scholarly journals Funky Days Are (Not) Back Again: Cool Britannia and the Rise and Fall of British South Asian Cultural Production

2020 ◽  
Vol 17 (1) ◽  
pp. 6-23
Author(s):  
Anamik Saha
Keyword(s):  
South Asian ◽  
Cultural Production ◽  
Cultural Policy ◽  
Creative Industries ◽  
Cultural Industries ◽  
Production Studies ◽  
Television Film ◽  
British Asians ◽  
The Moment ◽  
The Uk

This article explores the conditions that led to the rise and fall of British South Asian cultural production. Following a high point in the 1990s when for the first time a South Asian diasporic presence was felt in British popular culture, across television, film, music, literature and theatre, Asians have now returned to the periphery of the cultural industries. But this is not a simple case of British Asians falling in and out of fashion. Rather, as this article explores, British Asian cultural producers were enabled but then ultimately constrained by shifts in cultural policy (and specifically ‘creative industries’ policy) and, more broadly, by the politics of multiculturalism in the UK and beyond. In particular, it focuses on the moment of New Labour and ‘Cool Britannia’ as a significant cultural and political moment that led to the rise and subsequent demise of British Asian cultural production. Through such an analysis the article adds to the growing body of work on race and production studies. It demonstrates the value of the historical approach, outlined by the ‘cultural industries’ tradition of political economy, which is interested in how historical forces come together to produce a particular set of institutional and social arrangements that shape the practices of British Asian creative workers. While the article foregrounds television and film, it explores the field of British Asian cultural production more broadly and, in doing so, marks the ascendency of the ‘diversity discourse’ that characterises cultural policy in the present day.

scholarly journals Creative Clusters – Urban Utopia or Regional Remedy?

2020 ◽  
Vol 2 (1) ◽  
pp. 109-120
Author(s):  
Stine Agnete Sand
Keyword(s):  
Cultural Policy ◽  
Film Industry ◽  
Critical Mass ◽  
Regional Growth ◽  
Creative Industries ◽  
Policy Documents ◽  
Development Tool ◽  
The Uk ◽  
Urban Utopia ◽  
Film Policy

AbstractThe creative industries have had a major impact on cultural policy, and it is often argued that these industries can be a vehicle for regional growth. Using regional film production in Norway as a case, I discuss the creative industries, the cluster concept and its impact on policy. I analyse two film policy documents from 2007 and 2015 in order to show how the issue of size and critical mass is an unsettled topic within the creative industries, and I question the relevance of film as an economic and regional development tool in a country with a small film industry, such as Norway. This article shows that the creative industries concept, adopted from international discourses, especially creative industries policies in the UK, has influenced Norwegian film policy, reducing the importance of cultural objectives and increased the focus on the business potential and economic aspects of culture.

Innovation

2020 ◽  
pp. 32-70
Author(s):  
Anusha Kedhar
Keyword(s):  
South Asian ◽  
Social Cohesion ◽  
Cultural Practices ◽  
South Asians ◽  
Cultural Integration ◽  
Dance Company ◽  
Competing Demands ◽  
British Asians ◽  
The Uk

Chapter 1 theorizes flexibility in relation to neoliberal demands for innovation. In the late 1990s, during an era of expanding economic globalization and increasing European integration, Britain capitalized on the diverse cultural practices of its postcolonial communities to showcase the country’s “cool” cosmopolitanism and global investment appeal. However, the state was keen to promote a certain kind of diversity, one that was legible and assimilable. In order to be considered for funding, South Asian dance had to be both diverse (i.e., ethnically marked) and innovative (i.e., ethnically unmarked)—different but not too different. After decades of racial division and growing fears that British Asians were a threat to social cohesion, innovation was key to cultural integration. Balancing the dual demands for innovation and diversity required great flexibility on the part of British South Asian dancers, including the ability to stretch the boundaries of the form through experimentation; to be fluent and versatile in multiple techniques; and to adhere to competing demands to make work that was both culturally distinct and legible to a wider (and whiter) public. This chapter shows how one particular British South Asian dance company, Angika, struck a balance between ethnic particularity and mainstream appeal through an array of flexible choreographic and artistic choices. In doing so, Angika’s performances not only helped audiences reimagine Britain as inclusive, cosmopolitan, modern, and “cool,” but also allayed public fears about South Asians in the UK as unassimilable outsiders.

