referred perception form of being explored into
new pointing. In this laboratory the adjustment of a society takes place to its future. This applies
also in completely specific sense that the democratic process, by which the practical organization of
the future is made from society in culture one of its most important bases possesses. Democracy
and sharing at the democratic process are only possible before the background of a common sense
and value horizon, which refer the individuals one on the other as a member of a community. And
this aspect wins in the measure of meaning, as in modern societies a spontaneously erfahrbarer
Aufeinanderbezug of the individuals during the practical processes of the economic and material
reproduction of their bases of life at transparency and transparentness loses or does not take place
by separating from the working process any longer. If this Aufeinanderbezug cannot mediate itself
over the cultural system, because it is missing to it at capacity, in order to emphasize themselves
and into a connection set in such a way the out-differentiating worth and requirements for sense, it
regrediert on spontaneously erfahrbare reference frameworks nationalistic or an ethnical character
with sufficiently well-known consequences. Above all however thereby the basis disintegrates from
which from the democratic struggle for the organization of society makes sense and refers from that
it completely considerably its motivation; because then the community becomes an empty
pragmatic construction, which is only formally connected with the individual life perspectives each
individual either no more or. "Politikverdrossenheit" has is the term, under which that publicly one
negotiates. The less social processes and experiences by the perspective or however of a collective
connection to be interpreted and processed and into the social macro connection, manufactured
tradierten in stable social groupings, in the working processes, be mediated know, the more strongly
shift this transformation on cultural activities. The social system culture is in its multiformly in
itself arranged entireness thus a socialization factor by more outstanding and hardly overrating
meaning, the one irreplaceable social reproduction function in as high-grade out-differentiated
societies as those the Federal Republic fulfilled. As however culture stands out neither in the
administrative logic of the Subsidiaritaetsprinzips and already not at all in an department-oriented
section thinking. And other in the administrative conversion of public culture promotion to perhaps
also be so necessarily unavoidable may, it may not over it not be surveyed that it concerns with the
culture a highly differentiated social system, its development itself during a process of own kind?
the culture process? carries out, which can function neither in one however from the forces of the
market to steered self run still into administrative einzelprozesse be divided can, which could be
promoted or neglected unbekuemmert around the systemic character of the whole one. Culture is a
vielgliedriges structure more differently, with one another co-existing and more rivaling,
nevertheless one on the other more referred and one on the other influencing cultures? everyone
with their specific regularities, characteristics and peculiarities -, which must as whole be
understood, maintained and be promoted. Neither the national theatre exists as "" the culture by SE
in an culture-empty area? and it is also only by the fact that it itself as alternative too or argument
with other cultures (medium culture, everyday culture etc..) understands? still its visitors are as

cultural subjects excluding playgoers. They act rather always in several cultural connections as on
the other hand the different cultures partially overlay at the same time, and overlap, in other places
against it stand complementary or also alternatively to each other? refrained from the social
dimensions of this complex structure structure completely. Whom it is to be done thus really
around the development and development conditions from culture to, which must have the
reproduction of this cultural overall system in the eye, independently of which legal form its carriers
possess (publicly, privately, koerperschaftlich or as non-profit combination) or which specific view
of culture it with their activities feel obligated. That includes by the way also the acknowledgment
of the changeableness in principle of this overall system both in its internal structure and in its
structure, instead of thinking cultural progress only as unlimited a "more" at already existing one.
So, like the Motetten and Choralkultur, in 16. Century once in the center of the culture enterprise
stood, in the meantime to its outermost edge moved, must this also for all present culture forms
remain conceivable, without such developments bit are against-financed. Which makes the social
system culture as indispensable thus just as irreplaceably, its function is as innovation and
production connection of sense regulations, identity offers and basic values, as generator of a
structured connection of Lebensstilentswuerfen. Evenly therefore cultural policy is a everything
else as a negligible or marginal component of social policy and culture promotion thus primarily a
socio-political development instrument. If this basic connection short-sighted savings obligations is
sacrificed or is exposed to shortconclusive instrumentalization strategies, that does not only lead
prevention and adjustment necessities within other ranges to expensive compensation -. Above all
society thereby loses a substantial piece of its innovation ability, because this has not only a
economic-technological, but also a socialcultural component, as even a volatile view can occupy
approximately on the Japanese restaurant model for example. 3. Politics the decentralized
character of cultural policy refrained, from the separatingness of relevant trade conferences once,
also the argument with it into an predominantly local or regional purchase placed. If at all, then
cultural policy based on the ever special territorial conditions and set to the culture-specific
financing desires articulated therein in relationship. Thereby the contentwise-conceptional
argument with the material converted promotion strategies, which would be to be led in the
reference to the above integrative socio-political dimensions of public culture promotion, comes
clearly too briefly. Not that it would be missing at debates by program over contents of cultural
policy, but the cooperative Kulturfoerderalismus as guarantor for openness, creativity, pluralitaet
and aliveness of culture places this politics field into a local purchase, which makes spreading
socio-political effects with difficulty understandable. The conversion of politico-cultural pro
grammar presents itself to a generating logic follows oneself, which excludes concretely failure as a
territorially referred money distribution mechanism, whose success is defined presentable, but. The
culture sociologist Gerhard Schulze pointed out that measurable successes of politico-cultural
acting are a designed size, which can possess for its actual socio-political effectiveness therefore no
logical value: "for cultural policy, artist and public success is designed size. Each involved one has
an interest in the self construction of success; he believes in it all the more, as success (in the
context of the respective Eigenrationalitaet it is defined) as public success manifestiert."4 culture
projects are apparently over clear necessarily always in such a way defined that they legitimize
