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2012 april pj continuity day presentation

Opening presentation for the first continuity day of the AHRC-funded Cultural Intermediation in the Creative Urban Economy project

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2012 april pj continuity day presentation

  1. 1. Overview of the project and timelines Phil Jones School of Geography, Earth & Environmental Sciences University of Birmingham
  2. 2. What do we want to get from project continuity days• A sense of how the different elements of the project fit together• How the project needs to evolve from its original conception• Review of work we’ve undertaken and how we could improve things• Things that we’ve missed, potential avenues to explore
  3. 3. Creating an unequal economy• 30 years of deindustrialisation and transition to a ‘creative’ economy• Widening gap between rich and poor
  4. 4. Creative economy impacts• DCMS 2007 40% of creative workers have degrees compared to 25% non-creative• Arts increasingly justified instrumentally as generating economic growth• Powerful influence of discourses such as ‘creative class’ reinforcing neoliberal urbanism• Polarisation of connected, creative communities and deprived service class
  5. 5. Connected Communities Programme• Runs across UK Research Councils, but led by Arts and Humanities Research Council• “to mobilise the potential for increasingly inter-connected, culturally diverse, communities to enhance participation, prosperity, sustainability, health and well-being by better connecting research, stakeholders and communities.”
  6. 6. How the project came about• Connected Communities ‘Creative Economy Workshop’ December 2010• Call for projects linking creative economy with the idea of connected communities• We won 6 months of funding to develop a larger project bid• Competition between five teams, three of which were funded
  7. 7. • University of Manchester: Understanding everyday participation and its role in creating social and cultural value• Cardiff University: Understanding the value of the creative citizen• University of Birmingham: Connecting communities in the creative urban economy
  8. 8. The research problem we identified• If the ‘creative economy’ is significant, then who is benefiting from it?• How is the creative economy (broadly defined) connected to different communities?• What processes of ‘cultural intermediation’ operate to make these connections?
  9. 9. Creative vs. cultural• Slippage between terms ‘creative’ and ‘cultural’ industries – Tendency to subsume cultural within creative industries• ‘Cultural economy’ allows us to think wider and think about contribution that museums, galleries etc. can make – More than simply direct economic output
  10. 10. What is ‘cultural intermediation’?• Bourdieu’s (1984): intermediaries as agents who tell communities what cultural phenomena to passively consume• Broader notion of ‘intermediation’ as processes linking cultural economy to the wider world – individual artists, public arts venues, creative industries, agencies/networks supporting the arts, etc. etc.
  11. 11. Intermediation as connection• Implicit assumption that connecting more people to the creative economy will reduce inequality• Cultural intermediation already exists• But – Is cultural intermediation the best way to make connections? – Does it function in the most effective fashion? – Can modes of working be found that improve this ‘connecting’ role?
  12. 12. Overall aimTo identify means of enhancing theeffectiveness of culturalintermediation as a mechanism forconnecting different communitiesinto the broader creative economy
  13. 13. Research Questions• To develop techniques to capture the value of cultural intermediation (WP1)• To examine how cultural intermediation has developed historically, whose interests it has served and what lessons this provides for understanding best practice today. (WP2)• To critically evaluate the role of intermediaries in the changing governance of cultural economy initiatives and how different actors undertaking cultural intermediation operate within the sector (WP3)• To explore how intermediation connects communities into the creative economy and how this can be enhanced to break down the tension between hard-to-reach communities and inaccessible cultural resources. (WP4)
  14. 14. Research Questions• To design and deliver practice-based interventions with local stakeholder panels of academics, policy- makers, community groups and artists to improve the effectiveness of cultural intermediation. (WP5)• To contribute to academic, policy and practitioner debates on the value of cultural intermediation in shaping creative economy initiatives (WP6)• To reflexively examine and evaluate the process of interdisciplinary and transdisciplinary working through innovative project design and delivery (WP6)• To produce high-quality academic, policy and artistic outputs based on best practice in knowledge exchange (WP0-6)
