Critical geographies and geography’s creative re/turn: poetics and practices for new disciplinary spaces

We are two feminist geographers working as practitioners and researchers in creative geographies and the discipline’s creative re/turn. Human geographers interested in new representational and non-representational methods and methodologies are, as we explore in this article, increasingly turning to artistic and creative modes of expression, including (amongst others) literary and visual arts, in which we are both involved. For some time now, we have been curious about what we experience as a lack of expressly politicized critical interrogations of the discipline’s creative re/turn and a shortage of expressly critical and politicized creative outputs. In this article, then, we explore geography’s embrace of creative practices as research methods and as means of developing outputs but, more specifically, we ask about where and how decolonizing, feminist, anti-racist, and/or queer voices, practices, and theorizations might fit within the creative re/turn. Using two different creative geographic works (one a book of poetry, the other a curation project), we trouble what we conclude may be ongoing (perhaps unconsciously) masculinist, often White and colonial, perhaps overly heteronormative, modes of geographic inquiry and practice within geography’s creative re/turn. In this context, we reflexively consider our own creative practices as ones that may offer examples to open new critical spaces and modes of representation for creative geographers.     

DESIGN SPACES: AGGLOMERATION AND CREATIVITY IN BRITISH DESIGN AGENCIES

Although there is a growing body of research into the cultural and creative industries, little work has focused specifically upon on the geography of design and its role in regional economies. The relative neglect of the geography of the UK design industry is surprising given recent assertions about the sector's role in national economic competitiveness; its contribution to product innovation; and its importance as an urban regeneration resource. This paper explicitly considers the extent to which existing conceptualizations of agglomeration and creativity provide insights into the realm of design. Our discussion reflects upon recent surveys of the design sector and analyses current design organization membership data, both of which reveal an overwhelming concentration of design activities in London and the South East. Our analysis of the strategies, organization and practices of agencies in London reveals that a number of the key features associated with cultural industries in general are significantly less discernible within design.     

对古典文学素材的汲取与超越——论芥川龙之介的《俊宽》

芥川文学的一大特色是通过对古典文学中特殊场景、特殊事件进行再加工与再创造,从而展现作家对今人的关注以及对社会问题的思考。本文从《俊宽》与其原素材的承接关系出发,在归纳古典文学中俊宽故事流变的基础上,力求探明芥川文学对古典文学的汲取与超越,思考芥川文学中取材古典的独到创作手法。     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

WILL ATTRACTING THE “CREATIVE CLASS” BOOST ECONOMIC GROWTH IN OLD INDUSTRIAL REGIONS? A CASE STUDY OF SCOTLAND

Attracting in-migration of the creative class has been argued by Florida (2002) to be a route to higher economic growth in the era of the knowledge economy. This paper critically evaluates this proposition in relation to old industrial regions using the example of Scotland. The paper presents an assessment of, in the first instance, to what extent there is a shortage of skilled, talented and entrepreneurial individuals and, in the second instance, whether a talent attraction strategy alone can hope to attract such people to Scotland. It is proposed that for most migrants the availability of appropriate economic opportunities is a prerequisite for mobility. However, despite uncertain evidence that place attractiveness is a catalyst to mobility among the so-called creative class, this is not a reason for dismissing talent attraction programmes. Instead it is argued that talent attraction programmes have the potential to contribute to old industrial economies, but their success will be greatest when talent attraction is carefully targeted and based on economic realities rather than the marketing of ethereal conceptions of place attractiveness.     

Cultural democracy: an ecological and capabilities approach

ABSTRACT

In recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of ‘excellence and access’ and the neoliberal logic of ‘creative industries’. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying ‘cultural democracy’ as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice.     

