Exploring creative class mobility: Hong Kong creative workers in Shanghai and Beijing

2017 ◽  
Vol 58 (4) ◽  
pp. 361-385 ◽  
Author(s):  
Yiu Fai Chow
2017 ◽  
Vol 22 (4) ◽  
pp. 27-47 ◽  
Author(s):  
Mark Taylor ◽  
Dave O’Brien

The attitudes and values of cultural and creative workers are an important element of explaining current academic interest in inequality and culture. To date, quantitative approaches to this element of cultural and creative inequality have been overlooked, particularly in British research. This article investigates the attitudes of those working in creative jobs with a unique dataset: a web survey of creative workers’ attitudes (n = 2487). Using principal components analysis and regression, we have three main findings. First, in contrast to Richard Florida’s thesis on the attitudes and values of ‘the creative class’, our respondents’ attitudes were no more meritocratic than those of the general population. Second, those with the strongest belief in meritocracy in the sector are those in the most privileged positions, specifically those are best rewarded by the sector. Third, our research provides support for existing qualitative research on attitudes in the cultural sector, in which the worst rewarded workers are most aware of structural inequality. We conclude that the attitudes held by creative workers, and who holds which attitudes, make it unlikely that access to the sector and trajectories of individual progression within the sector will change. These findings also have important implications for current public interest in whether access to creative work is limited to those from privileged backgrounds.


2019 ◽  
Vol 5 (4) ◽  
pp. 205630511988343 ◽  
Author(s):  
Jian Lin ◽  
Jeroen de Kloet

This article studies the platformization of cultural production in China through the specific lens of Kuaishou, an algorithm-based video-sharing platform targeting second- and third-tier cities as well as the countryside. It enables the forming of an “unlikely” creative class in contemporary China. Kuaishou’s platform business fits into the Party State’s socio-economic agenda of “Internet+” and “Mass Entrepreneurship and Innovation,” and is also folded into the state’s demand for cultural censorship and social stability. As we will show, this state-commerce relationship largely shapes Kuaishou’s interface and its affordances as encoded in its algorithm. Nevertheless, Kuaishou enables the diverse, often marginalized, Chinese living outside the urban centers of the country to become “unlikely” creative workers, who have become self-employed creative, digital entrepreneurs. For these “grassroots individuals,” creativity, life, and individuality are constantly mobilized and calculated according to the workings of the platform. This grassroots entrepreneurship, in tandem with the institutional regulation and censorship of the Internet, contributes to the transformation of Chinese economy and the production of social stability and a digital culture permeated with contingency and negotiation.


2016 ◽  
Vol 31 (1) ◽  
pp. 43-62 ◽  
Author(s):  
Yiu Fai Chow

China took up the discourses and agenda of creative industries increasingly in the first post-millennium decade. Amidst the attempt to turn from ‘made in China’ to ‘created in China’, would the translation of the creativity discourse usher in a better society in China? This article serves as one of the probing steps to ascertain what creativity enables and disables in China. I do so in an inquiry that departs from existing scholarship on two aspects. First, it follows a regional, cross-border labour flow. Second, it focuses on the people in the frontline of creative work. My study draws on the experiences of 12 Hong Kong creative workers who moved to Shanghai and Beijing. Their translocal and transcultural encounters allowed me to trace and foreground the particularities of creative practices in China. Like many fellow creative workers, my informants moved north to pursue better career opportunities. But they also wanted to do something more. Some of them managed to do so. At the same time, their stories were punctuated with disappointments, frustrations and continuous adjustments, categorized into what I call the precarious and the ethical. The findings of this inquiry pose questions on the hypothesis, the hype and the hope of creativity in China.