themselves. Everything else would come down to a functionalization and an instrumentalization for
purposes, which pass the specific potential of the culture. Cultural policy as an ensemble of
legislativer and administrative measures is thereby in an unsolvable dilemma. Either she seeks to
legitimize itself by in the long run culture-strange purpose expense the expense of their own thing
"(culture as location factor" etc..) or however it follows the defined authentication criteria of the
culture process at the price of limited penetration ability in the fight for public finances and the
gradual loss of critical Selbstreflektivitaet. Probably therefore the readiness for the fundamental
argument by program became rather reserved beyond inevitably quite practice henceforth program
discussions on this politics field. Nevertheless at least can three conception beginnings from the
politico-cultural reality of the Federal Republic have been extrapolated, historically successively
have been developed and itself today in variants and combinations with the will and decision

makers of the cultural policy? Parties and their politico-cultural working groups, committees of
local autonomy committees, functionaries of the big-city culture administrations? overlay. They do
not reflect the width of the goals, expectations and demands on cultural policy, formulated in the
published discussion, probably however the conceptional main lines become in each case the
consent during their actual conversion. The earliest of these conception beginnings marked the
development from the direct post-war period into the sixties inside and oriented themselves after the
Subsidiaritaetsprinzip on the defense and maintenance of stock of civil advanced culture. The
personnel and institutional safety device of central culture places such as theatres, concert halls and
opera stages, museums and monuments connected itself here with the educational goal of the
development and spreading of a cultural authority aligned at these culture forms. This cultural
"motive for improving" is guessed/advised in the sixties under a democratization postulate, which
took up an influential social-democratic tradition and in the formula by a "culture for alle"5 was
bundled. In the core that meant a politico-cultural Perspektivwechsel, which did not make no more
the efficiency of the cultural system vergegenstaendlichte in "works of art" the yardstick of politicocultural acting, but the care need above all structurally disadvantaged social groups (young person,
foreigner, old person, women, unemployed person etc. obstructed.) into the center moved. Cultural
policy received thereby a socio-politically compensatory function, which should adjust social
asymmetries, without the reference to the civil advanced culture thereby was given up certainly.
Under the key word "new Kulturpolitik"6 has itself since center of the seventies finally a politics
policy developed, which is centered around the term" Soziokultur"7 brought by Hermann glazier
1974 into the debate and cultural policy into a totalsocial reason connection to place for the first
time suchte.8 before the background of an extended, society-referred culture term turned out
strengthens the cultural dimensions of the everyday life life in the field of vision, from the "work of
art politics" became a environment-specific promotion of cultural activities in the material urbanen
habitats in the form of sozio cultural mechanisms, culture and communication centers, culture
shops, decentralized and socialeducationally aligned culture work, the development of culture of
quarters and the promotion "more freely", alternative culture projects. All three beginnings exhibit
thing in common, those, regardless of their? in the available context only suggested one?
Differences in the in principle one, fundamental questions raise. They embody an offer-oriented
form of cultural policy in the core. Them all is immanently, although differently justified and with
completely different realization strategies connected a motive for supplying, which conceives
culture from the perspective of a national task of service. Therefore they project the politics
policies formulated in each case on the appropriate departments of the public service, whose
structure and authority distribution are however not analyzed. Direct consequence its is anchorage
all three beginnings in them pre-aged competence relation, which the development of of the cultural
system, which culture process, inevitably only cutoutful, notices only in the parts, for which a
competence of the public service is defined. In a construction of the Subsidiaritaetsprinzip, that
finds its precipitation from a diversity in principle? not rarely quite rating meant? the publicly
promoted and commercial culture production goes out. It is subordinated that culture must be paid
alimony, in order this term is sufficient to do, while the commercial culture range applies in view of
its consistent demand orientation as self-supporting and for the same reason as culturally doubtful.
These essentially like logically inadmissible coupling of the legal form of cultural carriers with
contents of them initiated and organized activities? neither the publicly promoted culture range can
refrain necessarily inferior culture from the material demand structures still resulted from a
commercial organization form of culture production? a selectively handled normative development
instrument from the Subsidiaritaetsprinzip, which always the assignment of cultural activities
precedes to or other range, makes. Which is publicly not promoted, must organize itself
commercially or does not take place not, what into the scope of responsibility of public culture
promotion falls, any longer not asked thereafter whether it would be not also self-supporting
eligible for financing. The difference between publicly promoted and commercial culture forms,
lying allegedly in the thing, is nothing one but the result the promotion mechanisms at the basis
lying premises. Whether these are actually appropriate for the processes, which it concerns,

whether thus the chamber orchestra must be financed after the Subsidiaritaetsprinzip, while those
has to find jazz Big volume with exactly the same musician number a commercial way, does not
usually even stand to the discussion. Posed under the same premises, the chamber orchestra would
have to argue in the same way with the material demand structures as the jazz Big volume. Why
the consequences should be problematic for the other one only for the one music range, not
however, just as little justified like the criteria, according to which his cultural and artistic potential
may unfold as unrestricted as possible, that is others that obviously however not earned. Why the
development of this potential should be only in principle paid alimony possible, goes nevertheless
artistic innovation is still less comprehensible ever more frequently out of the creative refraction of
the market laws straight beyond and outside of such protecting out, already because innovation
hardly moves on the soil of consentable acceptance of promotion committees. Thus, only from
other perspective and with reverse signs, which Ausspielen of the different culture ranges are only
referred against each other again the word talked its, but to it, itself the public culture promotion on
bases is not moved, which it produced and which during consistent handling to run out to award to
always new ranges of the culture enterprise a financial requirement which can be covered publicly.
