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1.
ABSTRACT

There is currently widespread concern that Britain’s cultural and creative industries (CCIs) are increasingly dominated by the privileged. This stands in stark contrast to dominant policy narratives of the CCIs as meritocratic. Until now this debate has been clouded by a relative paucity of data on class origins. This paper draws on new social origin data from the 2014 Labour Force Survey to provide the first large-scale, representative study of the class composition of Britain’s creative workforce. The analysis demonstrates that CCIs show significant variation in their individual “openness”, although there is a general under-representation of those from working-class origins across the sector. This under-representation is especially pronounced in publishing and music, in contrast to, for example, craft. Moreover, even when those from working-class backgrounds enter certain CCIs, they face a “class origin pay gap” compared to those from privileged backgrounds. The paper discusses how class inequalities, as well as those related to gender and ethnicity, between individual CCIs point to occupational subcultures that resist aggregation into the Department for Culture, Media and Sport’s broader category of CCIs. The paper concludes by suggesting the importance of disaggregating CCIs and rethinking the definition and boundaries of CCIs as a meaningful category.  相似文献   

2.
Abstract

In this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking.  相似文献   

3.
The UNCTAD Creative Economy Reports (CERs) are arguably the most influential policy-oriented texts on the global scope and potential of the creative economy. They contain arguments for greater policy attention to the creative economy worldwide and statistical data to illustrate their claims. These reports argue that the creative economy is an area of growth, not only in “developed”, but also in “developing” economies. The central argument of this article is that the way the country classification used in the CERs increases the share of “developing countries” in global creative goods exports in contrast to The Organisation for Economic Co-operation and Development (OECD) and The United Nations Development Programme (UNDP) classifications. When singling out China, the share of these countries decreases even further. According to The United Nations Conference on Trade and Development (UNCTAD), in 2010, 41 “developed” countries account for 51.18 per cent and 158 “developing” countries for 48.03 per cent of the global creative economy with 17 economies in transition accounting for 0.79 per cent. This obfuscates reality and obstructs the creation of evidence-based policies relevant to the creative industries. The classification of developed and developing countries is redrawn in accordance with building on data on the export of creative goods, provided by UNCTADstat. This article proposes that a more correct, balanced, and disaggregated outlook on the classification of countries is needed because one single “developing country” (China) is the single biggest exporter of creative goods in the world (25.51 per cent in 2010) yet the 49 “least developed countries” account for merely 0.11 per cent of creative goods exports (in 2010) while they comprise 880 million people (or some 12 per cent of the world's population). In conclusion, it is argued that different kinds of developing countries need different approaches and policies. Reference is made to Burkina Faso to illustrate this point.  相似文献   

4.
Abstract

When the Government of India declares its plan to convert Mumbai's Kala Ghoda art district into India's equivalent of Times Square, it does something that many Asian countries are doing in their understanding of the needs of the creative industry. In Mumbai's case, however, such an act has several additional historical echoes. This paper proposes that the origins of the so-called ‘creative class' lie in the failure of the city's historic 1982 textile strike, which saw the return of an artisanal practice to the city, often practiced by a class of casual labourers being forced to turn into low-end entrepreneurs without financial security. Such an artisanal entrepreneurship has had a far more complex relationship with industrialization than most theories recognize, and today's cultural industries are effectively replaying a longer history of this class in Bombay that may go back to pre-colonial and colonial times. The paper explores both the colonial and developmental interventions into this artisanal class as essential histories to understanding their new relationship to the ‘creative’ economy into which they are being presently inserted.  相似文献   

5.
As a true calligraphy lover, I not only appreciate but also practice calligraphy. It is an important way for me to communicate with others,express my feeling, temper my will and exercise my body.  相似文献   

6.
ALTHOUGH audiences forChina’s traditional opera aredwindling,certain local op-eras are still pulling in large num-bers of people.One of these is thehuagu(flower-drum)opera in Hun-an Province.In the past theee years local ar-tists in Hunan have created fouroutstanding modem huagu operas:AStory of Shiliuwan,Gong and Drum ina Village,A Field Hopes and PrivateSavings.These all reflect the livesand activities of farming people in  相似文献   

7.
I was born in the countryside. I had a colorful and joyful childhood although my peasant parents couldn＇t give me an affluent life at that time, My toys were all handmade by myself such as catapults and powder guns. Like many kids of the time, I also liked to dissemble and re-assemble clocks and radios as a means of entertainment. Once I noticed a small bottle of ink with a brush pen in it at the window and showed strong interest in them. Since then, my poor handwriting left over everywhere in my house. My father was tolerant and never scolded at my unrestrained scrawling. That was my first experience in Chinese calligraphy which led me to a life destined for this magic art.  相似文献   

