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discourse) cultural practitioners exists within an environment in which the simple but ‘powerful presence’ of a Black man becomes revolutionary. In this case, Colin's ‘powerful presence’ on screen manages to interrupt common assumptions about what a Black man is able to represent. In his response Colin reveals that, like many of his Black and Asian filmmaking peers, a key dimension of his interaction with film is a renegotiation of a politics of visibility. This role encompasses the creative act of looking back, calling out, representing or reimagining pasts, presents and
5.1 Our We'll Walk Hand in Hand community cast on stage, together with professional actors, at the Lyric theatre in March 2017. This chapter contains three reflections on the Creative Interruptions project strand Creatively Connecting Civil Rights (CCCR), which was based in Belfast and which developed, from initial
12 Creative pathways: developing lifelong learning for community dance practitioners Victoria Hunter T his chapter discusses a collaborative pilot project led by staff from the University of Leeds BA dance programme and Yorkshire Dance, the West Yorkshire region’s national dance agency. The one-year pilot aimed to engage key industry stakeholders in the development of continuing professional development opportunities for dance professionals within the area of what is known as community dance practice. Funded by the West Yorkshire Lifelong Learning Network, the
Art and culture are supposed to bring society together. Culture is bad for you challenges the received wisdom that culture is good for us. It does this by demonstrating who makes who and consumes culture are marked by significant inequalities and social divisions.
The book combines the first large-scale study of social mobility into cultural and creative jobs, hundreds of interviews with creative workers, and a detailed analysis of secondary datasets. The book shows how unpaid work is endemic to the cultural occupations, excluding those without money and contacts. It explores unequal access to cultural education and demonstrates the importance of culture in childhood. The book looks at gender inequalities, analysing key moments when women leave cultural occupations, while men go on to senior roles. Culture is bad for you also theorises the mechanisms underpinning the long-term and long-standing class crisis in cultural occupations. In doing so it highlights the experiences of working-class origin women of colour as central to how we understand inequality.
Addressing the intersections between social mobility, ethnicity, and gender, the book argues that the creative sector needs to change. At the moment cultural occupations strengthen social inequalities, rather than supporting social justice. It is only then that everyone in society will be able to say that culture is good for you.
history is made. In Rushdie's Midnight's Children ( 1981 ), his narrator-protagonist's self-obsessed account of India's history presents an extreme form of subjectivity that poses questions about historical objectivity; how can we disentangle the personal from the political? Here, literature seeks to disrupt, rather than simply reflect, the real world. Creative interruptions can also expose the risible pomposity, racism and classism of the arts establishment, as, for example, in Mathieu Kassovitz's film La Haine (1995), where three young working-class men of
11 Empowering literary educators and learners in Northern Ireland: university– community engagement for peace Rob Mark Not all issues are amenable to resolution through rational discourse. (Welton, 1995:  35) This chapter illustrates how a university–community partnership incorporated creative, non-text-based approaches into adult literacy work to contribute to the efforts towards creating greater equality and peacebuilding in Northern Ireland. The university–community partnership, known as the Literacy and Equality in Irish Society project (LEIS), was based on
publishes figures outlining the economic performance of creative industries. The most recent figures, 1 for 2017, suggested creative industries as a whole were contributing over £100 billion to the economy, with remarkable growth since 2010. The cultural sector, as a distinctive part of the creative economy, contributed almost £30 billion. While there are complexities underpinning the relationship between individual firms’ profitability, workers’ wages, and overall contribution to the economy, it is fair to say there is money to be made by making culture. Yet this does
, others wanted to ensure that the political message was unambiguous and strong, arguing that the world is divided and unequal and people have the responsibility to do something about it. At the end of the session students presented their artefacts through speeches or theatrical presentations. And in the final evaluation they commented on the experience itself, expressing surprise at the task but also acknowledging that the creative collective work was a welcome extension and change from the usual individual, competitive work expected of them at university: The event
How can we maintain hope for a more equal world? In this chapter we outline the theory and practice that undergirded our solidarity in the project. The chapter contains some of the readings, the references, the routes, that we all brought to the project to understand how creative forms of resistance have responded to hostile environments, and why. We begin by revisiting bell hooks’ work on ‘radical openness’, not to be confused with the United Nations’ adoption of radical openness as a template for transparent working and resilience. Indeed
Writing this in the midst of the UK's exit from the EU (31 January 2020), we find ourselves at the threshold of a different Britain. When we began work on the Creative Interruptions project in 2014, we couldn't have imagined that by the time we came to write this book we would have witnessed three UK general elections (2015, 2017 and 2019) and two referendums (Scottish independence in 2014; EU referendum in 2016). We didn't plan or factor in alongside our work on the project, which incorporates research on anti-racist activism and advocating