The division of the culture process in deficit eras, after which Subsidiaritaetsprinzip is not
appropriate for falling sector, and a commercially organized range into the competence of the public
culture administrations by any means in the culture forms justified, which are slammed shut in each
case these ranges, but them are the product of premises, which are pre-aged unexpressed to the
promotion mechanisms. In the result from it an authentication obligation for artists and culture
mediators in relation to the public culture administrations, which lets the penetration ability of
Lobbies step to the place democratically and comprehensibly met judgements on the main issue,
develops. Which as cultural activity applies, which, although more defizitaer, eligible for
promotion is, and which decides as such, which, because more defizitaer, then does not take place,
successfully in the result of Legitimationstrategien interspersed. Also the outlined politico-cultural
conception beginnings social Lobbies can be assigned, which the competence relation of the public
culture administrations diskursiv shifted and extended, by the traditional institutions for advanced
culture on social groups of problems and by these on the culture-specific environments embodied in
the everyday habitats. Refrained once from the artificialness the dividing line between publicly
promoted and commercial culture? with public funds on high leistungsniveau received orchestra
apparatus finds itself on products phonographischen economics likewise again as skirt volume,
which owes its career for instance to the various appearance possibilities in the sozio cultural
centers of the municipalities -, the culture is in this way to an authentication obligation subjected,
which binds enormous forces and instrumentalization dangers saves, which become the larger, the
more closely the financial cover of the public households are. It takes this at some places skurrile
forms already now if for instance groups of block flutes thereby believe to legitimize to have itself
that they refer to the force-preventive effect of the block flute play. The supplying logic as
construction principle of cultural policy is enormously guessed/advised to their borders. The more
varied the cultural spectrum of activity becomes, the more arbitrarily appears the fixing of the
boundaries between one than more defizitaer accepted culture enterprise and the forms of
commercial culture production. The produced financial requirement, which would have to become
larger in view of the increasing role of cultural activities with the individual appropriation of the
time set free saved in the economic production process and also still permanently, does not only
push to the borders of the public households, but would stand besides in danger to pay alimony with
(at present few probable) updating this logic, always new parts of the culture enterprise. Above all
however this logic quiet-placed each thinking about the efficiency of the means used for the culture
and decoupled the culture process of its economic bases. At the basis an anti-economic tendency
received lying entoekonomisierte culture term to this supplying logic. Straight because however
culture with their to sense and identitaesstiftenden, with their worth and perspektivsetzenden effects
socio-politically a so irreplaceable role plays, may it to the up-to-date eligible for financing is not
reduced, not the rather coincidental result by distribution fights for public finances is not made.
Therefore the premises of the public culture promotion are to be considered, not in order them at

surface covering savings effects oriented "accountants of the social arrogance" (Cornel) to the
victim to bring, to lead out but around the promotion of culture from the verbesonderten status of a
national supplying achievement and form as, which it is? the promotion of one socially, politically
and economically indispensable human life activity. The socio-political requirement of cultural
policy must with an culture-economic dimension places underneath to become, is not it not into that
har4. Economics one of the main weaknesses of the current politico-cultural discussion exists in the
appelativen or moralisierenden argumentation samples, on which it is based. The state becomes
addressed as an instance, which for the culture this or that one do "must", so that the writing on the
wall painted in each case to the wall can be avoided. The experience certainly teaches that "" the
state do not do nothing at all" must ", and the writings on the wall at the end then be missing
nevertheless. Already 1977 tightened walter Grasskamp once bitingly, but quite applicable: "talked
about cultural policy will mostly by program, counter projects and planning games coin/shape the
politico-cultural scene, conventional and versponnene visions of the future to become spread and let
the politico-cultural discussion to a play meadow for programs come, which have one with all
difference nevertheless together: their Harmlosigkeit. Because indeed each cultural policy, which
kapriziert itself out from the criticism at the existence on schmieden of programs, without their
interspersing barness is harmless mitzubedenken."9 place of moralisierender appeals needs it at all
reason connections for culture promotion, which are embodied in the bases of the culture process
and which do not completely lose sight of necessary realism of the feasibility. Gladly more
displaced, for it however the serious aspects of these bases fetched back in consciousness the
internal economic connections of the culture process are present. Also the culture enterprise
reproduces itself first once in economical forms, before it sense donation, desire experience, identity
switching? or which the higher purposes still may be? to realize is able. The fact that each kind of
culture thereby possesses economic, enterprise and economical bases seems to be guessed/advised
far away in oblivion. In view of more scarcely becoming finances and the initially addressed
dimensions of the social structural change it applies to make however the economics of the culture
process the topic. The fear, such a view alone already can the culture for culture-strange purpose
take in and thus in the substance damage, is most effectively with it met that for possibilities one
searches in reverse, economic connections for the culture process to be instrumentalisieren. That
the entire culture enterprise carries out itself in after straight anarchischen financing courses?
