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Culture is Bad for You: Inequality in the Cultural and Creative Industries

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These differences in childhood cultural engagement set up lifelong divergences in the chances of different demographic groups making it into cultural occupations. So identity simultaneously generates equality and inequality, between identification by association, and identity by exclusion and differentiation; it is both the engine of public life, and the cause of its confusion and conflict. Given the dimunition of structural support for education in the arts or in government assistance to those without the economic capital to survive the establishing period in a cultural career, we now have a sector dominated by the well-heeled middle class.

Not everyone can afford to do them and it is very excluding for people who don’t have family connections or the sort of background necessary to get into internships that are of value to them. Sadly, as Culture is bad for you demonstrates, what counts as ‘risky’ in the cultural sector is, very wrongly, associated with women, ethnic minorities, and those from working class origins. The proportion in the population has reduced, due to the loss of manufacturing work and an expansion in office work, which means that they have become an even smaller minority.N2 - In Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020), authors Orian Brook, Dave O’Brien and Mark Taylor cut through a Gordian Knot of interconnected and complex factors that create and maintain multiple inequalities within the UK Creative and Cultural Industries (CCIs).

Banks (2010) points out the contradiction between ‘rational’ capitalism that needs to adapt to ‘contingent’ autonomy to extract value from cultural labour.

Cultural hierarchies are made through space: cultural consumption at a venue is ‘attendance’, cultural consumption at home is ‘leisure’. People working in and around culture can support campaigning charities like Arts Emergency as individuals; they can also try to convince their organisations for an institutional commitment.

As we recover and rebuild, a ‘business as usual’ cultural sector will struggle to find legitimacy if it reverts back to an exclusive workforce and an exclusive audience. It’s also massively to do with being a woman of colour… They would much rather hire the white dude, and they feel more comfortable with the white dude, than the bolshy brown woman who seems to have done things that they don’t feel comfortable with. One of the organisations Dr Brook worked most closely with is Arts Emergency, an award-winning mentoring charity and long-term support network that works with young creatives. A few different policies would get at this: regulation of the private rented sector to look more like Germany; far more socially rented housing to look more like Austria; more homes being built so that housing is no longer such a scarce resource.

Essential reading for citizens, policy makers, employers, artists and fans - and for those who study them. Q. The usual mainstream assumption is that culture is good for you – that it’s enjoyable, keeps you healthy, socially connected, inspiring etc.

Especially in a pandemic, we should attribute more value to how culture is lived informally at home and on the streets. Projects in development include an ambitious plan to reinterview a hundred people working in CCIs from the Panic! it must have been Thatcher, and student fees, and people not being able to draw the dole while they develop their bands anymore’. Cronin, M 2022, ' Book review: Culture is Bad for You: Inequality in the Cultural and Creative Industries by Orian Brook, Dave O’Brien and Mark Taylor, Manchester University Press (2020)', Irish Journal of Arts Management and Cultural Policy , vol. You might also have decided you wanted to work in the creative industries: sure, you might have had to do a couple of unpaid internships in art galleries, or you might have spent months on writing your first Fringe show that you ended up losing money on, but you had good contacts that meant you were pretty sure that a promising agent would come to one of your performances, and you could keep living in your parents’ house in London while you were putting this together.Her forthcoming book, Black Culture Inc: How Ethnic Community Support Pays For Corporate America (Stanford University Press), examines how black cultural patronage functions as a form of diversity capital for businesses. Orian Brook is an AHRC Creative and Digital Economy Innovation Leadership Fellow at the University of Edinburgh Dave O'Brien is a Chancellor's Fellow in Cultural and Creative Industries at the University of Edinburgh Mark Taylor is a Senior Lecturer in Quantitative Methods at the University of Sheffield -- .

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