In this erudite and elegantly-written book, Susan Luckman uncovers the diverse and distributed geographies of cultural work and explores thecomplex lives of those committed to the production of creative art, craft and culture. Here we consider the key traits of a burgeoning economy and question how it fits into results from and indeed inspires the wider context of global economic change. Craft and Social Media 1. The regional tropical city of Cairns, most well known as a major location for tourism, is also a vibrant creative place in northern Australia. Findings: This paper finds that artisan entrepreneur-mediators in rural areas or small cities take on multiple roles as networking agents who organize and offer creative tourism experiences, providing the missing link between artisans and tourists.
To these, we add a third theme, theorising subcultural capitalism, including cultures of work within and beyond the capitalist enterprise. We explore patterns of consuming, making, creating, and sharing and consider how they reside in the creative economy. Remoteness and proximity were tangible in the sense of physical distances Darwin is remote from southern States, and yet proximate to Asia and Aboriginal country. Since the 1990s, creative industries have been promoted as sources of economic growth and investment, and as remedies for urban and regional decline. But whereas Hesmondhalgh and Baker explored this in terms of three specific, and generally city-centric, industries — television, music recording and magazine publishing — in Locating Cultural Work I focus on reconnecting debates around contemporary cultural work with non-urban localities. This raises new challenges for craftspeople and designer-makers, who not only require practice-based skills but new entrepreneurial skill-sets—both technical and personal—to operate successfully as a micro-enterprise in this emerging global market.
What has emerged in this work is the specific centrality of place, time and the natural environment to the creative practice of those who have chosen or found themselves operating outside the mainstream of urban creative milieus. That is, more than 90% of post-project survey respondents felt they had a good bond with, and were connected to their community, and over 80% of audience survey respondents felt the performance had a moderate to strong impact on their opportunities to socialise and feel part of the community. Survey data was initially obtained from a sample of 78 creative industries stakeholders, after which interviews were held with 20 of these participants to further explore key issues. From recycling to upscaling: Cultural and economic value of material transformations, Aneta Podkalicka, Swinburne Institute for Social Research, Australia. While reminiscent of the preindustrial family productive unit, in this new system women were entirely at the mercy of agents and middlemen who might impose harsh deadlines and truck payment which undervalued both labour and skill. As is well documented the transition is not a benign one with much being, and remaining, at stake. One response by middle class women across the global West to the competing demands of post-Fordist conditions of both paid and unpaid work is the outsourcing of domestic labour to less economically empowered and often precariously employed women.
The Passionate Materialities of Crafting 15. Enabled by the global distribution affordances of the Internet, increasing numbers of creative producers of the handmade—the majority of whom are women—are working from home as sole traders. Secondly, drilling down to the employment coalface of creative industries, it draws attention to the exclusions of the contemporary creative workforce particularly those of gender as but one means to examine what has been lost in the shift from cultural policy to creative industries, namely the focus on socio-cultural inclusion. Organised around the three areas of: creative working, digital working lives, and transitions and transformations, its fifteen chapters examine in detail the emerging norms of work and work activities in a range of occupations and locations. May the research lead to change? I thus continue my interest in the edge-places of creativity, innovation and people attempting to live lives well-lived, however they may define this.
The collection explores the formation of contemporary worker subjects, and the privilege or disadvantage in play around gender, class, age and national location within the global workforce. Susan is an interdisciplinary cultural studies scholar whose work is concerned with the intersections of creativity, place and technology. These dimensions of rurality would seem to hold the promise of specifically rural place-based opportunities for both cultural and rural development Luckman, 2012. In challenging common assumptions about the Romantic legacy, the history of the handmade, and the ethical bankruptcy of modern work, Luckman brilliantly reveals the continuous and cyclical nature of cultural production, and deftly exposes the intangible, sensory and affective qualities of place that inspire today's cultural workers'. In talking to creative artists from diverse fields about their work and inspiration, it became clear that geographical positionality was a key framing device through which people understood themselves and their relationships with others.
From Etsy to Instagram, Twitter to Pinterest, these online communities of the handmade are changing the way people buy and sell, make and meet. She was also Cheney Fellow at the University of Leeds, 2017-2018. What becomes clear is how home-based making impacts professional identity, including how makers negotiate getting other people to 'take them seriously', and how they frequently are required to justify to significant others that their intellectual, emotional and financial investment will one day pay off. It will explore how creative industries approaches have settled down through the lens of two key sites for action and concern. Defining and measuring the creative economy and industries is challenging with different perspectives pervading research and policy. This chapter offers examines the complex and often fraught policy and scholarly relationship between cultural policy and the emergence of what has come to be identified as the creative industries.
While mental maps and other geographical tools have for some time been employed in cultural geography, they have not been taken up to any significant degree in cultural studies research. This is especially so for a particular cohort of largely educated, Western middle class women in their late 20s and into their 30s — key child-bearing years — among This chapter offers examines the complex and often fraught policy and scholarly relationship betw. Taylor, Stephanie and Susan Luckman eds. Luckman, Susan and Nicola Thomas eds. Contributors address a diverse range of practices, sites and forms of making in a wide range of regional and national contexts, from floristry to ceramics and from crochet to coding.
Crafting Communities and Social Capital 5. They seek not just economic, but physical and emotional space for their work, with multiple contingencies of place negotiated in the richness afforded by regional, rural, and remote locales Luckman, 2012. Future Landings 2013 has provided a project development, implementation, and evaluation framework for future Community Arts and Cultural Development projects in regional Australia. However, Bell and Jayne 2010 maintain for example that forms of policy support for culture have reflected narrowly-defined, urban-centric understandings of culture as a resource for rural sustainability, further delimited by new cultural economy discourses of innovation, entrepreneurship and regeneration; i. Its originality lies in bringing together histories and theories that have been only very rarely employed in the burgeoning research on cultural industries.