Incomes and expenditures if necessary project and facility, are not however for the total process
balanced -, above all however in its paid alimony parts by a surplus financing in course, which must
push alone for structural reasons to objective borders, is brought up for discussion in the whole
discussion around the culture paradoxically not even ansatzweise is held, although nevertheless,
reluctantly, but from money and financial requirements the speech is nevertheless constant. If one
arranges the view of the cultural overall system, to which the different belong forms of of the civil
advanced culture (literature, theatre, opera, concert and screen end art) likewise like what under the
key word Soziokultur firmiert, to which the alternative culture projects of free carrier belong, the
medium and everyday culture in their different manifestations as well as the commercial culture
forms (culture economy strictly speaking, music or publishing house industry etc.), then that is
hauptproblem neither such of the savings obligation in the public households still such itself
zuspitzender distribution fights, but it lies rather in the developed economic and financial
reproduction mechanisms of the culture process. In the old Lands of the Federal Republic the
public culture promotion profited four decades long from a growth of the gross national product,
which carried out itself substantially faster than the increase of the cost of living. The surplus was
directed by the municipalities in the country wide competition into the building of museums and
theatres, into the receipt of orchestras and architecture monuments and into the care of the existing
culture enterprise. In the GDR the financing logic on according to lower level was the same, that
did not only gain the alleged surplus here, but was politically dekretiert. In both cases however a
financing mode regardless of the asseverations that culture was not luxury, but food, which
degradierte it to the luxury property, applied? financed from what remained. Any economic
consideration in things culture remained in contrast to this classified as an act of the culture

hostileness or consciously as economic Indienstnahme by art and culture was misunderstood. That
the culture-creative understand themselves even for obvious reasons very probably as economic
subjects and their economic interests know word approximately over culture-specific exploitation
corporations like the GEMA or the VG to also maintain and implement, earned in this connection at
least mention, exposes it nevertheless such entoekonomisierten conceptions of culture as what they
are, i.e. unworldly. Completely refrained from once how desirably for instance for
environmentalpolitical reasons updating the growth speed of the gross national product in the orders
of magnitude of the past would be or how material this is in view of in the meantime the
fundamentally changed world-economical conditions; a much weightier argument against it exists
in the structural borders, which this logic has. Permanent a more at surplus, in order to finance the
linear rising reproduction need of the existing culture enterprise? finally the cost avalanche before
an institution does not make alone for stop, because it is committed to the hehren goals of the
culture -, with simultaneous realization of all desirable and necessary extensions is a thing of the
impossibility. The certainly entitled demand to stop only once the geldverschwendungen in other
place? whereby depending upon point of view and perspective thereby some could stand surely in
such a way to the discussion -, instead of saving just in the culture, changes in the grundproblem not
the smallest, but it if necessary on the time axis a few further years would shift. So or so a surplusfinanced culture enterprise must turn out to the borders it basic financing model, because its
reproduction requirements verzehren the growth surplus of a certain point also if from a continuous
growth increase were to be proceeded. The situation is intensified still by the above mechanism of
the self production of the culture-relevant financial requirement in the consequence of the handling
of the Subsidiaritaetsprinzips, because leads itself necessarily in a out-differentiating cultural
landscape to always new requirements. To that extent a completely fundamental problem, which
reveals itself before the background of the unit-conditioned special loads as well as the
present/immediate recession only somewhat preferred, does not stand however in its core neither on
the economic recession features nor on the loads by the reunification to be led back and thus also by
a bare aggravation of the distribution fights or by Umverlagerungen in the household budgets be
solved can behind the present crisis of the public culture promotion. The solution for an economic
reproduction problem consists neither of the fact that it is reinterpreted into an authentication
problem? as if it would concern only to lodge a complaint audible and more convincingly the
irreplaceability of the culture -, still in a savings logic, which leaves the structures, as they are, but
the financial inflow up to gradual asphyxiation death throttles. It would quite be worthwhile itself
to follow to the financing cycles once more exactly within the culture enterprise to make final not in
order with crude accountant logic for such a fragilen phenomenon like the culture from but around
the many inconsistencies and given away possibilities on the trace to come. Thus 1986 were able to
prove a study of the University of Bremen over the cultural infrastructure of the city that the
balance of the culture budget passes as subsidies the material financial and economic connections.
Induced payment stream stood for the payments to the there institutions for culture in one of height
of 32,5 millions DM to the Bremi economy at a value of 37,2 millions DM gegenueber10 from
these. IFO IFO-Institut for economic research calculated for the year 1984 that the 6.12 billion DM
tax and credit-financed expenditures of the state for the culture on the income side altogether one
(nice o) transmission of the culture sector to the state of 9,6 billion DM to the consequence
hatten.11 after recent computations of the IFO institute creates each million DM, which is made
available public cultural facilities, an income of 1,4 Mill. DM in the national economy, secure 100
promoted jobs in culture enterprises up to 150 jobs in the Gesamtwirtschaft.12 with the public
expenditures for the culture about "subsidies" to talk, are therefore a substantial distortion of actual
circumstances. Rather the cash flow concerns ressortiert, into segments is divided the financing of
basic conditions, which appears only then as "subsidy", which are divided on the single departments
of the administration. Basic conditions and infrastructure to finance, is in every other connection
than a completely indisputable task of the state accepted. Certainly it is called there also in such a
way and derived not from the singularness and characteristic of the products, which are produced
under these basic conditions. That besides a not completely insignificant part of the means applied

for culture is passed on by this range directly to the service industries and the economy of the region