8.
With the map down loaded from www.travel-photograph.com, I had no difficulty in finding the north gate of National Library of China. Then, following the yellow signs on wire posts, I arrived in five minutes at Travel-Photograph, a book bar famous not only in the capital city but even elsewhere in the country.  相似文献   

9.
One year after the Wenchuan Earthquake killed thousands in the Sichuan Province, an exhibition on ＂Emergency Architecture＂ is on display at the National Art Museum of China in Beijing. This exhibition is organized by the United Nations Development Programme, the Department of Art of the Chinese Cultural Ministry and the National Art Museum of China, and supported by the School of Architecture at the Central Academy of Fine Arts.  相似文献   

10.
The weeklong 6th China Wuhan International Acrobatic Festival came to a close last October. The event featured a wide variety of acrobatic forms and high levels of performance, and underscored the diverse acrobatic styles of different countries.  相似文献   

11.
《寻根》2004,(4)
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12.
Thanks to China＇s growing national strength and enhanced International status, the Chinese language is becoming one of the most popular languages in the 21st century. As more and more foreigners are learning Chinese, more employment and business opportunities emerged out of the global craze for learning Chinese.  相似文献   

13.
With the coming of Chinese lunar year of monkey,the year-long grand cultual event“China Cultural Year“embraced its second climax in January 2004.The climax coincided with Chinese president Hu Jintao‘s state visit to France and the 40th anniversary of the establishment of China-France diplomatic relatios.  相似文献   

14.
Chinese people have appreciatedjade since remote antiquity.Jaderepresents the lofty spirit of humanityand carries Chinese people's expectationfor happy life.In ancient times whentools were primitive,carving a beautifuljade required extraordinary talent andperseverance.Chinese emperors andpoets wore beautiful jade wares assymbols for gentlemen.After emeraldwas introduced from Burma to China,itsbrilliant colors and crystal-clear qualityfit for Chinese people's taste for beautyand has created a…  相似文献   

15.
From October 27 to November 2, 2006, the 7th China Wuhan International Acrobatics Festival, coorganized by Chinese Cultural Ministry and Wuhan Municipal Government, took place in Wuhan, central province of Hubei. Assistant Cultural Minister Dong Wei made an opening address and 100 French young scientists accompanying President Jacque Chirac＇s visit to Wuhan as well as guests for the 1 st Central China Cultural Industry Exposition attended the opening ceremony.[第一段]  相似文献   

16.
＂This not-for-profit art institution named after a weapon brings the past and present of the city together and links art with culture and economy.＂ -- from the website of Tank Loft Art Center  相似文献   

17.
The Mongolian people is a nomadic ethnic group and live on grazing. From May to July every year, a solemn worship ritual will be carried out in the vast grassland of the Hulun-Buir Prairie in Inner Mongolia, which is called ＂Aobao＂.  相似文献   

18.
Chinese people have apprecriated jade since remote antiquity, Jade represents the lofty spirit of humanity and carries Chinese people‘s expectation for happy life. In ancient times when tools were primitive, carving a beautiful jade required extraordinary talent and perseverance. Chinese emperors and poets wore beautiful jade wares as symbols for gentlemen. After emerald was introduced from Burma to China, its brilliant colors and crystal-clear quality fit for Chinese people‘s taste far beauty and has created a new fashion.  相似文献   

19.
Waitangi Day, New Zealand’s official national day, is often claimed as contentious by commentators and academics. However, research analysing the wider population’s opinions about Waitangi Day are lacking. We address this with two studies using national probability data from the New Zealand Attitudes and Values Study. Most participants supported (51%), rather than opposed (8%), Waitangi Day as a national celebration of biculturalism. Study one indicated that, on average, Pākehā (N = 12390) who opposed Waitangi Day as a bicultural celebration expressed warmer attitudes towards Pākehā but colder attitudes towards Māori. Conversely, support for Waitangi Day as a bicultural celebration among Māori (N = 1928) was, on average, related to warmth towards Māori but uncorrelated with warmth towards Pākehā. Study two assessed whether socio-political attitudes changed in the weeks leading up to, during, and immediately following Waitangi Day in 2015. Contrary to narratives of divisiveness, we failed to detect reliable change in the attitudes of Māori (N = 556) and Pākehā (N = 3203) around Waitangi Day. These findings are inconsistent with anecdotal claims that Waitangi Day may be divisive.  相似文献   

20.
According to the statistics of the State Administration of Cultural Heritage （SACH）, China private museums totaled 811 as of the end of 2013. The rapidly increasing number of private museums reflects the soaring development of China＇s cultural sector. However, many private museums are not as in smooth water as imagined. According to Ma Shaohua, president of Zhongchuan Institute of Cultural Research, private museums should not wait for government support： instead, they should find a solution of crossover integration in order to achieve sustainable development.  相似文献   

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