GENERATIONAL CHANGES IN HEIGHT AND BODY MASS DIFFERENCES BETWEEN BRITISH ASIANS AND THE GENERAL POPULATION IN GLASGOW

1997 ◽  
Vol 29 (1) ◽  
pp. 101-109 ◽  
Author(s):  
MANFUSA SHAMS ◽  
RORY WILLIAMS
Keyword(s):  
Public Health ◽  
General Population ◽  
Positive Selection ◽  
South Asian ◽  
Generational Differences ◽  
Health Measures ◽  
Generational Changes ◽  
British Asians ◽  
The Uk ◽  
Selection Of

A weighted total of 630 pupils aged 14–15 in Glasgow schools, about evenly divided between pupils of South Asian and non-Asian (overwhelmingly British) background, were measured for height and weight and compared with previous results for a similar Glasgow sample aged 30–40. Among 14–15-year-olds, British Asians were not so short compared with non-Asians as among 30–40-year-olds, especially females. Among 30–40-year-old Glasgow Asians only 7% were born in the UK, while among 14–15-year-old Glasgow Asians 86% were so born, indicating that they are the children of migrants. Generational differences in these comparisons cannot be due to positive selection of the migrant generation for height, and are attributed to improved environment, including nutrition and public health measures. This suggests the possibility of corresponding improvements in coronary and diabetic risk.

scholarly journals TYPOLOGY OF MODERN THEORETICAL CONCEPTS OF CULTURAL ECONOMY

2018 ◽  
pp. 30-32
Author(s):  
I. I. Parkhomenko
Keyword(s):  
Cultural Production ◽  
Modern Society ◽  
Scientific Discipline ◽  
Cultural Development ◽  
Creative Industries ◽  
Cultural Economy ◽  
Cultural Industries ◽  
The European Union ◽  
Theoretical Concepts ◽  
Production And Consumption

The article proposes theoretical concepts typology of the modern cultural economy, which proves the existence of economic relations in the field of culture according to the Western European scientific tradition of XX-XXI centuries: 1) cultural and philosophical (T.W.Adorno, J. Baudrillard, P.Bourdieu, M.Horkheimer, S.Lash, C.Lury, J.Urry); 2) cultural industries approach (R.Williams, B.Miege, N.Garhnam, P.L.Sacco); 3) economic and managerial (W.J.Baumol, W.G.Bowen, M.Blaug, V.A.Ginsburg, D.Hesmondhalgh, A.Klamer, B.Miege, A.J.Scott, D.Throsby, B.S.Frey). According to these modern theoretical concepts, culture is the sphere of production and consumption of goods and services; it is functioning as a resource for economic, social and cultural development. This understanding of culture is the basis of the current policy of cultural and creative industries in the European Union and the United Kingdom. Cultural production is an interdisciplinary object of study, since the cultural good has its own peculiarity: its cultural value determines economic value. The article analyzes production in the field of culture and, at first, determines economy of culture as a scientific approach for understanding the functioning of the modern society in the categories of production and consumption; secondly, economics of culture is a scientific discipline in the field of economics. Theoretical and methodological bases were interdisciplinary scientific approaches to the understanding of culture as a sphere of production and consumption. For that reason were organized and systematized approaches to the understanding of culture as an economic reality in scientific discourse: 1) critical theory of T.W.Adorno, W.Benjamin and M.Horkheimer and the concept of "cultural industry"; 2) the interaction of cultural and power institutions in the processes of democratization of society and industrialization of culture (R.Williams, N.Garhnam, P.L.Sacco); 3) culture as a set of cultural industries, which form cultural capital (P.Bourdieu, D.Hesmondhalgh, B.Miege, D.Throsby); 4) the functioning of modern society as global culture industry in theory of S.Lash and C.Lury; 5) cultural economics theory (W.J.Baumol, W.G.Bowen, M.Blaug, V.A.Ginsburg, A.J.Scott, D.Throsby, B.S.Frey).