concerned, and already therefore not as subsidy in the actual sense of the word to be balanced, on
the other hand each institution for culture with direct economical effects can? from the taxi to the
catering trade, in order to designate only the most obvious? is connected, locks for the view only if
the culture process is uncoupled by its economic bases. And thus the economical network, which
stands behind the culture process, is not even really suggested. Only such connections extract
themselves from one aspect, which moves in the arbitrarily set contrast of "culture" and
"commerce". It is the administrativebureaucratic Ressortierung, which makes one-sided subsidy
conditions from financial and economic cycle relations. That wants to arouse the finally culturehostile discussion not at all around the "location factor culture" to new life, because a
shortconclusive instrumentalization for rather doubtful purposes means. At the end such a
discussion aims still at image care and the cultural needs of the solvent layers of the higher
management, for which thereby a "location" is to be made attractive for investments. That however
cultural activities with the economic form, which they possess in be-producing societies, into which
economic structures of a region are merged? if it is by the services for instance in the graphic and
polygraphischen trade, which takes it up, it is by the demand for services and consumer goods,
which induce her, it is by the value added tax arising, which they realize, are - a fact, which has
counter productive effects to surveyed expressed. Economic requirements and necessities can be
out-played only then against such of the culture process, if one before tore its connection up lying in
the thing by departmentistic balance procedures or still so well meant authentication strategies. The
culture enterprise, if one regards it in its entireness, is besides even a local restaurant factor by not
insignificant weight, with pre and subordinate restaurant mechanisms of most different kind in a
most complex way interlaced. It is characteristically certainly that to this side of the culture
process, which firmiert frequently under the key word "detour profitability" even elementary
statistic data hardly too received sind.13 in such a way calculated IFO IFO-Institut for economic
research an annual Anlageinvestitutionsvolumen of 8 billion DM in the culture range and a
contribution of 50 billion DM, made here, to the inland income with a total number of
approximately 800,000 Arbeitsplaetzen.14 in its wirtschaflichen power is the culture sector in the
Federal Republic with it for example for the energy industry or the nourishing trade comparably,
which obtained a similar economic result in the last years. Completely displaced also the fact is
with that entoekonomisierten culture term, which controls the politico-cultural discussion, that not
only opera houses, orchestras and theatres separate likewise publishing houses, clay/tone carrier
companies, video -, film and television production companies, the media, agencies, discotheques
and other more? thus enterprises of a partially considerable economic power? to the cultureproducing mechanisms belong. Sponsoren.15 around with at least two data, private for 1988 about
for the Federal Republic of a total volume from 175 to 185 billion DM at culture-relevant
expenditures estimated, compound to 90% culture-economical enterprises private from the
expenditures (culture and medium economy, book publishing houses, clay/tone carrier companies,
art trade, etc.), to scarcely 10% from the expenditures in the public culture and medium range
(theatre, orchestra, opera houses, museums, public media) and to 0.2% from the expenditures? due
to the availability of corresponding statistics from the range music? to place underneath: The
society for musical performance and mechanical rights of reproduction (GEMA) balanced 1992
total receipts from the rights of reproduction and performance of its members of 1.137,5 millions
DM16, the Federal association of the Phonographi economy (BPW) for the same period a gross
income volume of approximately 5 billion DM17 for the financial year. Behind it not least also
does an job market sector of quite considerable size stand, how the isolated investigations prove,
which are present for this? about the 1985 of the donation for economic investigations in Holland
provided analysis of the "art job market" from Amsterdam or the "data submitted by Mathias
Soendermann 1990 in Bonn to the job market in the Kultursektor"18. In the Federal Republic 1990
is the number of the artists and in the occupations of culture the persons employed of of 162.300 to
215.600 risen, which corresponds to an occupation growth, that the far over average other industries
liegt.19 Institut for job market and occupation research this increase for the period 1985-1991 as 29

per cent indicated between 1978 and, during itself the occupation volume in the same period in
almost all industries otherwise, partially drastically, reduced hat.20 as public culture promotion,
which cooperate non-profit operated and publicly financed activities of free carriers and the
enterprises of the culture economy in closer sense behind such numbers or possibly also in a
nationally organized expensive act against each other, extracts itself so far from the view; the fact
that they are one on the other referred is out of question. Which within every other range
immediately than economical mischief would expose itself, i.e. the isolation of product groups due
to its social and social meaning from the economic connections, in which they stand and develop, is
in the culture not only practice, but each consideration in the other direction than "culture-hostilely"
tabuisiert. Culture again into these connections to reset, means however not at all to want to expose
it thereby now to that tutelage of a strong "detour profitability". Still applies, which already wrote
Hajo Cornel years ago all too expressfinished Apologeten of all possible "Rentabilitaeten" in the
album: "cultural policy is not occupation -, social -, education, peace or European politics. It may
not want to relieve different politics fields of their tasks; she may not try already at all,
selbstlegitimatorisch this appearance to erwecken."21 if one however recognizes that cultural
activities possess always also an financial-economical dimension? and therefore is probably not to
come around -, then it is quite appropriate to ask how this is actually organized. Only so exists to
find out chance from the trap of the surplus financing. That certainly presupposes to understand
cultural policy as equipment that toward the framing and infrastructure conditions of the culture
process in its entireness is directed and these as a component of the social, economic and
technological total development of a region advances, instead of reducing or understand as a lobby
for certain cultural interests it to an instrument of the bare distribution from financial surplus to.
The culture process is not to be separated from the restaurant economics of a region not only, it
required rather for an alternative, independent economics, which subjects it neither to a crude
market logic nor thought and conceptionless with supporting and conveyances in it manages. 5.
