Creativity, self-expression and leisure

Abstract

The links between creativity, self-expression and leisure practices are underexplored within leisure literature. Despite research that documents the centrality of leisure as a worked-at process of self actualisation and self identity (Stebbins, 2004, for example), the practice of leisure is still predominately viewed as one of consumption rather than production and of passivity rather than creativity. This paper, supported by empirical evidence through qualitative research into the lives of users of the leisure spaces of the 'provincial bohemia' of the Ouseburn Valley, Newcastle upon Tyne, argues that there is a strong component of creativity in this group's leisure activity. This component, we argue, has, in recent years, become more important for 'aesthetic-reflexive' social actors in particular, as acts of selfauthored and individual-expressive creativity have become more central to economic production, and to social identity. The rise in creative leisure is strongly linked to the valorisation of the romantic-artistic ethic of inalienable creative self-expression and the rejection of mass and putatively passive forms of leisure consumption common within previous Fordist modes of economic production and social ordering.

Creative and Artistic Recreation and a Creative Approach to Recreation Organization: A Case Study of WI-MA Creative Industries Establishments

“…Inspired by the interviews described earlier which have been conducted by J. WHITING & K. HANNAM (2015), it would be worthwhile to carry out research on the functioning of users of the recreational space presented in the case study.…”

La construcción de marca de distrito cultural y creativo del "Ouseburn Valley" (Newcastle Upon Tyne, Reino Unido): análidis de su documentación filmográfica

“…Finalmente, cabe remarcar el papel de las diferentes industrias creativas y culturales (galerías, artistas, músicos) en este tipo de entornos (Hinves, 2016), especialmente en el desarrollo de festivales, tales como el Ouseburn Festival y el Ouseburn Open Studios, los cuales han de ser considerados a la hora de posicionar comunicacionalmente este tipo de distritos (Whiting y Hannam, 2015).…”

“…Así, hasta los años 80, se asocian valores relativos al desuso, el vandalismo y el declive industrial (Comunian, 2011;Hinves, 2016). Posteriormente, se vinculan ideas de regeneración urbana y, actualmente, valores vinculados al patrimonio industrial, la sostenibilidad, el arte público, la cohesión social y las industrias creativas y culturales verificándose así que los documentos analizados representan fidedignamente la realidad histórica del valle (González y Vigar, 2010;García et al, 2011;Whiting y Hannam, 2015).…”

“…Igualmente, se localizan otros elementos catalizadores del entorno, tales como la Ouseburn Farm, la biblioteca y museo nacional Seven Stories (Comunian, 2011;Mould y Comunian, 2015), el centro hípico Stepney Stables o la galería de arte e imprenta Norther Print, que incrementan la calidad cultural del área. Todo ello sin olvidar el papel de aquellos espacios contenedores de industrias creativas, como los estudios situados en 36 Lime Street o la Toffee Factory, que impulsan el desarrollo económico del área, así como su empleabilidad, especialmente en el sector artístico (Comunian, 2011;Whiting, 2014;Mould y Comunian, 2015;Whiting y Hannam, 2015) y de su «clase creativa» (Florida, 2005). Así, mediante esta investigación, se consigue configurar un espectro de valores, actores y elementos representativos del distrito cultural y creativo del Ouseburn Valley, que habrán de servir como esqueleto central en su gestión de imagen de marca.…”

Amateur and Professional Music Making at Dartington International Summer School

“…For some amateur attendees, the summer school's primary status is as a space where their leisure identity can take full sway; for professional musicians, whether established or aspiring, DISS fulfils a different role as an opportunity for performance, teaching, and learning. There are aspects of attending which fulfil a "holiday" function for the full-time professional musician-for example, the opportunity to stay in one location rather than moving around on tour-but distinctions between "work" and "leisure" are unclear for many professionals in the creative sector (Whiting and Hannam 2015). Social interactions often provide a forum for professional networking and the development of musical contacts which can lead to future engagements (Cottrell 2004;Dobson 2011).…”