Creating a life: the role of symbolic and economic structures in the gender dynamics of Swedish artists

This article examines the prevalence of parenthood among professionally practising artists in Sweden. The overall aim of the article is to employ feministic and sociological perspectives to provide a theoretically-based understanding of the problems of balancing work and family life in the arts. Data are presented that reveals that female artists are more frequently childless compared to their male counterparts and women in the overall population. Male artists, however, are less frequently childless than men in general. The article develops a theoretical explanation focused on the effect of economic resource structures, which leave women artists to cope with lower incomes with which to pursue careers in the arts, and symbolic structures, which present creative work as difficult to combine with everyday domestic work. Given that motherhood continues to be associated with more comprehensive caring responsibilities than fatherhood, women are more frequently confronted with a choice between starting a family and pursuing their artistic calling.     

Devout Muslim masculinities: the moral geographies and everyday practices of being men in Turkey

While the academic focus on Muslim women’s dress and comportment has enriched our understanding of the multifaceted formation of pious femininities, there has been much less consideration of the embodied practices of Muslim men. What work does exist on Middle Eastern men’s piety, sexuality, and everyday conduct too often falls back on established categories, such as traditional, Western, or Islamic identities. Yet it is crucial not only to critically examine how we conceptualize masculinity in the Middle East, but also to recognize the political and cultural importance of how masculinities are enacted through everyday practices. In this article, we argue that questions of dress and bodily practice are relevant to an understanding of how young devout Muslim men navigate the complex spatiality of piety, morality, and masculinity in contemporary urban Turkey. Drawing on fieldwork with young devout men in Konya and Istanbul, we illustrate how multiple, competing devout Muslim masculinities participate in the production of uneven moral geographies in these two very different Turkish cities. Further, we find that the possibility of different ways to enact devout masculinity opens questions about the universality of Islamic knowledge and practice. We suggest that the embodied construction and regulation of the looking-desiring nexus tethers male sexual desire to the public performance of Islamic morality. Our intervention is thus to demonstrate how different versions of masculinity and Islamic piety striate the moral geographies of these two Turkish cities, and thereby to further recognition of the contingency and plurality of both masculinity and Islam.     

Female artistic identity in place: the studio

In this paper I examine the role of the studio as a central site of artistic identity construction and maintenance. Using ten case studies drawn from interviews with contemporary women visual artists from Toronto, Canada, I argue that women artists value studio space because it powerfully reinforces their sense of commitment and belonging to a predominantly male‐dominated profession. I consider how women cope with the demands of artistic practice when they are unable to establish a spatially separate workspace by addressing the experiences of artists who are parents. I demonstrate how women artists who are primary care‐givers are rarely adequately protected from the interruptions of daily life and have grown accustomed to working in fragments of time and space. While these women may appear willing to concede space to others, when space is crucial to their artistic practice, they have a remarkably strong influence on the form of their creative environment. I maintain, then, that the studio as a fixed physical space continues to be a very real necessity for women artists in all stages of their careers.     

The Eighth Argument. Identity,Ethnicity and Political Culture in Sixteenth-Century Scandinavia

What was a Swede in the 16th century? How did people identify themselves and others, and what political role did collective identities play before the coming of modern nationalism? One would perhaps expect that there exist many works proposing answers to such questions. Within the humanities, there has been a steadily increasing interest in culture and identities in the last few decades. Nevertheless, few have asked such questions. When dealing with medieval and early modern Europe, historians have put the questions rather in this way: Was the Swede of the 16th century Swedish in the modern sense? Did nations and/or nationalism exist before the end of the 18th century? The discussion of medieval and early modern identities has been severely limited by "the nationalicistic trap". Identities before the late 18th century have been studied in order to look for the roots of modern national identity, to find out where nations originate, or to argue that nationalism is a purely modern phenomenon. I intend to fall into that trap myself later in this article, discussing why nationalism and national identity are less fitting concepts when dealing with the 16th century. But basically, I seek to uncover and conceptualize the identities of the time in their own right.     

