Black Practice, Hidden Culture, and Access within the UK Creative Industries

英国创意产业中的黑人实践、隐藏文化和准入

• 批准号: 2761422
• 金额: --
• 依托单位: De Montfort University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2761422
• 关键词: Black; Practice; Hidden; Culture; Access

It is now acknowledged that there is marked underrepresentation of Black, Asian and minority ethnic (BAME) practitioners and practices in the creative industries. Empirical research has noted the underrepresentation of BAME practice and consumption in the UK's creative industries (Foord, 2005; Oakley, 2006) as well as marginalisation from discussions of cultural value and participation (Bakshi and Cunningham, 2016). Debate extends beyond widening participation to political spaces through which 'invisible creativity' occurs (Mould, 2014), exclusion materialises (Leung, 2016; Eikhof, 2017), and divergent motivations and ideas emerge from policy assemblages. This is especially significant given the influence of urban black culture on the creative industries overall, the predominance of black creative enterprise in some spaces (Gregory, 2106), and emergence of black genres e.g., Black British Literature, 'Blackdesign' (Brydges and Pugh, 2021), and film and theatre (see Alacousica and O'Brien, 2021). In some cultural arenas such as Drill music, there are complex and interweaving characteristics, including strong and largely independent underground practices, formal and institutionalised uppergrounds, and policy assemblages that all shape affective spaces. Thus, BAME practice in creative industries intersects with broader complexities of policy, power, actor-agency, and austerity that need decoding.For example, Drill and Hip-Hop have evolved from alternative Black music/heritage into a creative movement, mediated by the use of music, dance, dress, graffiti and other semiotic signs and codes, and hyper-localised as regional scenes. Yet, the term Drill connotes 'anything from females getting dolled up to war on the streets' (Meara, 2012) to "entirety of a culture: the lingo, the dances, the mentality..." (Drakes, 2017), interwoven with grassroots austerity oppression (e.g., Major and Billson's' Cool Posture Theory). Similarly, there are dangers in depicting black access and under-representation in the creative industries without first examining hidden cultures, affective spaces, and political power, from within.

现在人们承认，在创意产业中，黑人、亚洲人和少数民族（BAME）从业者和做法的代表性明显不足。实证研究指出，英国创意产业中的BAME实践和消费代表性不足（Foord，2005;奥克利，2006），以及文化价值和参与讨论的边缘化（Bakshi和Cunningham，2016）。辩论超越了扩大参与的政治空间，通过这种空间，“无形的创造力”发生（模具，2014年），排斥物质化（梁，2016年; Eikhof，2017年），不同的动机和想法从政策组合中出现。考虑到城市黑人文化对创意产业的整体影响，黑人创意企业在某些空间的主导地位（格雷戈里，2106）以及黑人流派的出现，这一点尤为重要，例如，英国黑人文学，“Blackdesign”（布莱吉斯和普格，2021年），以及电影和戏剧（见阿拉声学和奥布莱恩，2021年）。在一些文化领域，如钻音乐，有复杂和交织的特点，包括强大的和基本上独立的地下实践，正式和制度化的上层，和政策集会，都塑造情感空间。因此，创意产业中的BAME实践与政策、权力、演员代理和紧缩等更广泛的复杂性交叉，需要解码。例如，Drill和Hip-Hop已经从另类黑人音乐/遗产演变为一种创意运动，通过使用音乐、舞蹈、服装、涂鸦和其他符号和代码进行调解，并作为区域场景进行超本地化。然而，术语Drill意味着“从女性打扮到街头战争”（Meara，2012）到“整个文化：行话，舞蹈，心态......“（德雷克斯，2017年），与基层紧缩压迫交织在一起（例如，梅杰和比尔森的“酷的贫穷理论”（Cool Poetry Theory）同样，如果不首先从内部考察隐藏的文化、情感空间和政治权力，就描绘黑人在创意产业中的准入和代表性不足，也是有危险的。