What motivates millennials? How intersectionality shapes the working lives of female entrepreneurs in Canada’s fashion industry

The contemporary fashion industry is based on a set of ‘gendered skills and attributes.’ Women numerically dominate fashion schools and the labour force of fashion firms, and also start and run the majority of independent fashion brands. Angela McRobbie and others have highlighted the importance of considering the gendered dynamics of fashion-related work. Yet, as the industry continues to evolve in the wake of global integration, the digital transition and intensifying competition, there is an ongoing need for research. Using an intersectional approach, this paper provides a novel case study of young ‘Millennial’ female independent fashion designers who operate within the emerging and under-explored Canadian fashion industry. Drawing on 87 interviews and participant observation, the paper demonstrates how entrepreneurial motivations, pathways, practices and experiences are shaped by individual characteristics, such as gender, age, lifecycle and class. Particular attention is paid to the challenges and tensions associated with the D.I.Y. (do it yourself) model and how forms of work, including aesthetic labour, are performed and experienced in virtual spaces such as social media platforms. In so doing, the paper contributes to nascent research on Millennials and nuances our understanding of the gendered nature of creative labour. Crucially, the paper also moves beyond typical masculinist conceptualisations of entrepreneurship, which focus on high-growth and high-technology businesses, to highlight the legitimacy, prevalence and importance of alternative motivations, networks, identities and business practices within contemporary markets and creative industries.     

Becoming a ‘Cultural Destination of Choice’: lessons on vernacularization from Beirut and Buenos Aires

ABSTRACT

This article builds upon the concept of vernacularization as a way to better understand the circulation and implementation of global policy assemblages. The added value of a vernacularization approach is that it combines under one analytical umbrella the separate but interdependent factors which affect policy travel and use including: (a) positionality or the social and spatial status of actors, institutions and localities, (b) processes of communication that go beyond translation to make ideas and practices understandable, resonant, and useful, (c) the resulting vernacularization of aspirations and goals, and (d) the ways in which these factors change over time as policies come to ground, are modified, and circulate once again. Each aspect of vernacularization relies deeply on meaning making and remaking, whether it be the identity of the vernacularizer herself or of the institutions and cities where she is located.     

Theatre Elicitation: developing a potentially child-friendly method with children aged 8–12

ABSTRACT

This article discusses the growing body of literature published in Children Geographies on the importance of involving children in research processes. Inspired by participatory creative methods such as photo elicitation and popular/forum theatre, we have developed a potentially child-friendly tool referred to as Theatre Elicitation (TE). The objective of TE is to use theatre forms as a means of data collection in the context of a negotiated research process. In a pilot project in which we explore TE, children shared their perceptions of happiness. This was inspired by a UNICEF Report [2007. Child Poverty in Perspective: An Overview of Child Well-being in Rich Countries. Innocenti Report Card 7. Florence: UNICEF Innocenti Research Centre] that listed ‘Dutch children’ as the happiest of the world. The focus of this article is the development of TE as an interactive research tool. Insights were gained into the meaning of ‘child-friendly’ research, shifting power relations between children, peers and adults, and how children’s own positioning in lived experiences contextualized concepts such as ‘Dutch children’.     

‘The Official Feast’: cultural tensions in U.K. carnival

Abstract

This paper reveals how U.K. street carnival is located within policy discourses that facilitate notions of creative economy, inter-place competition and the representation of institutionally-preferred versions of local, regional and national place-identity. The paper draws on ethnographic research within two community town carnivals and the professional Battle for the Winds carnival performances that launched the 2012 Olympic sailing at Weymouth. It considers the evolution of policy-driven carnival vocabularies that were designed to articulate preferred ‘Jurassic Coast’ and Olympic place identities for the south-west U.K. during 2012, and their effect on two vernacular, community street carnivals in East Devon and Dorset. The paper exposes the cultural tension between these vernacular events and the ‘official feast’ of Jurassic Coast and Olympic carnival, in terms of their performance of contradictory place-identities and contested notions of artistic community. It describes the popular challenge to aesthetic hegemony that these community carnivals presented during 2012. Finally, the author argues for a reassessment of the artistic value of vernacular carnivals, and affirms their status as a culture of resistance that creates alternative, sometimes inconvenient, symbolic constructions of community and place to those preferred by institutional actors operating within a neo-liberal discourse of inter-place competition.