Untangling creativity and art for policy purposes: ethnographic insights on Manchester International Festival and Manchester Day Parade

This paper draws on anthropological fieldwork of a civic parade in Manchester from 2010 to 2012 to argue for engaging with creativity as a process rather than an attribute of a particular sector or individual. It shows how the focus on funding and supporting ‘creative industries’ defined as ‘cinema, television, music, literature, performing arts, heritage and related areas’ actually excludes and diminishes the potential for others to engage with ideas and creative processes. Two major events in Manchester’s cultural calendar – Procession by artist Jeremy Deller, produced by Manchester International Festival and Manchester Day Parade, a council-led civic celebration – both combined community groups with artist input to put large-scale structures and people on the city’s streets. In this ethnographic analysis, I argue that the ‘creativity’ sought from these artists is their adaptive and productive approach to making ideas tangible. By focusing on creativity as a process rather than a character trait, there is even greater potential for stimulating a ‘creative’ city.     

Shifting meanings in changing contexts: the role of the creative city in Shanghai,Hong Kong and Taipei

Abstract

This paper probes the underlying motives behind the adoption of the ‘creative city’ policies in Shanghai, Hong Kong and Taipei. It argues that while the global appeal of the creative city is commonly attributed to urban entrepreneurialism, this reason alone is insufficient in explaining the so-called ‘cultural turn’ in these three cities, because none of them ascribe to the conventional format of the post-industrial ‘entrepreneurial’ city. In order to identify other major forces driving the adoption of creative city initiatives in Shanghai, Hong Kong and Taipei, this work delves into the ways in which the idea of the creative city is reworked within the context of global city making. The study found that in addition to urban entrepreneurialism, the inherited cultural policy agenda, which largely stems from national interests, also plays a significant role in directing (and changing) the ‘global cultural city’ making process. By looking into different roles attached to the ‘imported’ policy discourse of the creative city in Shanghai, Hong Kong and Taipei, this study not only contributes to the understanding of urban cultural policies within the Chinese-speaking world and East Asia more generally, but also lends some insights to the developing field of cultural policy mobility.     

‘Encabsulation’: Horse-Drawn Journeys in Late-Victorian Literature

Recent scholarship has pursued the figure of the urban flâneur or flâneuse across the literature of the nineteenth century with spectacular results. In this article I turn the attention away from the solitary city stroller to the urban passenger by looking at one of the primary ways in which Victorians moved around London. In 1900 there were some 50,000 horses working in London, although by 1914 with the coming of motorized transport that number was down to 1400. Experiential perceptions of the city, of space and time, changed accordingly, as did the very nature of the city street. So the most compelling evidence of what Victorian cab journeys could and sometimes did feel like lies in their contemporary depiction. Although it draws upon detailed reports drawn from contemporary newspapers and applies some of the postmodern ideas of such theorists of urban geography as Michel de Certeau and Henri Lefebvre, the article is mainly concerned with literary representations of the horse-drawn cab, of the ‘hansom’ in particular. To journey across the city in a horse-drawn cab is shown to have run the risk of moral misunderstanding, sinister hijacking, financial humiliation and – more enticingly – of erotic encounter.     

On National Heritage,Grand Narratives,and ‘Making History Fun’: Founders’ Hall,Prince Edward Island and the Story of Canada

Cities in developed countries are increasingly challenged by the advent of a global economy that mandates generating creative images of their cities. Meanwhile, it is argued in this study that globalisation, and its Arabic version of Dubaisation, is affecting the sustainability of cities as distinguished destinations because urban representation is influenced not only by ‘standardised global cliché’ but also by ‘standardised local images’ that transforms local cultures into contested heritage as it intensifies an official and civic nexus. The paradox is examined in Jordan, specifically the famously branded ‘city of mosaic’ – Madaba, where the state government is currently competing for attracting international investments and tourism development to achieve neoliberal urban restructuring. Urban heritage representation has been subject to passive dominant official discourse that rests upon orthodox mosaic practices of remote past – a praxis that is not necessarily endorsed by civic Ahl elbalad. The local mosaic heritage has hitherto been transformed into a competing culture that fosters heritage dualities and challenges the internal implications of heritage representation with its elevated feelings of alienation, disempowerment, gentrification and socio-cultural exclusion. A theoretical framework has been suggested for an alternative civic-orientated heritage revival that allows reconciliation between the official/civic nexus yet meanwhile stimulates creative urban images and identities. Other insights are also considered in the study.     