scholarly journals Factors of evolution and coevolution of cultural and creative industries in economics

2021 ◽  
Vol 2021 (54) ◽  
pp. 242-263
Author(s):  
Marianna Kichurchak ◽  
Keyword(s):  
Cultural Production ◽  
Economic Thought ◽  
Creative Industries ◽  
Cultural Industries ◽  
Economic Activities ◽  
Cultural Products ◽  
Economic Agents ◽  
Major Factors ◽  
Economic Nature ◽  
Cultural And Creative Industries

It is important to determine the main directions of evolution of economic views on the formation of scientific approaches to the interpretation of the economic nature of cultural and creative industries. The purpose of the article is to find out the main social and economic conditions for the formation of the conception of cultural and creative industries in economics based on the analysis of evolution and co-evolution of the Ukrainian and world economic thought on that subject. The scientific methods of induction and deduction, historical and logical analysis, comparison are used. The author has shown that the key reasons for the formation of theoretical and methodological principles of the conception of «cultural» and «creative» industries were related to social and economic environment for the society development, and the peculiarities of the integration of cultural and creative activities into the system of economic relations and production processes. It is defined that the features of the formation of theoretical and methodological approaches to the interpretation of the economic nature of these industries are scientific discussions about: the importance of creativity/art in order to produce competitive goods; inclusion of specific types of cultural production in the system of division of labor; the methodology for determining the value of works of art and creative activity; clarification of the subject of economics taking into account the character of cultural activity and manufacturing of cultural products; interpretation of the essence of culture and creativity and their influence on the economic system evolution; and identification of the definitions of «cultural Industry», «cultural Industries» and «creative Industries». It is revealed that the major factors of the evolution and co-evolution of cultural and creative industries are the increase in the interaction between economic agents and economic activities in this sector of the national economy, and improving the technologies of replicating cultural products and relationships with potential consumers. The author has substantiated that the foundation of the theoretical processes of evolution and co-evolution of these industries is the inclusion in the creative and cultural industries of all types of economic activity, which belong to them according to the classification criterion.

scholarly journals THE CONCEPT OF CULTURAL AND CREATIVE INDUSTRIES IN THE EUROPEAN ACADEMIC FIELD AND POLICIES OF THE EU AND GREAT BRITAIN

2017 ◽  
pp. 74-78
Author(s):  
I. I. Parkhomenko
Keyword(s):  
Sustainable Development ◽  
Creative Industries ◽  
Cultural Value ◽  
Cultural Industries ◽  
Academic Field ◽  
Goods And Services ◽  
Critical Interpretation ◽  
The Uk ◽  
Cultural And Creative Industries ◽  
The Eu

Current European integration course in Ukraine requires rethinking Ukrainian scientific and policies meaning of the cultural sphere as the set of cultural industries, which produce and distribute goods or services with special cultural value, irrespective of the commercial value they may have. According to the main UN Resolutions, UNESCO Conventions and legal activity of the European Commission since 90th of XX century cultural assets are considered to be - an instrument and resource of economic, cultural and social sustainable development of states, cities and regions. New conditions require scientific methods for modelling Ukrainian cultural industries, identification of the priority industries. Besides the concept of cultural industries European scientists and governmental officials, use the concept of creative industries, especially, for the policymaking. All that show the need for clarification of these concepts in Ukrainian scientific field and policies making practice for governmental purposes. The purpose of this article is to study the meaning of the concepts of cultural and creative industries according to the European scientific discourse and policies making documents in the EU and the UK. The article shows that modern European scientists do not use the tradition of critical interpretation of the cultural industry, which was offered by representatives of the Frankfurt School in the mid-twentieth century. Scientists improve concepts to identify the sphere of culture as an economic reality, which is reflected in the specific governmental documents of the UK, the EU and UNESCO for policies making to improve sustainable development. The models of cultural and creative industries offer a logic of distinction according to the basis of the value component: the output of the creative activity has utility that is more functional for the consumers; it could be a component of the production of other industries, not only cultural industries. Cultural output has cultural value. The purpose of the creative industries is to produce goods and services for the commercial trade. Cultural industries produce cultural content, which embodies or conveys cultural expressions.

