Inequalities within the cultural and creative industries (CCI) have been insufficiently explored. International research across a range of industries reveals gendered patterns of disadvantage and exclusion which are, unsurprisingly, further complicated by divisions of class, and also disability and race and ethnicity. These persistent inequalities are amplified by the precariousness, informality and requirements for flexibility which are widely noted features of contemporary creative employment. In addition, women in particular are disadvantaged by the boundary‐crossing (for instance, between home and work, paid work and unpaid work) and new pressures around identity‐making and self‐presentation, as well as continuing difficulties related to sexism and the need to manage parenting responsibilities alongside earning. This article introduces a new collection which explores these issues, marking the significance of gender for an understanding of creative labour in the neoliberal economy.

This article presents a discursive analysis of interview material in which single women reflect on their relationships and reasons for being single. Despite changing meanings of singleness, it remains a 'deficit identity' (Reynolds and Taylor, 2005) and the problem for a woman alone is to account positively for her single state. Our analysis challenges theorisations which would suggest autonomy and agency in how identity and self are constructed. It employs the methodological approaches developed in critical discursive psychology (for instance Wetherell, 1998) to look at the detailed identity work of speakers as part of the identity project proposed by Giddens (1992Giddens ( , 2005, Bauman (1998) and other writers associated with the 'reflexive modernisation' thesis (Adkins, 2002). By approaching 'choice' as one of the cultural resources available to speakers, we present a more complex view of the dilemmas around a speaker's identity work in her accounting for her relationships and the course her life has taken.

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Abstract:The identity projects of novice creative practitioners must take account of the economy of art work. It has been suggested (McRobbie, 2002a)

Twenty-eight women were recruited from prenatal classes and randomly assigned to receive massage in addition to coaching in breathing from their partners during labor, or to receive coaching in breathing alone (a technique learned during prenatal classes). The massaged mothers reported a decrease in depressed mood, anxiety and pain, and showed less agitated activity and anxiety and more positive affect following the first massage during labor. In addition, the massaged mothers had significantly shorter labors, a shorter hospital stay and less postpartum depression.