‘That street is taking us to home’: young children’s photographs of public spaces

ABSTRACT

Children’s identities constitute and are constituted by the everyday spaces they inhabit. Though there are innumerable accounts of what adults think public spaces like subways and city streets mean to children, fewer recorded accounts exist from young children themselves (Faulkner and Zolkos 2016, “Introduction.” In Critical Childhood Studies and the Practice of Interdisciplinarity, ix–xvii. Lexington: Lanham.). In this work I explored 2- – 5-year-old children’s conceptions of public space through the photographs they took and the narratives they told in and around those images. I focused on how children imaged their spaces, how their narrative fragments added layers of story to the images’ contents, and how their photographic performances acted as ‘visual voice’ (Burke 2005, “‘Play in Focus’: Children Researching Their Own Spaces and Places for Play.” Children Youth and Environments 15 (1): 27–53.), highlighting for us how they see themselves and their positions within the larger urban environment. The young children’s photographs depicted their growing autonomy and mobility within an urban context, attunements to non-human forms of the city, and knowledge of what it means to live in their communities.     

Zwischenstadt as a travelling concept: towards a critical discussion of mobile ideas in transnational planning discourses on urban sprawl

This article contributes to the advancement of the critical analysis of transnational flows of planning ideas with a particular focus on debates around urban sprawl. It emphasizes that travelling concepts tend to lose their critical content en route, and explores how they could be revived. Our argument starts by identifying the drawbacks of comparative studies in planning, and suggests an exploration of Edward Said’s notion of travelling theories to avoid these dangers. Chronicling the import of the German concept of Zwischenstadt – which literally translated means ‘(in)between city’ – into the Swedish planning research discourse on urban sprawl, we examine how travelling concepts tend to become institutionalized during their journey. We then explore ways to revive the critical content of Zwischenstadt by first considering translations of the context of travelling concepts and then deliberations on their literal translation, which emphasizes the fruitfulness of a landscape perspective as a critical lens on urbanization processes.     

A cultural justice approach to popular music heritage in deindustrialising cities

ABSTRACT

Deindustrialisation contributes to significant transformations for local communities, including rising unemployment, poverty and urban decay. Following the ‘creative city’ phenomenon in cultural policy, deindustrialising cities across the globe have increasingly turned to arts, culture and heritage as strategies for economic diversification and urban renewal. This article considers the potential role that popular music heritage might play in revitalising cities grappling with industrial decline. Specifically, we outline how a ‘cultural justice approach’ can be used within critical heritage studies to assess the benefits and drawbacks of such heritage initiatives. Reflecting on examples from three deindustrialising cities – Wollongong, Australia; Detroit, USA; and Birmingham, UK – we analyse how popular music heritage can produce cultural justice outcomes in three key ways: practices of collection, preservation and archiving; curation, storytelling and heritage interpretation; and mobilising communities for collective action.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

At home in the city: everyday practices and distinction in international student mobility

International students have been overlooked in geographies of ‘home’, yet this paper demonstrates how international student mobility offers unique insights that can advance our understanding of ‘home’ and belonging in the city. Drawing on photo-elicitation and mid-point and return interviews with Canadian students, this paper explores the everyday home-making practices of exchange students in urban centres in the Global South. It focuses on the ways in which international students create a sense of ‘home’ and belonging in their host city and how insider knowledge gained through local everyday practices is converted into cultural capital. It contributes to the literature by considering how home-making practices are implicated in spatial and scalar boundary-making processes for distinction. By illustrating through participants’ photographs how students articulate ‘home’ using spatial and scalar markers, I examine how students tighten the spatial boundaries of ‘home’ to focalise and localise symbolic capital within the city. The findings further add to debates on im/mobility by demonstrating that students’ distinguish their relative immobility during the sojourn from the mobility of travellers and tourists to legitimise claims of belonging as ‘insiders’ and of place-specific capital. The paper then concludes by considering how students are ‘collecting homes’ for distinction.     

Assessing the local embeddedness dynamics of the Baumwollspinnerei cultural quarter in Leipzig: introducing the POSES Star Framework

This paper argues that it is important for urban scholars and practitioners to comparatively appraise the differential forms of local embeddedness of cultural quarters. Such appraisals can help to realize more sustainable practices of cultural quarter anchoring within neighbourhoods. The case study of Leipzig, Germany – a city that deploys both ‘creative city’ and ‘cultural industries’ models of urban development within a context of post-industrial, post-socialist transformation – is used to examine the adaptive re-use of a former cotton-spinning mill, the Baumwollspinnerei, into an internationally renowned cultural quarter. The POSES Star Framework is developed as an analytical tool to systematically outline multiple local embeddedness dynamics (political, organizational, social, ephemeral, and spatial) of a cultural quarter within a neighbourhood and within a specific urban planning and policy context. The application of the POSES Star Framework to the Baumwollspinnerei reveals that internal organizational concerns for site development and marketing are prioritized over external engagements with Leipzig's urban planning and cultural policy discourses.     