Final speeches for a structure-political promotion beginning one regards the picture, which offers
cultural policy on local level, at political parties, cultural federations or in the public debates at
present, then cannot from one, like always also justified, conception-led acting any longer the
speech be. A general and become directionless activity determines the picture of local cultural
policy. From the postulate of a "culture for all" the Pragmatismus of a "culture for everything"
became, a cost-intensive cultural Dauerfestival, in which the culture events replacing in ever more
rapid consequence lie each other in the conflict with the constantly rising operating cost of the
solidifying institutions for culture and the ausufernden culture administrations. So wise structure
investigations of the local culture budgets between 1981 and 1991 with a growth of altogether 73.5
per cent superproportionally high increases out with the expenditures for culture administration
(127 per cent), for museums (109 per cent) and with the expenditures for mostly the Spektakel of
the festivals and culture summer meetings (174 Prozent).22 "the cultural policy of the 70's, aligned
summarized under" other culture care ", to image care and location advertisement, which was
coined/shaped by the beginnings ' culture for all ' and ' citizen right to culture ', in the 80's by a
cultural policy, here and there still the old labels used, itself however from it to a large extent turned
away hat."23 the Konzeptionslosigkeit was replaced on this Politics field affects itself particularly
problematic in the new Lands of the Federal Republic, where it coincides with the necessity for the
reconstruction of local culture promotion, with serious pagings of the cultural infrastructure, with
combination-conditioned social distortions, also, the often wildly rampantly growing occupation
initiatives (ABM) and above all different in-handing into this range with empty cashes. Similarly to
the again-created local administrative structures and the verselbstaendigten conceptual labels of
culture discourses old-of the German Federal Republic, which seemed to offer like "Soziokultur" an
infrastructural rescue anchor, formalizing cultural activities in mechanisms, working groups and
associations carried out itself substantially faster than their material cross-linking and shaping.
Before self-supporting sense discourses and representative life-style concepts could construct
themselves, they were already institutionalized in promotion-entitled sponsor organizations. The
occupation pressure on the one hand and the requirement for preservation regarding existing

cultural facilities on the other hand strengthened this one-sided formal orientation on working group
and working group forms still. Thus the actionism drives wild blooms, while a consolidation of the
culture, in particular their financing, is not in view. Projects and initiatives, which isolated and for
itself taken promotion to receive, without the structures are present, in which they could at longer
term to carrying come, are like investment ruins and just as fast as on the other hand such offeroriented promotion strategies a hardly masterable financial requirement versanden producing.
Evenly in it certainly also the chance lies to find under the pressure of the outside circumstances in
the East German Lands of the Federal Republic to trend-setting solutions and new ways. The
described situation requires less for new politico-cultural pro grammar as rather for fundamental reorientation in the question the feasibility of cultural policy. Conception is not only pro grammar,
but not less also Umsetzungstrategie. Compared with the actual realization in practice by culture
work and culture promotion anyway rather a surplus of pro grammar is to be registered, which runs
thus the risk, gradually to the bare Tagungslyrik to come on this politics field. Rather it would
depend on it, the requirement on "cultural democracy", as it in the last two decades the clearly
extended culture understanding immanently is, really seriously to be taken and from it a
democratization of the cultural policy become be let, those the way of life and the per specific
requirements of the different social groups in society accepted and their abilities, needs, habits in
their variability as cultural potential understands. That aims to create conditions which does not
only leave to the considerably increased number of the participants of the culture process area to
bring in and carry out own conceptions, but those the development of such conceptions carry,
instead of binding the Initiativreichtum to the access mechanisms on project means. A condition is
to integrate the Subsidiaritaetsprinzip of the culture promotion into a beginning the cultural policy
as structural policy understands and sets, where the structures of the culture enterprise became both
cost-floating and normative. Instead of promoting more or less conceptionless according to the
supplying principle a paid alimony culture offer it to develop and continuously finance would have
to concern thus rather to create infrastructures, which make such an offer-oriented alimony
increasingly redundant. That the out-differentiated cultural requirements from the addressed
authentication obligations to release to a large extent, autonomy and self organization in this range
carry, therefore politico-cultural decision-making processes democratize and would be besides with
a substantially more efficient employment of the means spent on the culture connected. The
Subsidiaritaet sets here not at the offer, but at the infrastructural bases of the culture process, with
which they find out from the trap of the surplus financing likewise like her the addressed
mechanism of the self production of the need at financial means escape could. In the core thus that
means to overcome the decoupling of the culture process from its own economic bases to in order to
release the culture from obligations to, which begin to affect itself before the background of more
scarcely becoming public means and the borders of the surplus financing long counter productive.
