Kulturen och kommunen : Västerås kommuns kulturpolitiska argument och motiv 1948–1967

Sammanfattning

The purpose of this study has been to analyze the cultural policy initiatives of Västerås Municipality regarding theatre and music during the periods 1948–1952 and 1963–1967, based on Duelund's Nordic cultural policy model. The model focuses on three principles: equality, education, and identity. The findings reveal that Västerås cultural policy efforts during these periods largely align with Duelund's theory, encompassing all three principles, although the principle of identity is the least prominent. During the first period, 1948–1952, municipal cultural policy primarily aimed to make culture accessible to all citizens, reflecting the Social Democrats’ pursuit of equality and a socially inclusive welfare state. The principle of equality is evident in investments in public concerts and support for local cultural institutions such as the Music School and Riksteatern. These efforts aimed to provide equal access to culture, regardless of social background, and aligned with the "folkhem" ideology that emphasized education and equality. Initiatives to strengthen Västerås as a cultural city also reflected a broader effort to build a strong national identity, though this connection was more subtle in the sources. In the second period, 1963–1967, the principle of education became more prominent. The municipality focused on high-quality cultural offerings, children's theatre, and orchestral music to foster democratic citizens and provide young people with aesthetic education. This reflects a shift in the perception of culture's role—from a tool for social inclusion to a means of education and high-quality aesthetic experience. Particularly during this period, culture was positioned as a counterbalance to commercial and low-quality entertainment, with an explicit ambition to prioritize "good culture" over popular culture. This period also saw increased professionalization and the establishment of cultural institutions such as the Västerås Cultural Board, reflecting more organized and long-term planning in municipal cultural policy. Financial decisions, such as support for local cultural enterprises and comparisons with other cities like Örebro, suggest an ambition to make Västerås more competitive on the national cultural policy stage. In summary, the analysis illustrates that Västerås' cultural policy during the two periods represents a transition from a socially oriented policy focused on access and equality , the principle of equality, to a more aesthetically driven policy prioritizing education and high-quality culture, the principle of education. This transition aligns with national trends and ideas about cultural policy during the same period.