Looking for work in creative industries policy

Banks, Mark; Hesmondhalgh, David

doi:10.1080/10286630902923323

Cited by 237 publications

(158 citation statements)

References 17 publications

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“…This article is offered as commentary in respect of the themes of this special issue, but also in complement to a set of rapidly expanding inquiries into the neo-liberalisation of higher education (e.g. see Collini, 2012) and cultural or creative industries education in particular (Banks and Hesmondhalgh, 2009;Ashton and Noonan, 2013;Oakley, 2013b) The origins of the art school…”

Section: Introductionmentioning

confidence: 99%

The dance goes on forever? Art schools, class and UK higher education

Banks

Oakley

2015

International Journal of Cultural Policy

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For most of the 20 th century, the UK 'art school' was widely seen as an accessible alternative to University. In Art into Pop (1987), Simon Frith and Howard Horne revealed how this state-funded art and design training, linked to manufacturing industries and backed by relatively low or informal entry requirements, offered the prospect of social and economic uplift for hitherto marginalised working-class youth. More recently, however, while enrolments have expanded, art schools have become absorbed into conventional universities and the class profile, at least at the more prestigious colleges, has changed significantly.Simultaneously, art schools, together with other forms of higher education (HE) have been yoked to a broader public policy agenda of the 'creative economy' -one that often marginalises working-class people. This paper takes the changing nature of the art school as its starting point for discussion of class, higher education and the creative economy workforce.

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Section: Introductionmentioning

confidence: 99%

The dance goes on forever? Art schools, class and UK higher education

Banks

Oakley

2015

International Journal of Cultural Policy

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“…Creativity thus became a generic part of the inventiveness common to all economic activities that constantly require knowledge, investment and skill complementarity to high tech in the production process, in order to ensure innovation and competitiveness. 3 The consecration of key values associated with creativity in the work setting is one of the arguments of the creative industries' revamping policy: a flexible and compliant personal approach, an appetite for risk, the ability to cope with the unexpected, lateral and intuitive thinking, the championing of diversity within teams (Banks and Hesmondhalgh 2009). What do those jobs and employment markets promoting such qualities look like?…”

Section: Introductionmentioning

confidence: 99%

Contingent High-Skilled Work and Flexible Labor Markets. Creative Workers and Independent Contractors Cycling Between Employment and Unemployment

Menger

2017

Swiss Journal of Sociology

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Flexibility in highly skilled jobs combines the characteristics of the secondary and the professional labor market, which oblige to revise the separation between salaried work and self-employment. Two cases are studied: the employment system of artists and technical workers in the performing arts and the work of independent contractors mediated by umbrella firms. An analysis of the French labor market shows how "flexicurity" may work, but also how its books may get unbalanced, as employers learn to make strategic use of unemployment insurance. Keywords: performing arts, independent contractors, flexibility, unemployment insurance

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“…The first line of research focuses on the hypothesis of the importance of the creative and cultural activities in the local, regional or national economy, but also on the creation and maintenance of a significant number of jobs (EC, COM-2010-183). The creative industry becomes a key concept in the economy of knowledge contributing to the increase of territorial competitiveness by implementing coherent policies, development strategies and inter-institutional cooperation for the development of creative activities (Banks, Hesmondhalgh, 2009;Comunian et al, 2010).…”

Section: Introductionmentioning

confidence: 99%

Creative economies in Romania – spatial projections and trends

Pintilii

Peptenatu

Ciobotaru

et al. 2017

Bulletin of Geography. Socio-Economic Series

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Abstract.Creative economies are at the heart of the knowledge-based economy. The main objectives of the study are to present the spatial design of the regional systems of creativity in Romania and to identify the evolutionary trends, by creating spatial models for key economic indicators, specific to such economic activities. This paper focuses on how creative economies are concentrated in the national network of settlements and how they differentiate in terms of regional profile. Consequently, a yearly nationwide database was created for 2000-2012, which includes four-digit creative economic activities, according to the Classification of National Economy Activities, for each administrative unit in Romania. The analyses, conducted for the same period, show a concentration of creative economies as a national polycentric network which includes the capital city and cities with over 300,000 inhabitants, as well as their structured territorial systems emerging around them, representing the local and regional polycentric networks. The analysis of the economic profiles highlights the growing share of creative economies in the national economy that tends to contribute more and more to the increase of the operational complexity of the local and regional economies.

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Looking for work in creative industries policy

Cited by 237 publications

References 17 publications

The dance goes on forever? Art schools, class and UK higher education

The dance goes on forever? Art schools, class and UK higher education

Contingent High-Skilled Work and Flexible Labor Markets. Creative Workers and Independent Contractors Cycling Between Employment and Unemployment

Creative economies in Romania – spatial projections and trends

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