Reconstituting Community in Divided Society: Faith-inspired Civil Organizations and the Case of Corrymeela

Abstract

Faith-inspired civil organizations (FICOs) are growing in recognition for their relational and sustainable approaches and contributions to peacebuilding, especially in areas where religious or cultural identities have complicated contexts of violent conflict. The capacity of FICOs to penetrate the deeper and long-term obstacles to peacebuilding is largely a consequence of their underlying faith-based motivations and methods for intervention. This article explores one particular FICO: the Corrymeela Community, which has played a notable public role in the work of peacebuilding and reconciliation in Northern Ireland. In examing the theological roots and operational character of Corrymeela, this article explores possible answers to three important questions. First, as a Christian-inspired organization emphasizing an ecumenical, interfaith approach to sustainable peace, where does Corrymeela locate its theological understanding of violent conflict and purposeful intervention? Second, how does this theological understanding inform and shape its operational strategies for strategic peacebuilding in Northern Ireland? Finally, in a “post-Troubles” Northern Ireland, what is the way forward for such an organization? How might its work and lessons-learned as a FICO continue to impact Northern Ireland, while at the same time contribute to the convoluted work of reconciliation in other regions confronting religiously-fueled violence?     

Constructing contemporary artistic identities in Toronto neighbourhoods

This paper examines the role of the neighbourhood in the construction of artistic identities. Drawing upon in‐depth, semistructured interviews with Canadian visual artists from Toronto, I identify some of the common features of downtown Toronto neighbourhoods where artists congregate. I demonstrate that artists are drawn to neighbourhoods that have not been gentrified and do not directly reflect current dominant values in society. I focus, in particular, on the importance of marginal niches of improvisational space within the urban fabric. Marginal spaces, often neglected and overlooked, weakly classified and in a state of becoming, I argue, are essential to the development and sustenance of an artistic identity .     

The social contract of artists in the era of cultural industries

The aim of this paper is to analyse the growing emphasis on the concepts of the experience economy, creative industries, and cultural industries as ways in which the social contract of artists is negotiated. What expectations are directed towards the artistic profession and how is the contribution of artists to society and their work conditions constructed by these concepts? The paper applies the concept of social contract from the sociology of professions which enables a focus on the artistic profession not only in an internal arts world perspective, but also in a broader societal frame. The study presented was carried out in a Norwegian context. Empirically, the paper is based on 28 applied research reports.     

Resisting the creation of forgotten places: artistic production in Toronto neighbourhoods

This article analyzes semi-structured interviews with contemporary visual artists from Toronto, Canada, to explore the relationship between artists, memory, and place. The focus of the article is on three neighbourhoods in downtown Toronto that have the potential to become forgotten places of artistic production: Yorkville, King Street West and The Junction. Through an analysis of artists' spatially grounded narratives about these three neighbourhoods, I reveal how the intense emotional and material connections that artists have to places have the potential to challenge the loss of collective urban memory. This article contributes to intersecting literatures on neighbourhood change, artistic production and the importance of vernacular memory in urban cultural geography.     

Parenting the Profligate Son: Masculinity, Gentility and Juvenile Delinquency in England, 1791–1814

This case study of fatherhood in early nineteenth-century England examines the conflict between a wealthy East India Company merchant and his increasingly wayward adolescent son, who was transported to Australia in 1814. It argues that fatherhood was often necessarily a reactionary process, that did not conform to a static, historically specific model of ideal or dysfunctional fatherhood. It also traces the origins of much of the disagreement to conflicting ideals of masculinity between father and son, which were exacerbated by their rise in wealth and social status. Since both aspired to the elite status of gentleman, the article demonstrates that competing and compatible ideals can co-exist within different generations of the same family. Thus a study of male family experience suggests that hegemonic masculinity is subject to short-term shifts of emphasis on those values adopted by men of different ages and social status.     

Why are artists getting poorer? About the reproduction of low income among artists

In the period 2006 to 2013, Norway has experienced a substantial increase in public subsidies to culture as well as a substantial increase in real income growth in general. This paper discusses different explanations for why Norwegian artists’ real artistic income has declined between 2006 and 2013, despite the positive economic development in Norway. We have based the study in particular on two comparable studies on the income and work situation of Norwegian artists in 2006 and 2013. We analyse and discuss why the artists’ real artistic income has declined during this period. We do not find a single, general, explanation for this, but the income decline does not primarily seem to be due to either an increasing number of artists or a decline in public scholarships to artists. Our two most striking findings are: (i) A substantial decline in most artists’ artistic working hours and a corresponding increase in artistically related and non-artistic working hours, and (ii) a tendency for artists to derive less of their income from the market, together with an apparent decrease in cultural consumption (spending) among Norwegians. These two factors – especially the latter – seem to be the major factors behind the decline in artistic income.     