scholarly journals Creative Industries and Cultural Development — Still a Janus Face?

2002 ◽  
Vol 102 (1) ◽  
pp. 25-34 ◽  
Author(s):  
Lisanne Gibson
Keyword(s):  
Development Policy ◽  
Cultural Policy ◽  
Cultural Development ◽  
Creative Industries ◽  
Policy Debate ◽  
Creative Practice ◽  
Cultural Rights ◽  
The Moment ◽  
Discursive Constructions ◽  
Policy Discourses

Since the 1970s, it has been possible to discuss cultural policy in terms of the discourses ‘art as industry’ and ‘cultural rights' (for a discussion of this history, see Gibson, 2001). ‘Creative industries' is the policy ‘buzz term’ of the moment. The ways in which the terms ‘creative industries' and ‘cultural rights' are understood in contemporary cultural policy encapsulate the ways in which the economic and humanistic benefits of creative practice have been articulated as existing in competition. I argue that it is counterproductive to understand these discourses as mutually exclusive. Are these discursive constructions — art as profit versus art as identity — constitutively oppositional? To pose this same question using the terms which frame contemporary policy debate, how do we negotiate between the (seemingly) competing logics of the creative industries and cultural development policy discourses?

scholarly journals Co-operatives in the Cultural Industries

2015 ◽  
Vol 13 (1) ◽  
Author(s):  
Marisol Sandoval ◽  
Jo Littler ◽  
Robin Murray ◽  
Rhiannon Colvin ◽  
Sion Whellens ◽  
...  
Keyword(s):  
Cultural Production ◽  
Culture Industry ◽  
Creative Industries ◽  
Individual Responsibility ◽  
Cultural Work ◽  
Cultural Industries ◽  
Senior Lecturer ◽  
Birkbeck College ◽  
The Government ◽  
Cultural Commons

This podcast is a recording of a roundtable discussion on Co-operatives in the Cultural Industries, that took place at City University London on April 1, 2015, organised by Marisol Sandoval and Jo Littler. Speakers were Robin Murray, Rhiannon Colvin, Sion Whellens and Tara Mulqueen. The lives of cultural workers are complex and contradictory; often combining work satisfaction, pleasure and autonomy with job insecurity, low pay, long hours, anxiety and inequality.The roundtable discussed the potentials and limits of worker co-operatives as an alternative way of organizing cultural work. It explored how worker co-operation might contribute to new collaborative forms of cultural production; how they do, or might, strengthen a 'cultural commons'; and the role cultural co-ops play in the wider context of movements for workers' rights. Questions that were discussed include: To what extent can worker co-operatives be a means to confront precariousness and individualisation in work in the cultural sector? Do worker co-ops open up new possibilities for the collaborative production of cultural commons? What role can worker co-operatives play within a broader movement for creating more just, equal and humane cultural work and an alternative to capitalist economies? Where lies the boundary between neoliberal calls for self-help and individual responsibility and a radical co-op movement? What is the relation between worker co-ops and other forms of progressive politics such as the union movements, social protests and civil society activism? Can cultural co-ops contribute to reinventing the meaning and practice of work in the 21st century? About the speakers:Marisol Sandoval is a Lecturer at the Department of Culture and Creative Industries at City University London. Her research critically deals with questions of power, responsibility, commodification, exploitation, ideology and resistance in the global culture industry. Jo Littler is Senior Lecturer at City University London's Department of Culture and Creative Industries. Her work explores questions of culture and power from an interdisciplinary, cultural studies-informed perspective. Rhiannon Colvin after graduating in 2010 to find the world of work competitive and brutal, Rhiannon founded AltGen to empower young graduates to get together and create their own work. http://www.altgen.org.uk/ Tara Mulqueen is a PhD candidate at Birkbeck College School of Law. Her thesis concerns the development of legislation for co-operatives in the 19th century. Robin Murray is an industrial economist. He was Director of Industry at the Greater London Council (GLC) in the 1980s, and has been a Research Fellow at the University of Sussex, the Director of Development for the Government of Ontario and co-founder of Twin and Twin Trading. He is an associate of Co-operatives UK and author of Co-operation in the age of Google. http://www.uk.coop/ageofgoogle Sion Whellens is a member of the graphic design and print co-operative Calverts. As part of the Principle Six partnership, he also advises and supports co-ops in creative industries. http://www.calverts.coop