Indispensably it is the one which can be seized culture doistic for it however, the infrastructure term
of its key word character and the widespread reduction on those to release institutional core of the
culture process. With infrastructure are those elements, whose cross-linking and mutual
dependence are meant, the basis and the condition of cultural activities. That closes places and
areas of cultural meetings likewise like the entire pallet of the traditional institutions for culture, the
media just like the various commercially organized culture-economical small firms, in addition,
their material, interactive and financial, formal and informal cross-linking among themselves as
well as the legal, administrative and economic basic conditions for this. It is that social structure
connection, which makes, independently of their ever specific offer the existence in principle for the
participants possible of the culture process, national and local, free and commercial carriers. Exact
here each politico-cultural argumentation, which is not on the formulation of general pro grammar
out, pushes certainly to its borders. In order to resume them, would need it the Konkretion in the
empirical data and material conditions of a local or regional reference field, which is not possibly
made alone already by the fact that an offer-oriented cultural policy has always also only such
institutions in the view, in which its offers realize themselves and also only to that extent as itself its
offers realize these. Without appropriate analyses conceptional considerations in the suggested

direction can have a suggestion character certainly at best. A Perspektivwechsel, which takes the
infrastructure of the culture enterprise of a region as a whole into the view, independently of
working groups, department binding and household-legal competencies, would probably already
promote amazing with view of the financial structures put over it to day. It would jump probably
immediately then in the eye that the public hand over different departments in and the same equal
function several times financed (about if for the realization by single projects, for sample area etc.,
renting subsidies are granted to free carriers, during for example the school building likewise
financed by the public hand at the same time empty stand). From the perspective of the process,
instead of from the perspective of the department was probably also not regarded to be surveyed
that a part of the locally used culture conveyances probably considerable in the sum takes a way, on
which only cost-intensively money by a department to the other one is transferred (about if cultural
mechanisms by the office for culture the rent is paid, which passes the mechanism on concerned
then for their part again to a local wohnungsbaugesellschaft or a carrier of the country). According
to set analyses could also not remain hidden, where the assigned means work only cost-promoting
instead of culture-promoting (about if the paid Gagen transforms into a material battle around the
artist). To ask would be finally also, how high the portion of the provided project means is, which
with the culture-creative arrives actual. That it can in individual cases up to twenty per cent falling,
generally the costs of the project management with approximately 30 per cent of the means made
available for culture projects more than twice as high are like the comparable appoximate values
from other industries, speak neither for a costing nor for Strukturbewusstsein24. Already years ago
the Frankfurt culture politicians Hilmar referred hoping man to the fact that "control of the
expenditures entrusts... in the public sector committees [ becomes ], whose efficiency is directed
only toward saving means (audit). An efficient use from means to the reaching of a goal does not
fall into their Wirkungsbereich."25 that cultural activities quite also to carry is able? with an
inflexible non-profit character clause in the law on societies exactly if that would not be not
possibly made for its carriers -, would become just as obvious probably as the economical effects of
the culture economy strictly speaking. That by the way does not only mean their yield strength and
the of it outgoing indirect effects on the economy of a region, but also the direct contribution for the
reproduction of the culture process, for example realized by order assignment at artists. Between
the commercial and publicly promoted parts of the culture process a Symbiose.26 surveyed far
away exists and thus is only the financial aspects of cultural infrastructure marked out on the
infrastructural level. But alone this to organize in such a way that an increase in culture, in
creativity, self manipulation and innovation without an increase in costs becomes possible, would
be a not unimportant step ahead. But in the core it concerns more. Infrastructural conditions of the
culture process settle in cost factors, which are like operating and personnel expenditure, nonpersonnel costs and rents project independent and structure-referred promotable. A in such a way
set promotion creates conditions for cultural activities, without the decision over their contents? an
unavoidable consequence of offer-oriented cultural policy and its counterpart, the project
promotion? Administrative committees is transferred and without that the with difficulty
transparent and assignment of culture forms, most problematic in the thing, to a paid alimony in
principle and not-promotable a just as in principle commercial range is upstream. A in such a way
set promotion became above all the fatal, because to always new formalizing of structures in
cultural mechanisms and institutions work against cost-intensive tendency, which shift the
equilibrium of still far in favor of of retaining the once existing one, instead of bringing the
innovative potential from culture to carrying. However is still at the best one in of the involved
ones in the culture process organized and administered networks waived, which are creative to
remain flexible and, if the chance is granted to them to the existence beyond the administrative
formalizing obligations. Kind of such considerations are referred to the development of the cultural
system as a ganzheitlichen process, which needs political organization in structure and trend, the
commitment in the detail, the decision over concrete offer forms however the involved one leaves
and over the financing modalities to the administrations does not pull. Instead of a unfruchtbaren
polarization of the discussion in the direction of "nationalization" or "privatisation" of culture rather

their making possible should be called in by a consistent infrastructure policy in the sense of the
term infrastructure outlined above. That does not only presuppose local and regional-specific
structured models, which go beyond the past forms of the "culture development planning" (in the
available context certainly to supply are not). It requires that above all conceiving an appropriate
development equipment, which must aim necessarily at the economical reproduction form of the
infrastructural conditions of the culture process. If it concerns to finance with the mechanisms of
the culture promotion structures instead of projects then does not stand the question, which is to be
paid alimony concrete culture project, but which ever specific basic conditions for which cultural
activities to be created are, so that these are made possible. Such basic conditions can result from a
limited assumption of facility-conditioned operating and personnel expenditure (for instance with
the traditional institutions for culture), by assumption of cost of renting (with meetings of free
carriers), by limited grant of Anschubfinanzierungen, by Darlehnsbuergschaften, by unique
investment and material subsidies etc.. Yardstick are the material cost-generating factors, which are
project-independently to the specifics of the respective cultural activity bound, for cultural quarter
work necessarily differently fail and other factors concern than them for the promotion of the local
youth music scene, for which receipt of the gallery net of a region, for which execution of medium
workshops, for which care of chamber music or for the enterprise of a theatre are necessary. In each
case however the decision remains over the feasibility of the single project with the Machern
themselves and their public in such a promotion model. The levelling influence of the forces
without brakes of the market is with one specifically in each case with the living conditions of
cultural activities setting promotion likewise meets like the permanently growing financial
requirement for the realization of always new requirements. Above all however chances and risks
are substantially fairer in such a model of the culture promotion, because on all involved ones
directly distributes. Strukturpolitsch a justified culture-economical equipment, which is aligned to
the most favorable and most effective basic conditions of the culture process, with public
conveyances primarily capital and innovatively deals also here, development and not only existence
financed, which supplements traditional courses of the culture promotion approximately by a
culture-specific endorsement bank system, deficiency guarantees, obligation right capital,
decentralized resources administration and similar mechanisms well-known from the economic
policy? such an equipment is missing so far. That there are positive experiences partially of many
years in the application of such instruments in other countries? referred of Paris created institutes
pour le Financement you Cinema et industry the Culturelles, by several banks carried a culturespecific credit company, on the American Business Committee for the kind or on in the seventies
the Cultural Industries Policy developed by the Greater London Council on the 1983 into? at least
mention should find here. Culture financing certainly is still no cultural policy. Considerations in
the suggested direction require founding in a structure conception justified aligned at the local
conditions analytically and, which is put on on continuity and the qualitative development of the
existing one. But if culture does not have thereby longer than an isolated shelter in the long run
life-unfitter, because "higher" values one thinks, one understands and one administers, it a chance in
their whole variety to be kept only and remain alive. Culture politicians should leave such a
thinking to not red pencil-swinging political economists. Culture is indeed more than only beautiful
ones added to the life. Their powers to the development to bring, task for a really creative cultural
policy remains. Notes 1 data after Bernd wagner, the "new cultural policy" and the "new
nterest in the culture", in: Politico-cultural reports, No. 61/62, I + II/1993, P. 11 (back) 2 vgl.