Somatic Styles of the Early Middle Ages

‘Somatic Styles’ examines how classical modes of gender played significant roles in carving out competitive arenas between clerical and lay elites, c.600–900 CE. The paper explores the hermeneutical obstacles standing between the contemporary theorist of gender and the complex nature of the early medieval texts under scrutiny. The analysis reconstructs classicising techniques of gender deployed by early medieval churchmen, and it does so in a way that both challenges the stranglehold of the ‘one‐sex’ model on pre‐modern understandings of gender and heals the ‘rupture’ between the ‘Ancient’ and the ‘Dark Age’. Finally, the essay maps early medieval somatic and gendered styles onto an architectural space where lay and consecrated bodies met – a ninth‐century monastic basilica.     

Hammams and the contemporary city: the case of Isfahan,Iran

Hammams, or public baths, are an essential part of the social life in urban Islam. Often, they have a rich and inspiring architecture. In Iran and, in particular, in Isfahan – a large and historic city in central of Iran – numerous hammams were built since the Safavid dynasty (1501–1722). Social and urban changes have resulted in a significant decline in the number of hammams over the years. This paper starts by describing the multiple dimensions of hammams, such as their main architecture features, their role in health, society and culture. This is followed by an analysis of hammams in Isfahan, using a modified version of Büyükdigan categories for Ottoman baths: (i) ‘baths in ruins’; (ii) ‘baths continuing their original functions’; and (iii) ‘baths readjusted for new uses’. Anecdotal evidence from a survey conducted in 15 hammams is used throughout this paper. The main conclusions relate to the rapid deterioration of hammams in daily life, coupled with the lack of detailed documentation, which would allow proper planning and development, and the deficient use of some of these magnificent buildings and places for tourism development.     

Reading with the Occultists: Arthur Machen,A. E. Waite,and the Ecstasies of Popular Fiction

My article recovers a forgotten moment in the history of popular fiction criticism – the late Victorian advent of what I term occultic literary criticism – to challenge the persistent anxiety thesis that continues to dominate fin-de-siècle studies. In the late 1890s, the close friends, writers, bibliophiles, and, for varying amounts of time, practising occultists Arthur Machen and A. E. Waite used their literary criticism to champion the ecstatic occult potential of mass-circulated popular fiction, insisting that the penny dreadful, the newspaper story, and the popular picaresque as exemplified in Charles Dickens’s The Pickwick Papers (1836–37) represented coded versions of ancient mystery tradition rituals. The cheap popular texts could offer to readers, writers, and collectors the kind of joyous direct encounter with the unseen world that sacred texts no longer could. The pair’s conviction that ecstatic occult initiation was just as, if not more, attainable through popular exoteric texts as through their restricted esoteric counterparts offers an important corrective to contemporary understandings of both the late-Victorian reception of popular fiction and of the reach and constituency of the occult revival.     

Habsburg coffeehouses in the shadow of the empire: Revisiting nostalgia in Trieste

ABSTRACT

This article reflects on Trieste’s representation as ‘the ghost of its Habsburg past’ (Hametz, M. 2014. ‘Presnitz in the Piazza: Habsburg Nostalgia in Trieste.’ Journal of Austrian Studies 47 (2): 131–154. doi:10.1353/oas.2014.0029., 136) – a city that laments the irreversibility of time – to explore instead the ways in which nostalgic attachments to the empire have come under suspicion. Drawing on interviews, literary texts, and atmospheric data (McCormack, D. 2014. ‘Atmospheric things and circumstantial excursions.’ Cultural Geographies 21 (4): 605–625. doi:10.1177/1474474014522930), I explore the narrative and performative strategies adopted to reframe the political and cultural relations with the empire. By discussing how events and places expected to celebrate the Habsburg legacy refuse to become nostalgic, I trace the emergence of contested feelings for the empire to explore how nostalgia becomes an ambivalent sentiment that is discursively and performatively re-appropriated and mobilized to attach and detach Trieste from the empire.     

(Re)Writing With the Feet: The Flâneur as Urban Cartographer in Alicia Scherson’s Film Play (Chile, 2005)

This article approaches Chilean filmmaker Alicia Scherson’s first feature-length film, Play (2005), from the perspectives of mobility and social cartography in relation to the spatial practices of the main characters. Through the paradigmatic figure of the flâneur, the article explores the representative function of both the characters’ and the camera’s drifting itineraries across the city, as they subtly perform a peripatetic cartography of present-day Santiago. The diegetic threads that are spun by the characters progressively interlace to weave an urban text which lays bare – as they are transgressed – a series of frontiers that cut across the cityscape. The film maps out two very different human geographies of post-dictatorship Chile, a lived urban space that reveals the stark social divide propping up the nation’s neoliberal economic structure. Scherson’s roving camera engages in a politics of perception which invites the spectator to view the city differently, thus exploring the possibility of upsetting this divide.     

