| Abstract | Kulturna baština se prema UNESCO-u odnosi na spomenike, skupine građevina o lokalitete od povijesne, estetske, arheološke, znanstvene, etnološke ili antropološke vrijednosti. Dugi niz godina se na baštinu gledala kao na verziju prošlosti primljenu kroz predmete, lokacije, događaje i sjećanja. Kasnije se taj fokus mijenja i ono što postaje bino je način na koji se baština izražava kroz pojmove kulture, identiteta i politike. Razvoj kulture prati se i u razvoju tehnologije i pod utjecajem globalizacije te se može govoriti o takozvanim globalnim i virtualnim kulturama. Tako i nastaje pojam kreativnih i kulturnih industrija koje su zapravo djelatnosti koje potječu iz ljudske kreativnosti, vještina i talenta i imaju potencijal za ostvarivanje prihoda. Pojava kulturnih i kreativnih industrija podijelila je mišljenja te tako pojedini autori smatraju da se u želji za profitom gubi bit kulture dok drugi smatraju da su kulturne i kreativne industrije ključni izvor nacionalnog bogatstva i društvenih inovacija. Globalizacija i razvoj tehnologije također su u kulturi rezultirali stvaranjem kulturnih politika. Jedna od definicija kulturnih politika je ta da su one sredstvo sveukupne državne politike koje se tiče kulture, odnosno područje javne politike vezano uz aktivnosti koje uključuju umjetnost i kulturu te potiču razvoj kulturne raznolikosti. U Republici Hrvatskoj kulturne politike se sustavno provode od osnutka države. Prolazeći kroz procese tranzicije, rata i privatizacije kulturne politike u Hrvatskoj tek 2000. godine ostvaruju napredak kada Ministarstvo kulture kreće u izradu novih legislativnih mjera. Glavni cilj tih mjera bio je decentralizacija upravljanja kulturom. Hrvatska u tom periodu sve više pokazuje interes za usklađivanjem kulturnih politika sa standardima Europske Unije, a danas kao članica Europske Unije prati zadane parametre kulturnih politika same Unije. Odnos kulturnih politika grada Varaždina, baroknog grada na sjeveru Hrvatske, ovaj rad prati kroz strategiju kulture i proračunske dokumente grada. Strategija razvoja kulture odnosi se na period od 2016. do 2020. godine, a iz istog perioda analizirani su proračunski dokumenti. Varaždin gradi imidž grada kulture ulaganjima u obnove kulturnih objekata i uključivanjem svojih stanovnika u aspekte kulture i organizacijom raznih manifestacija i evenata. Razvijaju se strateški projekti koji se uglavnom odnose na obnovu i adaptaciju kulturnih građevina u kulturne svrhe te projekti za razvoj kulturnih industrija. Analizom proračunskih dokumenata grada Varaždina vidljivo je da je Grad nastavio trend povećanja rashoda za kulturu tijekom 2017. i 2018. godine, udvostručivši davanja u odnosu na 2016. Isto tako povećanjem financiranja festivala ti festivali postaju temelj prepoznavanja Varaždina kao kulturne sredine i u konačnici došlo je do boljih rezultata prihoda grada. |
| Abstract (english) | According to UNESCO, cultural heritage refers to monuments, groups of buildings and sites of historical, aesthetic, archaeological, scientific, ethnological or anthropological values. For many years, heritage was seen as a version of the past received through objects, locations, events and memories. Later on, that focus changes and what becomes important is the way heritage is expressed through notions of culture, identity and politics. The development of culture is monitored in the development of technology and under the influence of globalization, and we can discuss the so-called global and virtual cultures. This is how the notion of creative and cultural industries emerges, which are in fact activities that originate from human creativity, skills and talents and have the potential to generate income. The appearance of cultural and creative industries has divided opinions, so some authors believe that the essence of culture is lost in the desire for profit, while others believe that cultural and creative industries are a key source of national wealth and social innovation. Globalization and the development of technology have also resulted in the creation of cultural politics in culture. One of the definitions of cultural politics is that they are a means of the overall state policy concerning culture, in the area of public policy related to activities that include art and culture and encourage the development of cultural diversity. In the Republic of Croatia, cultural politics have been systematically implemented since the founding of the state. Going through the processes of transition, war and privatization of cultural politics in Croatia, they only made progress in 2000 when the Ministry of Culture started drafting new legislative measures. The main goal of these measures was the decentralization of cultural management. In that period, Croatia increasingly showed interest in harmonizing cultural politics with the standards of the European Union, and today, as a member of the European Union, it monitors the set parameters of cultural politics of the Union itself. The relationship between the cultural politics of the city of Varaždin, a baroque city in the north of Croatia, this thesis follows through the culture strategy and budget documents of the city. The culture development strategy refers to the period from 2016 to 2020, and budget documents from the same period were analysed. Varaždin builds the image of the city of culture by investing in the renovation of cultural facilities and involving its residents in aspects of culture and organizing various events and manifestations. Strategic projects are being developed, mainly related to reconstruction and adaptation of cultural buildings for cultural purposes and projects for the development of cultural industries. The analysis of budget documents of the City of Varaždin shows that the City continued the trend of increasing expenditures for culture during 2017 and 2018, doubling the fees compared to 2016. Also, by increasing funding for festivals, these festivals become the basis for recognizing Varaždin as a cultural environment, ultimately showing better city revenue results. |
