What creative industries? Instrumentalism, autonomy and the education of artists

Abstract

As the narrative of the Creative Industries becomes commonplace, arts institutions are increasingly expected to interface arts practice with business and enterprise. This article opens with a critique of the CBI's document 'First Steps' (2012), arguing how this minimizes the arts' role in schools. It then provides an analysis of two pedagogies: productivism and autonomism. Following the implications that emerge from the tension between productivism and autonomism in arts pedagogy, and reading these implications from within the contexts of the divergent and increasingly hybrid forms of contemporary art practices, this article then moves on to state that to argue for the legitimation of the arts by gathering what they do under the designation of the Creative Industries would amount to reifying art into an object of mere use, thus distorting both its productive and autonomist possibilities.A society is a number of people held together because they are working along common lines, in a common spirit and with reference to common aims. The common needs and aims demand a growing interchange of thought and growing unity of sympathetic feeling. The radical reason

Relasi Antara Kreativitas, Efikasi Diri, Dan Intensi Berwirausaha Pada Mahasiswa Pendidikan Ekonomi

“…Kreativitas menjadi bagian tidak terpisahkan dari kewirausahaan (de Arriba dkk, 2019). Bahkan, studi Baldacchino (2013) menyatakan kreativitas dan inovasi adalah kunci sukses berwirausaha.…”

Studious Play as an Archê of Creative Music-Making: Repositing “the Scandal of Democracy” in Music Education

“…Neoliberalization of education imposes a mechanistic framework that severely undermines the democratic mission of education (Ball 2003, Gielen 2013, Rüsselbaek Hansen, and Phelan 2019. It also trivializes "creativity" by viewing it as an integral aspect of the entrepreneurial mindset that, as we are told, needs to be cultivated in an education that prepares the young for 21st century challenges (for a critique of these developments see Baldacchino 2013, Darras 2011, Kalin 2018, Kanellopoulos 2015, Kanellopoulos and Barahanou 2020.…”

Art Education and the Moral Injunction to be Oneself

“…Much as with Japanese ‘just‐in‐time’ industrial production, which devolves quality‐control authority to production‐line workers, the autonomy and creativity valued in art education gained prominence and backing in the United Kingdom for several years with programmes such as Creative Partnerships, the arts outsourcing initiative of the International Foundation for Creative Learning that lasted from 2002 to 2011 (Creativity Culture & Education no date), followed in 2012 by the Confederation of British Industries ‘First Steps’ plan (2012), which speaks of the arts as ‘enabling subjects’. John Baldacchino notes that, in ‘First Steps’, the CBI approvingly cites the Chinese government's National Plan for Medium and Long‐Term Education Reform and Development (2010–2020) , but lacks the zeal of the Chinese report, which, in promoting ‘education in aesthetics’, enthuses that ‘Labor education should be strengthened, to cultivate (students’) love for work and the working people’ (cited in Baldacchino , 346).…”