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Orian Brook, Dave O’Brien, and Mark Taylor

cultural workers show another side to the social closure of cultural and creative occupations. How is cultural consumption patterned? Evidence from England To understand cultural consumption we are going to use data from the UK government’s Taking Part survey. This survey interviews around 10,000 people every year about their cultural habits. Taking Part is nationally representative for England, and has run each year since 2005/2006. The government uses Taking Part to report good news about culture in England, that 78% of the population have engaged with the arts at

in Culture is bad for you
Tom Woodin

developing his work; he recalled in 1982, going for a meeting with the [Leyland Motors] shop stewards … they could invite me as an outsider to their meeting in works time and arrange for me to put this [performer] on the shop floor.25 Similarly, Joe Smythe was supported by the National Union of Railwaymen (NUR) to produce a book for the 150th anniversary of the Liverpool and Manchester Railway, and the Transport Review heralded him as ‘probably the first trade unionist to receive sabbatical leave for creative work’.26 In addition to the established labour movement avenues

in Working-class writing and publishing in the late twentieth century
Cultural production in a provincial city
Ben Rogaly

’s story evokes the meanings to her of places within Peterborough and beyond at different points in time, and illustrates the importance of Peterborough’s multiple elsewheres – particularly its residents’ connections to other places through their own residential moves – for an understanding of ongoing processes of change in the city. Writings such as Caroline’s have been called ‘vernacular creativities’ to distinguish them from professionally produced creative outputs. The cultural geographer Harriet Hawkins writes that [a]s a process that is carried out by someone

in Stories from a migrant city
Selina Todd

and arts agencies place on cultural ‘inclusion’ implies that working-class people should step into a cultural framework constructed by powerful others. The Manchester International Festival, for example, promotes local involvement– but the form this takes is dictated by MIF Creative, the Festival’s ‘creative learning programme’. Local people are invited to participate in a cultural programme which is designed by ‘international performers’ and practitioners allocated ‘artist residencies’. There is no scope for local working-class theatre groups to set the cultural

in Culture in Manchester
Critique and utopia in Benita Parry’s thought
Laura Chrisman

chapter11 21/12/04 11:28 am Page 164 11 You can get there from here: critique and utopia in Benita Parry’s thought Benita Parry is justly acclaimed as an exemplary demystifier – the thinker who has provided unsurpassed critiques of the neo-colonial elements that lurk in the work of some postcolonial critics and creative writers. Less acclaimed are the affirmative, even utopian elements of Parry’s intellectual project. Her writings, from imperialism to postcolonial theory to resistance, articulate optimistic belief in the achievability of political solidarity

in Postcolonial contraventions
Open Access (free)
Joe Turner

promise of a future transformation and ultimate escape from coloniality and imperial capitalism. Is escape not the underbelly of colonial borders rather than an alternative? In this context, decolonial aesthesis offers a further form of contestation which explores both the problem of recognition found in forms of inversion and the absence of being able to critically engage with colonial violence found in forms of escape. Decolonial aesthesis is an explicit creative and artistic project (see Lockwood 2013) that is bound to the wider social movement of decoloniality. This

in Bordering intimacy
Abstract only
Livability, governance, and strategic planning
Josef W. Konvitz

boosters. When looked at statistically, however, this portfolio should be linked to enterprise and to innovation, to IT and tourism. It is a mistake to think that cultural industries are for leisure, a sterilized form of production that ends up as consumption. Broadly defined as a creative sector, culture includes architecture, video and film, music and the performing arts, publishing, software and electronic publishing, radio and television, design and designer fashion, as well as heritage, ballet, opera, and museums, the more familiar categories. The cultural sector is

in Cities and crisis
Ian Goodyer

disseminated and discussed, the revival operated on the fringes of the ‘commercial’ music scene and hence (arguably) was insulated from the effects of the decadent consumerism that ‘folkies’ so detested. By bringing working people together in this way, the folk revival created spaces within which politics and culture could potentially be brought into creative fusion. c05.indd 104 6/5/2009 10:59:02 AM RAR, culture and social struggle 105 But the revival went beyond the confines of small music venues. MacColl enlisted the support of producer Charles Parker to create a

in Crisis music
Open Access (free)
Tony Fitzpatrick

being neglected. Our aim in this chapter is not to establish the full range of these implications, since they span a much wider intellectual terrain than we are required to explore in this book. However, I do want to examine one aspect of that terrain: welfare reform. I will suggest that dialogical institutions and systems are the best means of achieving recognition, care and distributive justice while allowing the relevant tensions to be aired and discussed creatively, albeit in a way that never permits a final resolution. This means engaging with ideas of

in After the new social democracy
Tom Inglis

marketing strategies. The logic of being Irish may be living out the myth that the Irish are good-humoured, charming, drunk, lazy, creative, imaginative and so forth.6 However, the logic of rational scientific investigation, and indeed the possibility of freedom and emancipation, should not be contaminated by mythical thinking. The notion of cultural difference is more than semiotic distinction; it is rooted in power. It revolves around transforming something arbitrary into a form of hierarchical differentiation. Cultural difference, then, is the embodiment of symbolic

in Are the Irish different?