  15. 15. WP0 Scoping & Theory Building Lead: Phil Jones Additional Input: Research team Mapping exercise WP1 Valuation & Mapping 1x PhD Intellectual Property Lead: Lisa De Propris Lead: Dave O’Brien Supervisor: Antonia LayardRA: 6 months data processing Critical Friend: Andrew Dubber Site Coordination Manchester: Beth Perry Birmingham: Phil Jones WP2 Historic WP3 Governance WP4 Communities WP5 Interventions Lead: Ian Grosvenor Lead: Beth Perry Lead: Paul Long Lead: Phil Jones RF: Natasha McNabb RF: Site Researcher x2 Additional input Additional inputCritical Friend: Beth Perry Additional Input: Manchester case study: Paul Manchester case study: Paul Antonia Layard Heywood Heywood Critical Friend: Dave O’Brien RF: Site Researcher x 2 Additional input Critical Friend: Phil Jones Birmingham case study: Andrew Dubber RF: Site researcher x 2 Critical Friend: Kerry Wilson WP6 CIRCUS 1x PhD Seminar Series Reflection Universities as New Media Lead: Kerry Wilson Lead: Tim May Intermediaries Lead: Richard Clay Supervisor: Tim May Technical input: Russell Beale Critical Friend: Yvette Vaughan Jones RF: 1 x part time
  16. 16. Integratedinterdisciplinary design• Arts & humanities approaches embedded in the project framing• Valuation mapping exercise identifies case study themes...• ...shaping the historical project which...• ...informs examination of contemporary governance which...• ...identifies different communities who are asked to co-construct the research...• ...and commission creative interventions
  17. 17. Deep case study approach• Allows the creative economy eco-system to be explored in each city• Topical – Birmingham LEP/enterprise zone ‘creative city’ – Salford Media City• How well do community needs/aspirations map onto cultural policy and the activity of intermediaries – What are the circles of influence / cliques that exist. How do these include / exclude groups?
  18. 18. Two case study teamsGreater Manchester Birmingham• Coordinator: Beth Perry • Coordinator: Phil Jones• 3 year research fellow • 3 year research fellow• Working across • Working across – Governance – Governance – Communities – Communities – Interventions – Interventions
  19. 19. Community-led research• How visible is intermediation activity within communities (‘hard-to-reach institutions’)?• Training for community members to undertake research themselves• De-centre the power of intermediation to have communities determining priorities for action• Community membership of local panels commissioning £140k of intervention activity
  20. 20. CIRCUS• Collaborative Interdisciplinary Research Connecting Urban Society• Seminar series, interfacing with KE hubs• Major public activities with Library of Birmingham, BMAG, Manchester International Festival and others• Museum-grade multiplatform outputs• Ongoing reflexive study of the research practice• Dissemination of best practice
  21. 21. Non academic partnersVisiting Arts, Arts Council England, UnityRadio, Sampad South Asian Arts, MADE, Un-Convention, DCMS, Birmingham City Council, MitraMemarzia, a-n The Artists InformationCompany, Brighter Sound, The Seedley andLangworthy Trust, Institute of ContemporaryArts, RSA, Manchester City Council, ManchesterInternational Festival, Birmingham and NorthSolihull Mental Health Foundation Trust, City ofBirmingham Symphony Orchestra, Grand Central
  22. 22. Scoping studies• We have a budget for commissioning 12 review papers• Interdisciplinary vs. International• Potential value of reviewing state of cultural economy and intermediation practices in BRIC countries
  23. 23. Scale of the project• 4 years• £1.5m, but... – Salaries & overheads £1.1m – PhD studentships £80k – Travel / subsistence £21k – Equipment £4k – Commissions £140k – Seminar series £20k – Transcription £20k – Etc. Etc.
  24. 24. Year 1 Year 2 Year 3 Year 4 WP0 Scoping & Theory BuildingWP2 Historic WP3 Governance WP4 Communities WP5 Interventions WP1 Valuation & Mapping
  25. 25. Management Committee Phil Jones (PI/WP5)Steering Group Dave O’Brien (WP1) Virtual panelMitra Memarzia (AIR) Susan Jones (AN)Clayton Shaw (Sampad) Ian Grosvenor (WP2) Rachel Smithies (ACE)Chris Jam (Unity FM) Beth Perry (WP3) Ed Pickering(DCMS)Yvette Vaughan Jones (Visiting Arts) Paul Long (WP4) Paul Collard (Creative Partnerships)Manchester International Festival Paul Benneworth (Uni of Twente)Brighter Sound Tim May (WP6)Manchester City CouncilThe Community Development TrustRuth Daniel (Un-Convention)Anthony Ruck (MADE)Tony Whyton (Uni of Salford)Kate Mcluskie (Uni of Birmingham) Cross cutting team Phil Jones (coordinator) Dave O’Brien Birmingham Team Lisa de Propis Richard Clay Manchester Team Phil Jones (coordinator) Ian Grosvenor Beth Perry (coordinator) Site Researcher RF 1 Natasha McNabb Site Researcher RF2 Andrew Dubber Yvette Vaughan Jones Paul Heywood Paul Long Antonia Layard Tim May Kerry Wilson Birmingham Local Panel Manchester Local Panel Commissioning interventions. Commissioning interventions. Composition to emerge from Composition to emerge from activities in WP3 & WP4 activities in WP3 & WP4
  26. 26. Summary
  27. 27. • Intermediation is a key process in the creative economy but has lacked critical scrutiny• Project takes an interdisciplinary, deep case approach to analyse the sector in an integrated fashion• Creative, action-oriented approach driven by communities• Context of localism, big society and (big) cuts make reappraisal urgent• Opportunities for major impact through rigorous outputs and dissemination strategy

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