The safe spaces ‘in-between’ – plays,performance and identity among young ‘second generation’ Somalis in London

ABSTRACT

The article elaborates on how young UK-born self-identifying Somalis use performance to create ‘liminal’ spaces that allow them to explore and express the often contradictory registers of self and belonging through play and the carnivalesque. The plays they write, practise and perform transform community places into ‘safe spaces’ that open and invite dialogue on the intergenerational conflicts they experience around identity and expected behaviour. Far from being fictions, in making visible the liminality in the daily lives, these young people communicate ‘the reality behind the role playing mask’ [Turner, Victor. 1982. From Ritual to Theatre – The Human Seriousness of Play. New York: PAJ, 155]. This research is based on 6 months ethnographic research with the Mustaqbal youth group based in London. It contributes to rethinking ‘safe space’ by illuminating how young people use the ‘stage’ to express elements of their lives they are otherwise unable to voice.     

Youth geographies of urban estrangement in the Canadian city: risk management,race relations and the ‘sacrificial stranger’

This paper explores the impact of urban social divisions and changing race relations on the experiences of disadvantaged youth living on the periphery of two Canadian cities: Vancouver and Toronto. We analyze a cross-national subsample of 60 disadvantaged youths’ perceptions of urban social conflict and changing race relations in their city and school. We raise the larger question of how and why economically disadvantaged young people might embody particular understandings of safety, race, the other and security in different spatial registers of the city. We utilize an ethnographic methodology drawing from diverse but interrelated fields: border studies, the phenomenology of estrangement and a materialist version of critical race studies [(Ahmed, S. 1999. “Home and Away Narratives of Migration and Strangeness.” International Journal of Cultural Studies 2 (3): 329–347, Ahmed, S. 2010. The Promise of Happiness. Durham, NC: Duke University Press, Ahmed, S. 2013. The Cultural Politics of Emotion. London: Routledge; Kearney, R., and V. E. Taylor. 2005. “A Conversation with Richard Kearney.” Journal for Cultural and Religious Theory 6 (2): 17–26)].     

Engaging with place: artists,site-specificity and the Hebden Bridge Sculpture Trail

This paper traces the creative processes employed by artists participating in the 2004 Hebden Bridge Sculpture Trail and examines relationships between place, art and site-specificity. The Trail is a popular, temporary annual local arts event that invites international artists, students and community art groups to create and exhibit site-sensitive sculpture within Hardcastle Crags in Yorkshire, England. We consider some of the multiple ways in which artists mediate relationships between ‘site’ and artwork. We connect geographical concepts of place that highlight location, locale and sense of place, with mobile understandings of site as porous and flowing. The paper positions geographical research of art, opening out art and site in a non-urban environment through comparative discussion of concepts of ‘place’ and three ‘paradigms’ in site-specific art (phenomenological, social/institutional and discursive, Kwon 2002 Kwon, M. 2002. One Place After Another: Site-specific Art and Locational Identity, Cambridge MA: MIT Press. [Crossref] , [Google Scholar]). Three elements of site-specificity – histories, natures, interactions – are then explored through fourteen artists' creative practices and our documentation of the installation of their artwork in the Trail. We highlight the juxtaposition of ‘sites’ within the Trail, the over-lapping of ‘paradigms’ within individual artworks, and transitory aspects of ‘site’ to suggest that ‘time’ holds great significance in understanding site-specificity, place and art outdoors.     

Georges Perec’s experimental fieldwork; Perecquian fieldwork

This paper traces key themes in contemporary experimental fieldwork – explorations of ordinary places by artists, writers, activists, enthusiasts, students and researchers – to the works of Georges Perec. Preoccupations of this work – including playfulness, attention to the ordinary, and writing as a fieldwork practice – are all anticipated and elaborated in Perec’s oeuvre, where they converge around an ‘essayistic’ approach. Exhibiting these traits, some contemporary fieldwork is more convincingly Perecquian than psychogeographical or Situationist, despite the tendency to identify it with the latter. Through Perec, it is therefore possible to bring contemporary experimental fieldwork into focus, identifying a coherence and sense of project within it, while speaking to the question of what it means and could mean to conduct fieldwork experimentally. Particular attention is paid in this paper to Perec’s most accomplished and sustained field texts, both of which have been translated into English: An Attempt at Exhausting a Place in Paris (2010, from 1975 original in French) and Species of Spaces (1999/1974).     

The Panstereorama: City Models in the Balloon Era

The nineteenth-century ‘panstereorama’ was an urban relief model placed on display as a public spectacle. In this article, I consider first two affiliated forms that help to explain the genre, namely panorama paintings and plans-reliefs. I then go on to consider urban regional practices of city modelling in London and Paris before examining in detail panstereoramas representing Paris and New York. It is argued that this form of model urban cartography served as proxy for the view obtained from the increasingly popular balloon trip and that it accordingly provided virtual travel to, and a map of, the cities depicted.