2012 ◽  
Vol 53 (2) ◽  
pp. 219-235 ◽  
Author(s):  
Chau-kiu Cheung ◽  
Kwan-kwok Leung

2020 ◽  
Vol 12 (4) ◽  
pp. 1687
Author(s):  
Kai Zhao ◽  
Yuesheng Zhang ◽  
Jinkai Zhao

This paper proposes a new idea for the current argument over Florida’s cultural policies, as location choices of the creative class is a complex process involving some basic aspects of socio-economic progress. Based on the European Labor Force Survey (EU LFE) dataset, tolerance and openness indicators which represent the quality of a “people climate” are found to be positively correlated with the creative class’s location in large regions and less so in smaller ones, where business climate-related parameters, i.e., the quality of local governments and the location of universities, have stronger positive effects on locational choices of the creative class. Moreover, graduates with non-creative jobs and creative professionals (i.e., workers who provide creative solutions during the work process such as high-tech technicians or legal and healthcare workers) are concerned more about the people climate, while creative workers with a degree and a creative core (e.g., workers who provide original ideas such as scientists, engineers and artists) are more likely to prioritize a business climate. Therefore, we argue that the promotion of a “tolerant” climate, as Florida advocates, is not a one-size-fits-all solution. Instead, policy makers should appropriately relate different preferences of creative workers to their unique strengths. This provides more insights into defining the concept of creativity beyond prioritized individual success, as well as understanding the preferences and actual needs of highly skilled workers in Europe.


Author(s):  
Joachim Möller ◽  
Annie Tubadji

SummaryThe paper aims at testing Florida’s concept of the Creative Class using panel data for 323West German regions for the time period 1975-2004. Applying a dynamic system approach based on GMM, we find that the local concentration of the Creative Class has predictive power for the economic development of a region and tends to outperform traditional indicators of human capital. However, our results do not support Florida’s assertion that the creative workers flock where the Bohemians are. According to our findings, the Creative Class is attracted by favorable economic conditions as indicated by employment growth or an increasing wage bill.


2020 ◽  
Vol 5 (4) ◽  
pp. 438-451
Author(s):  
Yvette Lok Yee Wong ◽  
Yiu Fai Chow

While many young creative workers are braving precaritization presumably with the drive of aspiration, this article focuses on the other end of their career path: disillusionment. Informed by the experiences of five self-proclaimed wenyi qingnian – loosely translated as cultural youth – in Hong Kong, this article tracks their aspirations which kept them hoping and going till they were disillusioned and decided to quit. Drawing together two lines of research – on precarity and on failure – our study fills in a gap of the scholarship on creative work and workers that is dominated by concerns with precarity and related abuses. We attend not only to the abuse, exploitation and precarity of creative work, but to a more open understanding of how and why young creative practitioners leave. We do so with an unusual deployment of longitudinal inquiry that does not only concern itself with struggles of creative workers but also with the termination of such struggles. We observe four dimensions of failure: their increasingly precarious way of life; their disillusionment with creativity; the urgency posed by their ‘ageing’; and the specific local political situation. As transpired, only one factor is immediately related to precarity. This article argues to include ‘failure’ as a significant phase of creative work, that warrants further investigation and may open up more understanding on precarity, or in general, creative work and workers. While precarity is dominantly defined in economic and market-related terms – with good reasons – we see the need to loosen it up to acknowledge more aspects of precarity and experiences of creative work. This article is part of the Special Issue Creative Labour in East Asia.


2020 ◽  
Vol 144 (3) ◽  
pp. 241-257

One of the defining concepts of neoliberal economic policy in the 2000s was the creative class theory of Richard Florida. The theory has drawn attention to the economic role and importance of creative workers and has been a focal point for urban politicians in developing urban development policies and strategies. The main aim of this study is to introduce the most important milestones in the development of the theory and to present the socio-geographical and labor market characteristics of the creative class. In this study, I have attempted to summarize all the defining theoretical foundations, findings, and critiques that have accompanied the evelopment and history of the creative class concept. The theoretical paper is based on the processing and evaluation of domestic and international literature.


Author(s):  
Tomas KAČERAUSKAS

The paper deals with the different environmental discourses and the question whether the city is a creative environment. The theses have been developed as follows: 1) there are different environmental discourses including technological, sociological, ecological, religious, philosophical (ethical), urban, and discourse of creativity; 2) a novelty of a discourse follows from the interdisciplinary character, i.e. From a combination of the discourses; 3) a city both attracts and turns away the creative workers: here there are many occasions of creative activities and spreading of creation, however at the same time there is an anti-ecological environment that also uniforms creation; 4) although cosmopolitanism and globalism are intimately connected, they could be evaluated as two contrary principles: the first one is to be connected with the principle of difference, the latter – with the principle of unification; 5) although there are many debates concerning such social formation as the creative class, it is the main element and engine of a creative society.


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