Does Nature Always Matter? Following Dirt through History

Despite several decades of impressive scholarship in environmental history, the field remains largely marginal to the discipline as a whole. Environmental stories are still more likely to turn up in introductions, sidebars, and footnotes to political, social, and economic histories than they are to be incorporated into those narratives in a transformative way, though we as environmental historians know that potential is there. As we struggle to identify what precisely it is that we want other historians to do with our work, we run up against questions of definition and mission: What is environmental history? What do we do that is unique? What do we want other historians to learn from what we do? Some scholars in our field have suggested that we can answer these questions by framing “environment” as a category of analysis parallel to race, class, and gender, arguing that careful attention to the environment offers as rich a way of uncovering power relationships in societies as attention to these other categories does. While it is true that power can be read in the environment, and is frequently expressed through it, I argue that “environment” as both concept and fact is so fundamentally different from class, race, and gender that the analogy does not work, and distracts us from another, more fruitful strategy for articulating the broader relevance of our scholarship: demonstrating the significance of material nature for histories beyond the environmental realm. If other historians would join us in our attention to the physical, biological, and ecological nature of dirt, water, air, trees, and animals (including humans), they would find themselves led to new questions and new answers about the past.     

A century of Grace; restorative spatial justice,pedagogy, and beloved community in twenty-first century Detroit

This article poses feminist biographical investigation as a dialectical approach to situated knowledge, and as a potential avenue for a feminist theorization of space and place. By exploring biography as a departure from canonical epistemological structures, the attempt here is to credit, contextualize and identify key places and people of origin in the evolution and production of theory and knowledge without such heavy dependency on the usual resources that legitimize theoretical and pedagogical contributions; such as academic publications, teaching contributions and references. The biographical focus of this article is the life and work of Grace Lee Boggs, an important contributor to urban studies whose theoretical and pedagogical contributions have gone largely unacknowledged by geographers and spatial thinkers. What can a biographical investigation teach us about feminist knowledge production relating to the production of space? What does feminist biography offer epistemologically to our understandings of space? These questions are examined here through the theoretical contributions of Grace Lee Boggs, a long-time resident of Detroit, second generation Chinese American, civil rights and feminist activist and working class philosopher, as a means of exploring biography as a feminist research methodology.     

The democratisation of culture in France in the nineteenth & twentieth centuries: an obsolete ambition?

For generations of cultural administrators and players, extending the benefits of culture to the wider population, enabling the majority to access and be involved in cultural life, has been a moral and political priority; not only for the purposes of enjoyment but because the imparting of Enlightenment values, the acquisition of knowledge, the sharing of artistic creation and emotion and the transmission of cultural heritage have all been considered in this country as an integral part of both republican and democratic undertakings. Democratisation has been the guiding principle, both explicitly and implicitly, of a major part of French cultural policy over the last few decades, the primary reason for public involvement in cultural matters and the ultimate sign of the success or failure of all cultural policies. What have been the manifold faces of this ambition, what forms has it taken throughout the various eras and in what forms does it survive today? These are questions which this article seeks to address.     

Signs of Masculinism in an 'Uneasy' Place: Advertising for 'Big Brothers'

'Big Brothers' is an international, philanthropic fraternal organisation dedicated, in its own words, 'to match boys seven to seventeen from lone-parent female families with mature male role models over eighteen … toward contributing to the healthy development of these children'. A primary objective of this 90 year-old institution is thus to instil a masculine culture and nurture a masculine identity in male children by providing an adult male presence, 3-4 hours a week, in the lives of boys without a male role model. This article asks, which kinds of masculine identities are promoted as acceptable and why? Drawing upon the geographies of feminism, masculinity, and advertising, the article presents a socio-semiotic analysis of the format, content and signs employed by 'Big Brothers' of Canada and the USA in their recruitment campaigns. Using printed promotional material spanning the institute's history, as well as an interview with the Marketing Director of a recent Big Brother recruitment campaign, the slogans, icons, and gender-myths used to represent males and same-sex friendships in the symbolic spaces of their advertisements are critiqued. Results exemplify the instability of the 'masculine gaze' and suggest that the discourse of patriarchal masculinity situates the Big Brothers institute itself in an 'uneasy' place, one where the masculine gender-myths may be collapsing but are nevertheless evoked to ensure volunteers and society at large that a 'legitimate' form of homosocial masculinity prevails, one that does not transgress 'out of bounds' and into the 'homosexual'.     

Thinking about security in Africa

This article attempts to clarify some of the central questions and distinctions that provide the necessary backdrop for thinking in a sophisticated way about security in Africa. Drawing on the developing Critical Security Studies literature it suggests that an understanding of security based on people, justice and change offers the surest route to a stable future. It then sketches preliminary answers to some fundamental questions, namely: whose security should be prioritized? How have security dynamics in Africa been influenced by the wider processes driving world politics? What clusters of threats are the most salient? Where do such threats have the most pernicious effects? Which actors are best placed to alleviate those threats? And what sort of institutions should be built to assist in that process? The role of outsiders concerned with promoting security on the continent should be to try to ensure that as many Africans as possible are able to voice their opinions on these crucial issues.     

