Creative economy and policy

Doyle, Gillian

doi:10.1177/0267323115614469

Cited by 17 publications

(9 citation statements)

References 37 publications

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“…However, notwithstanding this wave of critical reflection, it is beyond question that the strategic positioning of the cultural and creative sector as pivotal to Britain's economic recovery postfinancial crash, and of the creative economy as the key to future prosperity and growth for Britain in the uncertain post-Brexit economic scenario, is a key feature of current policy discourse (CEBR 2013;Doyle 2016;Henley 2016;Hesmondhalgh et al 2015;Lee 2017;Neelands et al 2015;Newsinger 2015).…”

Section: Introductionmentioning

confidence: 99%

Whose cultural value? Representation, power and creative industries

Belfiore

2018

International Journal of Cultural Policy

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The debate around 'cultural value' has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of 'economic value', at the expense of other forms of value-cultural, social, aesthetic. This paper's goal is to counter this prevalent oversimplification by focusing on the mechanisms through which 'value' is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy's blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as 'critique in the public interest'. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.

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Section: Introductionmentioning

confidence: 99%

Whose cultural value? Representation, power and creative industries

Belfiore

2018

International Journal of Cultural Policy

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“…Nur Muhyar, "The government has tried to patent Jaranan art, but because Jaranan art has a lot in common with the Kuda Lumping art in various regions and Jaranan in Kediri does not have a special grip, so to look for failures". Strengthen rights copyright (patent) or extend period the time no will on an automatic translated to more creative output level high if the motivation for involvement in production very low creative [13].…”

Section: Patenting Jaranan Artmentioning

confidence: 99%

Strategies to Increase Travel Attraction of Jaranan Dance Art at Digital Technology Era

Putra¹,

Dewandaru²,

Vaulia³

2021

Proceedings of the 2nd International Conference on Business and Management of Technology (ICONBMT 2020)

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This research was made to see how much the utilization of the creative industry in the Kediri City and the development of the local economy, especially in the Jaranan art dance, which has become one of the icons of Kediri City. Through the preservation and development of Jaranan art dance, it will encourage the growth of other creative industries. This research uses qualitative descriptive data analysis method, where this method is used to explain a phenomena that occurs. The results showed that the Jaranan arts had a great appeal in the people of Kediri City. The government also has the seriousness to manage that is by giving the parent number and participating in the event in the Kediri City. Jaranan art dance gives its own charm, so that in every show there are many small traders who sell and the increasing number of Jaranan equipment craftsmen who live from the attraction of Jaranan art. The location of the show is needed with good facilities, as well as a fixed scheduling so that tourists can be comfortable and easy in enjoying Jaranan art dance. Promotional activities through internet social media, and shows use technical materials than can add a modern impression. Jaranan sustainability can be maintained by including in the school curriculum.

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“…Además, Facebook parece ser una fuente de información más contaminada que Twitter o la web en general, ya que favorece la personalización de noticias en el denominado Daily me, totalmente determinado por las teorías de las Echo Chambers y de las Filter Bubbles (Benkler, Faris y Roberts, 2018). Ante esta situación, parece obvio que la expansión digital no está conduciendo sin duda a una mayor diversidad y pluralismo en los medios (Doyle, 2016). También hay, sin embargo, autores que piensan que el efecto Echo Chambers no es realmente tan poderoso, ya que la diversidad de medios presente en internet reduce su influencia, recomendando además hacer estudios no basados tan sólo en Twitter (Dubois y Blank, 2018; Garcia, Abisheva, Schweighofer, Serdült y Schweitzer, 2015).…”

Section: Noticias Usuarios Y Redes Socialesunclassified

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2020

MEDCOM

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Creative economy and policy

Cited by 17 publications

References 37 publications

Whose cultural value? Representation, power and creative industries

Whose cultural value? Representation, power and creative industries

Strategies to Increase Travel Attraction of Jaranan Dance Art at Digital Technology Era

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