In the past fifty years in Danish politics, both social democratic and national conservative paradigms have struggled in order to define the significance of cultural life in society. This is a cultural struggle which most likely leads back to the swells of the culture clashes that are explicitly found in the wake of the Danish Art Fund in 1964. The starting point of the analysis is the germ of the cultural clash consisting of different positions during the period from 1960-1965. The positions are represented by art appreciation of Bjørn Poulsen, Villy Sørensen, Poul Henningsen and the Rindalisme movement and will be analysed based on a conceptual juxtaposition of a duty and rights culture. The thesis shows that the culture clash was a struggle between the modernist artists and the protesting citizens - between a culture of rights and a culture of duties. In an alliance with the Social Democrats the cultural radicals and modernists formulated a compromise that formed the foundation of the welfare state of art, which was institutionalised by the foundation of the Danish Art Fund in 1964. Hereby the rights culture branched out into the welfare state's cultural and educational institutions and came to represent the socialist cultural paradigm. Simultaneously, popular art gained strength in mass-consumption culture. This created a cultural divide in the distinction between high culture and mass culture that contributed to shifting the emphasis from a culture of duties to a culture of rights. The consequence of the conflict was a cultural gap between a high culture and a low culture possibly resulting in the imbalance between duties and rights in society.
|Uddannelser||Historie, (Bachelor/kandidatuddannelse) Kandidat|
|Udgivelsesdato||16 maj 2011|
- Statens Kunstfond