scholarly journals How do patients from South Asian backgrounds experience life on haemodialysis in the UK? A multicentre qualitative study

BMJ Open ◽  
2019 ◽  
Vol 9 (5) ◽  
pp. e024739 ◽  
Author(s):  
Shivani Sharma ◽  
Madeline King ◽  
Roisin Mooney ◽  
Andrew Davenport ◽  
Clara Day ◽  
...  
Keyword(s):  
Focus Groups ◽  
Family Support ◽  
South Asian ◽  
Support Networks ◽  
Asian Patients ◽  
The Moment ◽  
The Uk ◽  
End Stage ◽  
The Impact

ObjectivesEnd-stage kidney disease disproportionately affects people of South Asian origin. This study aimed to uncover the lived experiences of this group of patients on centre-based haemodialysis (HD), the most prevalent dialysis modality.DesignThe study utilised a qualitative focus group methodology. Seven focus groups were conducted across four NHS Trusts in the UK including three in Gujarati and two each in Punjabi and Urdu. This provided an inclusive opportunity for South Asian patients to contribute in their language of origin. A total of 24 patients participated. Focus groups were facilitated by bilingual project workers and data were forward translated and analysed using thematic analysis.ResultsFour themes were identified. This included (1) ‘treatment imposition’, which comprised of the restrictive nature of HD, the effects of treatment and the feeling of being trapped in an endless process. (2) The ‘patient–clinician relationship’ centred around the impact of a perceived lack of staff time, and inadequacies in the quality of interactions. (3) ‘Coping strategies’ highlighted the role of cognitive reappraisal, living in the moment and family support networks in facilitating adjustment. (4) ‘Pursuit of transplantation’ included equating this form of treatment with restoring normality, alongside cultural factors limiting hopefulness for receiving an organ.ConclusionsIn general, the experiences of South Asian patients receiving HD were not unique to this ethnic group. We did find distinct issues in relation to interactions with healthcare professionals, views on access to transplantation and the importance of family support networks. The study provides useful insights which may help enhance culturally tailored renal care.

scholarly journals The Acting Class and the Myths of Meritocracy

2022 ◽  
Vol 19 (1) ◽  
pp. 1-21
Author(s):  
Deirdre O'Neill ◽  
Mike Wayne
Keyword(s):  
Political Economy ◽  
Knowledge Production ◽  
Creative Industries ◽  
Practice Research ◽  
The Political ◽  
Cultural Industries ◽  
Sociology Of Culture ◽  
Scholarly Literature ◽  
Class Stratification ◽  
The Uk

Our feature documentary The Acting Class (2017) is here contextualised in the context of a critique of the cultural industries as part of the ideology of meritocracy and a resurgence of work around class in the sociology of culture. The Acting Class focuses on the question of class stratification in the UK acting industry. We here review our research on this issue and contextualise it within the scholarly literature on diversity and inequality, the creative industries and the broader reconfigurations of the political economy of British capitalism. We also discuss the importance of the interview in creative practice research as a way of democratising knowledge production and socialising experience.

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