Photini Vrikki, Sarita Malik, and Aditi Jaganathan
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
Co-creation, theatre and collaboration for social transformation in
Michael Pierse, Martin Lynch, and Fionntán Hargey
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
Developing lifelong learning for community dance practitioners
Creative pathways: developing lifelong
learning for community dance practitioners
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.
What can culture, and its manifestations in artistic and creative forms, ‘do’?
Creativity and resistance draws on original collaborative research that brings
together a range of stories and perspectives on the role of creativity and
resistance in a hostile environment. In times of racial nationalism across the
world, it seeks to connect, in a grounded way, how creative acts have agitated
for social change. The book suggests that creative actions themselves, and
acting together creatively, can at the same time offer vital sources of
hope. Drawing on a series of case studies, Creativity and resistance focuses
on the past and emergent grassroots arts work that has responded to migration,
racism and social exclusion across several contexts and locations, including
England, Northern Ireland and India. The book makes a timely intervention,
foregrounding the value of creativity for those who are commonly marginalised
from centres of power, including from the mainstream cultural industries.
Bringing together academic research with individual and group experiences, the
authors also consider the possibilities and limitations of collaborative
Michael Pierse, Churnjeet Mahn, Sarita Malik, and Ben Rogaly
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
It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.
Empowering literary educators and
learners in Northern Ireland: university–
community engagement for peace
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
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: