Cultural intermediation:          project and progress                                    Phil Jones                  Scho...
The project
The research problem we          identified• Florida, DCMS, AHRC etc. all tell us how  important the creative economy is• ...
Overall aimTo identify means of enhancing theeffectiveness of culturalintermediation as a mechanism forconnecting differen...
Creative vs. cultural• Slippage between terms ‘creative’ and  ‘cultural’ industries  – Tendency to subsume cultural within...
Research Questions• To develop techniques to capture the value of cultural  intermediation (WP1)• To examine how cultural ...
Research Questions• To design and deliver practice-based interventions with  local stakeholder panels of academics, policy...
What do we want to get from  project continuity days• A chance to catch up on the work the team  have been doing• Looking ...
Management Committee                                               Phil Jones (PI/WP5)Steering Group                      ...
Intermediation
What is ‘cultural         intermediation’?• Bourdieu’s (1984): intermediaries as agents  who tell communities what cultura...
Joys of ambiguity• Ongoing debate about how intermediaries can be  conceptualised  – Lots of room to encompass different  ...
Intermediation as            connection• Implicit assumption that connecting more people  to the creative economy will red...
Fellow travellers
AHRC Creative Economy call• University of Birmingham: Connecting  communities in the creative urban economy• University of...
Communities and Culture    Network (CCNetwork+)• EPSRC-funded, PI Helen Thornham, Leeds• “The impacts brought on by the co...
Kings Cultural Institute• Run out of Kings College London• Getting artists and researchers to work  together  – Generating...
Chicago Cultural Plan• Driven by Mayor Rahm Emanuel and  Department of Cultural Affairs & Special  Events• Huge citizen pa...
Chicago priorities1. Foster arts education & lifelong learning2. Attract/retain artists & creative professionals3. Elevate...
“...the blizzard of 36 recommendations in thecompleted Cultural Plan, with multiple initiativeslisted under each one, make...
• 18/19 October 2012• Council Leader taking personal charge of city’s  cultural strategy• Arts/culture placed at centre of...
White Paper on Growth• Regional strategy for economic development• Three themes: Business; People; Place• Commissioned res...
Research for Creative CityTheme                         Growth Drivers               Barriers to growthA growing & evolvin...
Research for Creative CityTheme               Growth Drivers                  Barriers to growthNetworking          Existi...
Timelines & targets
Year 1                    Year 2                     Year 3              Year 4                     WP0 Scoping & Theory B...
Year 1                    Year 2                     Year 3              Year 4                     WP0 Scoping & Theory B...
Delivery• International scoping studies commissioned  (WP0)• Staff appointed (WP1, 3-5, 6)• Initial scoping of archives an...
International scoping              studies• Mapping the Creative Urban Economy   – How has the creative/cultural economy d...
International scoping               studies• Chicago – Cultural Policy Center, University of Chicago• Toronto – Heather Mc...
Staff appointed• Samuel Mwaura – research assistant on the  mapping project (WP1)• Saskia Warren – Research Fellow for  Bi...
Today’s presentations• Mapping cultural intermediation      Lisa De Propris, University of Birmingham• Cultural intermedia...
2012 october pj cultural intermediation project and progress
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2012 october pj cultural intermediation project and progress

  1. 1. Cultural intermediation: project and progress Phil Jones School of Geography, Earth & Environmental Sciences University of Birmingham26 October 2012
  2. 2. The project
  3. 3. The research problem we identified• Florida, DCMS, AHRC etc. all tell us how important the creative economy is• If the ‘creative economy’ is significant, then who is benefiting from it?• How is the creative economy connected to different communities?• What processes of ‘cultural intermediation’ operate to make these connections?
  4. 4. Overall aimTo identify means of enhancing theeffectiveness of culturalintermediation as a mechanism forconnecting different communitiesinto the broader creative economy
  5. 5. 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 – Fascinating debates on nature of ‘value’
  6. 6. 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)
  7. 7. 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)
  8. 8. What do we want to get from project continuity days• A chance to catch up on the work the team have been doing• Looking at how the different strands fit together• Review whether we’re on track and how the project needs to evolve from the original plan• Identify things we’ve missed, potential avenues to explore
  9. 9. 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)David Tittle (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 Sam Mwaura Manchester Team Phil Jones (coordinator) Ian Grosvenor Beth Perry (coordinator) Saskia Warren Natasha McNabb Karen Smith Andrew Dubber Yvette Vaughan Jones Paul Heywood Paul Long Antonia Layard Tim May Kerry Wilson Richard Clay Birmingham Local Panel Russell Beale Manchester Local Panel Tom Duffy Commissioning interventions. Commissioning interventions. Composition to emerge from Composition to emerge from activities in WP3 & WP4 activities in WP3 & WP4
  10. 10. Intermediation
  11. 11. What is ‘cultural intermediation’?• Bourdieu’s (1984): intermediaries as agents who tell communities what cultural phenomena to passively consume• Hesmondhalgh (2006) argues that the ways of thinking through production-mediation- consumption need to evolve – Reflects changes in these relations through the rise of the creative industries
  12. 12. Joys of ambiguity• Ongoing debate about how intermediaries can be conceptualised – Lots of room to encompass different conceptualisations as the project evolves – Intermediation as ‘shared territory’ (Bakhtin)• 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.
  13. 13. 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?
  14. 14. Fellow travellers
  15. 15. AHRC Creative Economy call• University of Birmingham: Connecting communities in the creative urban economy• University of Manchester: Understanding everyday participation and its role in creating social and cultural value (PI Andy Miles)• Cardiff University: Understanding the value of the creative citizen (PI Ian Hargreaves)
  16. 16. Communities and Culture Network (CCNetwork+)• EPSRC-funded, PI Helen Thornham, Leeds• “The impacts brought on by the convergence of digital technology, culture, and practice raise real questions around how and what communities and cultures might/could/should be understood”• Networking, commissioning action research, undertaking pilot projects
  17. 17. Kings Cultural Institute• Run out of Kings College London• Getting artists and researchers to work together – Generating new forms of knowledge – Getting communities involved in arts-based research practices• Creative intersections project with the RSA
  18. 18. Chicago Cultural Plan• Driven by Mayor Rahm Emanuel and Department of Cultural Affairs & Special Events• Huge citizen participation exercise – 8 Town Halls, 20 Neighbourhood ‘conversations’, 50+ other meetings• Released October 2012 – 36 recommendations, over 200 initiatives
  19. 19. Chicago priorities1. Foster arts education & lifelong learning2. Attract/retain artists & creative professionals3. Elevate & expand neighbourhood cultural assets4. Facilitate neighborhood cultural planning5. Strengthen capacity of the cultural sector6. Optimize City policies and regulations7. Promote the value and impact of culture8. Strengthen Chicago as a global cultural destination9. Foster cultural innovation10. Integrate culture into daily life
  20. 20. “...the blizzard of 36 recommendations in thecompleted Cultural Plan, with multiple initiativeslisted under each one, makes the document moreof a Christmas wish list than a comprehensiblecourse of action. Real, tangible ideas shareacreage with grandiose hopes; ideas that couldbe launched tomorrow compete for attentionwith visions that are not likely to be realized, fordecades, if ever. Nothing wrong with dreaming big, ofcourse, but in these hard times — with the cityand the state deeply in the red — only ideasgrounded in reality seem likely to generateresults. ” Howard Reich, Arts Critic, Chicago Tribune 19/10/12
  21. 21. • 18/19 October 2012• Council Leader taking personal charge of city’s cultural strategy• Arts/culture placed at centre of a city agenda which places inequality as #1 priority – Economic growth but also – Place making / community engagement – Wellbeing• Continued anxiety over perception of the city
  22. 22. White Paper on Growth• Regional strategy for economic development• Three themes: Business; People; Place• Commissioned research for the Creative City initiative aiming to: – Secure investment for cultural/creative industries – Identify key factors driving/constraining growth in the sector – Identify key areas for investment in the sector
  23. 23. Research for Creative CityTheme Growth Drivers Barriers to growthA growing & evolving sector Emerging digital industry Decline of major media Below the radar activity Decline of fashion/jewellerySize Few barriers to entry Career progression Excellent venues (SHTH) Decline of major media Poor mid-scale venuesLocation Lower capital costs than Proximity to London (HS2) LondonPlanning/development Facilities/incubators Zoning/land assembly not Developing a ‘buzz’ mapped to needs of sectorPR / Marketing Large, organic sector Lack of local pride Positive perception in the Lack of creative ID sector Low profile in media Under the radar activity
  24. 24. Research for Creative CityTheme Growth Drivers Barriers to growthNetworking Existing clusters/networks Geography militates against e.g. Custard Factory / a central ‘hub’ Jewellery Quarter, plus non- No obvious ‘zones’ to bring geographic networks activity together No definitive ‘directory’ of creative activitySkills Strong start up culture, high Artisanal rather than resilience entrepreneurial mindset Microbusinesses struggle with skills/trainingAccess to finance Organisations keen to access Agencies lack understanding funding in new ways of creative sector Support insufficiently responsive
  25. 25. Timelines & targets
  26. 26. Year 1 Year 2 Year 3 Year 4 WP0 Scoping & Theory BuildingWP2 Historic WP3 Governance WP4 Communities WP5 Interventions WP1 Valuation & Mapping
  27. 27. Year 1 Year 2 Year 3 Year 4 WP0 Scoping & Theory BuildingWP2 Historic WP3 Governance WP4 Communities WP5 Interventions WP1 Valuation & Mapping
  28. 28. Delivery• International scoping studies commissioned (WP0)• Staff appointed (WP1, 3-5, 6)• Initial scoping of archives and priority areas (WP2)• Working paper on valuation (WP1)• Data collection & initial analysis for mapping (WP1)
  29. 29. International scoping studies• Mapping the Creative Urban Economy – How has the creative/cultural economy developed historically in this city? – What are the key features of the creative urban economy in this city?• Policy and Governance – What is the policy framework (national/local) in which the creative economy operates within this city? – What are the local governance arrangements? – To what extent are different communities implicated in the formulation/implementation of policy and governance frameworks?• Connecting Communities – To what extent is the city’s wider community engaged with the creative and cultural economy – What evidence is there for intermediation processes within the sector locally beyond encouraging consumption? – Are there particular examples of intermediation processes as two-way dialogue? – In these examples, what were the critical success factors?
  30. 30. International scoping studies• Chicago – Cultural Policy Center, University of Chicago• Toronto – Heather McLean, York University• Guangzhou – Fang Yuan-ping, Centre for Urban and Regional Development Studies, South China Normal University• Hobart – ties into a three year ARC project run by Justin O’Connor, Queensland University of Technology• Budapest – Emilia Barna Assistant Professor at the Budapest University of Technology and Economics Institute for Media Education and Research (BME MOKK)• Delhi – Raj Isar, Professor of Cultural Policy Studies, American University of Paris, (author of forthcoming UNESCO Creative Economy Report)• Sweden , South Africa, France• TBC – UAE – Caracas – Medellin
  31. 31. Staff appointed• Samuel Mwaura – research assistant on the mapping project (WP1)• Saskia Warren – Research Fellow for Birmingham (WP3-5)• Karen Smith – Research Fellow for Manchester (WP3-5)• Laura Ager – PhD student, role of universities as cultural intermediaries (WP6)
  32. 32. Today’s presentations• Mapping cultural intermediation Lisa De Propris, University of Birmingham• Cultural intermediation in historical perspective Ian Grosvenor & Natasha Macnab, University of Birmingham• Measuring the value of cultural intermediation Dave O’Brien, City University (Presented by Saskia Warren)

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