Making cultural work visible in cultural policy

Comunian, Roberta; Conor, Bridget

doi:10.4324/9781315718408-17

Cited by 21 publications

(8 citation statements)

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“…Secondly, increased awareness towards ethical (and un-ethical) practices within the CIs and CE sector. This was particularly in regard to equality/inequality of access to creative work (Dent, 2019), the issue of labour precarity (De Peuter, 2011), poor livelihood outcomes (Comunian et al, 2010b), as well as the role that policy might play in providing frameworks for more socially sustainable careers in the sector (Comunian and Conor, 2017). Finally, attention for well-being, access and care (Wilson et al, 2020), which stretches from creative and cultural producers and the CE to their audiences.…”

Section: Early Connections Between Cis and Social Dynamics/network Researchmentioning

confidence: 99%

Guest editorial

Comunian

Rickmers

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2020

SEJ

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The creative economy is deadlong live the creative-social economies Introduction: defining the field In this paper, we discuss the possible evolution from the creative industries (CIs) and creative economy (CE) towards creative-social economies (CSE). However, before explaining why we believe there is an increasing overlap between these two areas of research and policy intervention, it is crucial to define the two areas separately and consider the definition and critical aspects of each field of research.Creative industries and creative economies. In the past 20 years, we have read widely around the role of the CE and CIs in economic development discourses and agendas for growth globally (UNESCO and UNDP, 2013;De Beukelaer, 2014;Sternberg, 2017). Directing attention towards CIs for the specific role they might play in economic development started to build up from the first Australian Creative Nation report (Radbourne, 1997) and the globally acclaimed and replicated definition provided by the Department of Culture, Media and Sport (DCMS) in 1998. Gross (2020) has undertaken an historical review of how the term CIs firstly developed in the UK within the newly elected Labour government in 1997. In the new definition the emphasis was put from the very start on the potential for these industries to create wealth: [. . .] those activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property" (DCMS, 1998).The definitionand associated measures of the economic contribution of these sectors towards national GDP, employment and exportspushed towards their complete separation from the arts and cultural field, supposedly to be more socially and communityoriented. This separation has caused a rift in the understanding how creativity works favouring two different business models (CIs as private/for-profit industries and arts and culture as made up by not for profit/public companies) rather than an ecological complexity perspective (Comunian, 2011(Comunian, , 2019. Even if within those initial discussions and in the words of the then Minister of Culture Chris Smith the two were profoundly intertwined and connected:Five principal reasons for the state subsidy of the arts in the modern world: to ensure excellence; to protect innovation; to assist access for as many people as possible, both to create and The special issue builds on the discussion and papers that were presented during an event entitled "SE, SI and the CE: current knowledge and shared research" which was hosted in the framework of the three-day workshop on "Dancing over Ideas of Research for a Responsible Innovation" (19-21 November 2018) co-organised and co-funded by King's College London (UK), Nanyang Technological University Singapore (NTU-King's College London M0600H0013, NTU-NISTH, NTU School of Art, Design and media and NTU-ADM Centre for Asian Art and Design) and the University of Applied Arts (Vienna). For information and up...

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Section: Early Connections Between Cis and Social Dynamics/network Researchmentioning

confidence: 99%

Guest editorial

Comunian

Rickmers

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2020

SEJ

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“…For those in the cultural industries, their work profiles are formed of myriad creative and entrepreneurial activities, which are often defined by time-limited project work on short term contracts or on an ad hoc basis ( Bartleet et al, 2019 ). While these so-called portfolio careers are common across the creative industries, this crucial part of the creative workforce has been described as ‘invisible’ to policy ( Mould et al, 2014 ), with the important role of freelancers to creative economies only becoming clear in times of economic crisis ( Comunian et al, 2017 ; Comunian & England, 2020 ). This meant that support packages designed by the UK government for self-employed workers were beset with eligibility problems, with millions left unable to claim ( Musicians' Union, 2020 ).…”

Section: Introductionmentioning

confidence: 99%

The future of the cultural workforce: Perspectives from early career arts professionals on the challenges and future of the cultural industries in the context of COVID-19

Shaughnessy

Perkins

Spiro

et al. 2022

Social Sciences & Humanities Open

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“…As Comunian and Conor (2017) argue, the lack of policy interest and structures for CCWs tends to become visible only in moments of crisis. C-19 has provided a critical moment to make visible the fragile and almost absent structural recognition and support of CCWs both to policymakers, wider public audiences and the workers themselves.…”

Section: Discussionmentioning

confidence: 99%

“…However, new forms of solidarity and resistance have been slow to form-due to the individualistic accounts of the struggle to succeed as previously mentionedwhile the sense of self-worth associated with being creative (Dent, 2019) has obscured the ability to recognise and/or resist precarity (Arvidsson et al, 2010). Therefore, this article builds on the 'invisible precarity' of CCWs (Comunian and Conor, 2017). It is important to consider how the strong individualisation of CCWs has resulted in less visible forms of solidarity and resistance that have been reported for other sectors of the gig economy 1 (Heery, 2009;Tassinari and Maccarrone, 2020) Finally, policy and research recognise the strong connection between the celebration of CCWs and the development of global cities.…”

Section: Creative and Cultural Workers: Entrepreneurialism Precarity ...mentioning

confidence: 98%

‘Covid-19 opened the pandora box’ of the creative city: creative and cultural workers against precarity in Milan

Tanghetti

Comunian

Dent

2022

Cambridge Journal of Regions, Economy and Society

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Creative and cultural workers (CCWs) concentrate in large cities due to the livelihood opportunities they facilitate. Synchronously, cities have experienced the highest rate of Covid-19 infections. Focusing on the case study of Milan, the paper explores the criticalities of the sector and the impact of the pandemic using qualitative interviews and digital ethnography. It highlights how C-19 has exacerbated the effects of neoliberalism on CCWs, illuminating their precarious working conditions but paradoxically providing time and focus for workers to collectively organise. This paper captures CCWs use of the city to make their precarious working conditions visible in response to the unsustainable demands of neoliberalism. It also engages with the need for re-futuring contemporary understanding of the creative city, questioning the value of agglomeration economies and creative city policies, especially if workers’ rights and livelihoods do not become central to the future local policy agenda.

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Making cultural work visible in cultural policy

Cited by 21 publications

References 1 publication

Guest editorial

Guest editorial

The future of the cultural workforce: Perspectives from early career arts professionals on the challenges and future of the cultural industries in the context of COVID-19

‘Covid-19 opened the pandora box’ of the creative city: creative and cultural workers against precarity in Milan

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