Concepts of community in the pursuit of an inclusive archaeology

Community is a key concept that shapes how we approach our relationships with other individuals and groups. In this article, the author reviews how scholars and laypeople alike use the concept of ‘community’ in both theoretical and applied contexts. What do heritage professionals expect from the communities with whom they work? How do these communities define and constitute themselves? The answers to such questions have broad implications for the way that scholars interact and collaborate with stakeholders. Examples are presented from the author’s archaeological projects at sites associated with communities in the African diaspora that illustrate the importance of an explicit and critical approach to the idea of ‘community’. The discussion concludes with preliminary findings from an investigation of the meanings of community among black Chicagoans in the twentieth and twenty‐first centuries.     

Artistic identities and professional strategies: Francophone musicians in France and Britain

This article will focus on the ways in which musicians of North African origin—either born in North Africa or in France and living in France and Britain—define their musical and artistic identities in relation to their national origins, place of birth, migration trajectories and location in which they perform their music. In particular, the article will focus on how perceptions of musicians’ national and post-migrant identities vary according to their location on either side of the Channel but also according to how the musicians themselves choose to present their music, depending on whether they are based in France or Britain. In addition to the individual strategies adopted by musicians, the article also considers how the shifting socio-political contexts in post-9/11 France and Britain have affected the choices and opportunities available to artists of North African origin in both national contexts.     

Crafting heritage: artisans and the making of Indigenous heritage in contemporary Taiwan

Since the 1990s, Indigenous groups in Taiwan have been increasingly engaged in retrieving and reviving cultural practices that are considered ‘traditional’ and markers of Indigenous identities. This article takes such recent and ongoing revival of cultural practices and connected material culture amongst Taiwanese Indigenous groups as the departure point to argue that the idea of a ‘contemporary Indigenous heritage’ is constructed (notably by Indigenous artists and artisans) through the conflation of ‘tradition’, ‘value’, ‘authenticity’ and ‘indigeneity’, as well as creativity and innovation. In the article, I endeavour to explain this process. To this end, I identify and illustrate a set of strategies and discourses through which Indigenous artists and artisans in Taiwan construct their work as both ‘Indigenous’ and ‘heritage’. I suggest that such strategies and discourses revolve around the following: (i) materiality, (ii) visual display and performance, (iii) Indigenous cultural research and (iv) knowledge transmission. Building on the Taiwanese case study, this article furthers scholarly enquiries into the making of heritage by generating an enhanced understanding of the role of artists and artisans in the creation, renewal, authentication and transmission of ‘Indigenous heritage’.     

The Role of Theatre in Society: A Comparative Analysis of the Socio-Cultural Theories of Brecht,Benjamin, and Adorno

Abstract

This article analyzes the socio-cultural theories of Adorno, Benjamin, and Brecht through the lens of the theatre, most especially as it pertains to the work of actors. It explores the forces of capitalism that determine how art is produced, distributed, and consumed. Following Adorno’s reading of Marx, actors are here posited as commodities whose labor is separated from the product they create for public consumption. This commodification raises various questions: How does a market economy shape the production and consumption of art? What is technology’s function in the commodification of art? What is art’s sociopolitical role and how does it apply to theatre? To address these questions I juxtapose the cultural theory of Adorno and Benjamin with Brecht’s epic theatre. This comparison exposes the ritualistic potential of the theatre to bring an audience together as a community through sharing a socially enriching event.     

Reclaiming Vision: Looking at landscape and the body

This paper responds to feminist critiques of the masculinity of the landscape tradition within geography. It draws upon reassessments of the gaze within film theory, art history and cultural studies as well as within representational practice. It does so in order to reclaim the concept of landscape as a theoretical tool and subject of study for a feminist cultural geography. In theorising a reclamation of looking and landscape through a critical feminist approach, issues of vision and space, gender and representation, politics and pleasure are brought forcefully together through considering images of the male body as landscape by two contemporary women artists. While recognising the politics of representation, the aim is to deconstruct ideas of an unproblematic women's vision and of a singular or essential male or female gaze. Despite the way in which the metaphor of the body/land has been employed to justify both approaches to women and the environment and to legitimate colonisation, this paper suggests that with regard to both the body and landscape we need to look again and reconsider the radical potential of visual pleasure and traditions of visual representation.