Martin Kempe, discussion with Andr Gorz: The wage work company is not to be saved, in: The
new society? Frankfurt booklets, 41. Jg. 1994/7. 593; see also for this Andr Gorz, criticism of the
economic Vernuft, (red book publishing house) Berlin 1989 3 Hajo Cornel, quiet position of the
culture with forced enterprise? Of the "culture for all" to "culture for all". Fifteen theses for
politico-cultural situation, in: A.R.T. (Hrsg.), culture makes politics. As with culture city/state is to
be made, (Cologne people sheets publishing house) Cologne 1988, 213 4 Gerhard Schulze, the
experience company. Culture sociology of the present, (Campus) Frankfurt/Main, New York 1992,
513 5 vgl. Hilmar hoping man, culture for everything, (Fischer) Frankfurt/Main 1981 6 vgl.

Norbert they verse, "new cultural policy". Pro grammar and federation influence by the example of
the politico-cultural society, (politico-cultural society e.V.) Hagen 1988 [ = documentation 32 ] 7
vgl. Hermann glazier/Karl-Heinz steel, the recovery of the aesthetic one. Perspectives and models
of a new Soziokultur, (Juventa) Munich 1974 8 see in particular Olaf Schwencke, culture as
democracy process or of humans, in: H. Storck, Mut for the communication. Twenty five years
Evangeliscvhe academy Loccum, (Vandenhoeck & Ruprecht) Goettingen 1977, 205-222 9 walter
Grasskamp, cultural pauperization. Two hundred year civil cultural policy. Balance and reference
to losses, in: Frankfurt round rundschau, 22,10,1977, 12 10 W. Taubmann/F. Behrens, economic
effects of culture offers in Bremen, University of Bremen 1986; see also M. Hummel/C.
Waldkirchner, culture financing in Bremen, IFO studies to culture and economics, H. 2, Munich
1990 as well as M. Hummel, Standortbewertung and Kulturfinanzierung by enterprises in Bremen,
IFO studies to culture and economics, H. 3, Munich 1990 11 IFO IFO-Institut for economic
research, IFO express service, 207/88 12 M. Hummel, Kulturpolitik in times of limited public
household resources? new priorities in the relationship of culture, society and State of, IFO IFOInstitut for economic research, IFO express service v. 22 10. 1993 13 to the few, certainly also not
more completely current and exceptions belongs: M. Hummel/M. Berger, the economical meaning
of art and culture, IFO IFO-Institut for economic research, Munich 1988; K. Fohrbeck/A. Pointing
and, from the industrial company to the culture company?, Munich 1989; K. Geppert and others,
culture as restaurant economics in Berlin. A study of the German institute for economic research
DIW on behalf of the senate administration for cultural affairs, Berlin 1992 14 ebd. 15 vgl. K.
Fohrbeck/A. Pointing and, a.a.O., P. 49 16 instructions n. Billboard, 13,2,1993, P. 5 17 data after
music market 9/1993, P. 8 18 vgl. K. Fohrbeck/A. Pointing and, a.a.O., 97ff; see M.
Soendermann, Daten to the job market in the culture sector, Bonn 1990 19 vgl. Marlies
Hummel/Cornelia forest churches, economic development trends of art and culture, (Duncker &
Humblot) Berlin, Munich 1992 [ = series of publications of the IFO institute for economic research,
Bd. 132 ] 20 peace man Stooss, basic conditions of cultural education work, in: Cultural education?
Necessity or luxury, (German culture advice)? in the pressure. 21 Hajo Cornel, a.a.O., 217 22 vgl.
Armin small, the new interest in the culture: The expenditures of the municipalities from 1981 to
1991, in: The city day, 1/1993, 4ff and Michael Soendermann, the ten-comparison between years:
New priorities in the local culture budgets?, in: Culture research, 2/1991, 3ff; see also Hans
Guenter Groetsch, structures of local culture budgets, in: The city day, 10/1984, 650ff; Armin
small, for the development of the local expenditures for culture from 1975 to 1985, in: The city
day, 5/1987, 258ff 23 Bernd wagner, components for a cultural policy of the 90's?, in: Politicocultural reports, No. 51, I/1991, 45 24 vgl. Research center popular music, Popmusik as regional
restaurant factor, report No. 2, Berlin 1994 25 Hilmar hoping man, culture for all, a.a.O., 125 26 see
for this in more detail Karla Fohrbeck, Renaissance of the Maezene? Interest variety in the private
culture financing, (DuMont) Cologne 1989 1997 Peter Wicked becoming savings obligations on
the distance to remain.