Representation of Central, Eastern and Southeastern European (CESEE) artists in the arts spaces and festivals across England: decoloniality and divers

中欧、东欧和东南欧 (CESEE) 艺术家在英格兰各地艺术空间和节日中的代表：非殖民性和多样性

• 批准号: 2876245
• 金额: --
• 依托单位: University of Birmingham
• 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-2876245
• 关键词: Representation; Central; Eastern; Southeastern; European

CEE migrants in the UK are subject to xeno-racism and complex forms of discrimination (Narkowicz, 2020; Sivanandan, 2008). Previous research has shown how xeno-racism impacts on the everyday lives of migrants from the region (Fox, Morosanu and Szilassy, 2012), on their experiences at school (Tereshchenko, Bradbury and Archer, 2019) and in the workplace (Samaluk, 2014; 2016), and - especially since Britain's departure from the EU - on their ability to negotiate the UK's border regime (de Noronha, 2018). However, very little is known about how this relates to cultural representation and the experiences of CEE migrant artists in the UK creative economies. It is widely recognised that diverse cultural representation is crucial to inclusion and community cohesion (e.g., Crossick and Kaszynska, 2016): understanding if and how CEE art and artists are represented in UK theatre, festivals and galleries is thus urgent and essential for those working against xenophobia and towards the integration of one of Britain's largest migrant communities. The key research questions to be addressed in this CDA are:- To what extent is CEE art represented in the UK's creative economies?- What are the barriers to inclusion and representation of CEE art/artists?- What are the implications of these findings for diversity measures and monitoring in the UK's creative economies and beyond?Centrala and Jones recently conducted a small-scale collaborative project on this topic, focusing on the Midlands. This work demonstrated the Western bias in regional galleries and festivals and the struggles that CEE migrant artists face in terms of everyday xeno-racism (Jones, Centrala and Ceglarz, 2021). In order to fully understand these issues on a national level and explore the implications for how diversity is conceptualised in the creative economies, further research is needed. The CDA will fill that gap.The PhD researcher will develop a mixed methodology, combining quantitative and qualitative analyses of exhibitions and festivals, in-depth interviews and community surveys. The theoretical framework of the project will draw on critical whiteness theory (e.g. Botterill and Burell, 2018; Samaluk, 2014) and innovations that explore the connections between post-socialism and post-colonialism (e.g., Melegh, 2006; Profant, 2019). Central and Eastern Europeans occupy a space in-between, a semi-periphery in the Western European cultural imaginary, in which they are constructed as white, but "not quite", and European, but "on the margins" (Halej, 2015). An analysis of how these racial and civilizational hierarchies are reflected in the world of art and culture will make a significant contribution to rethinking how diversity is measured, monitored and performed.The collaboration with Centrala brings key benefits to the research process through access to artist networks and funders (as potential research participants), advice on key institutions, support with the dissemination of surveys and reports, and insight into the everyday experiences of CEE migrant artists. The doctoral researcher will develop knowledge and skills in the management of a community arts organisation and the processes of using research to impact on policy.Throughout the project, the researcher will be integrated into the Centrala team and involved in the day-to-day running of the organisation with a particular focus on the organisation of events for/with CEE artists and policy engagement. The supervision and mentoring of the student will be fully integrated into the workload of Centrala's Director, Alicja Kaczmarek.

在英国的中东欧移民受到种族歧视和复杂形式的歧视（Narkowicz，2020年; Sivanandan，2008年）。以前的研究表明，种族主义如何影响来自该地区的移民的日常生活（Fox，Morosanu和Szilassy，2012），关于他们在学校的经历（Tereshchenko，Bradbury和Archer，2019）和工作场所（Samaluk，2014年; 2016年），特别是自英国脱离欧盟以来，他们谈判英国边境制度的能力（de Noronha，2018年）。然而，很少有人知道这与文化代表性和中东欧移民艺术家在英国创意经济体的经验。人们普遍认为，多元文化代表性对包容和社区凝聚力至关重要（例如，Crossick和Kaszynska，2016年）：了解中东欧艺术和艺术家是否以及如何在英国剧院，节日和画廊中表现出来，对于那些反对仇外心理和融入英国最大的移民社区之一的人来说是紧迫和必要的。在这个CDA中要解决的关键研究问题是：-在多大程度上是中东欧艺术在英国的创意经济代表？中东欧艺术/艺术家的包容性和代表性的障碍是什么？这些发现对联合王国创意经济体及其他地区的多样性措施和监测有何影响？Centrala和Jones最近就这一主题进行了一个小规模的合作项目，重点是中部地区。这件作品展示了西方在区域画廊和节日中的偏见，以及中东欧移民艺术家在日常异种种族主义方面所面临的斗争（Jones，Centrala和Ceglarz，2021）。为了在国家层面上充分理解这些问题，并探索创意经济中多样性概念化的影响，需要进一步研究。CDA将填补这一空白。博士研究员将开发一种混合方法，结合展览和节日的定量和定性分析，深入访谈和社区调查。该项目的理论框架将借鉴批判性白度理论（例如Botterill和Burell，2018; Samaluk，2014）和探索后社会主义和后殖民主义之间联系的创新（例如，Melegh，2006; Profant，2019）。中欧人和东欧人占据了一个中间空间，在西欧文化想象中是一个半边缘，他们被构造为白色，但“不完全”，欧洲人，但“在边缘”（Halej，2015）。对这些种族和文明等级如何反映在艺术和文化世界的分析将为重新思考如何衡量、监测和表现多样性做出重大贡献。与Centrala的合作通过接触艺术家网络和资助者为研究过程带来了关键好处（作为潜在的研究参与者），对主要机构的建议，支持传播调查和报告，以及深入了解中欧和东欧移民艺术家的日常经历。博士研究员将培养社区艺术组织管理方面的知识和技能，以及利用研究影响政策的过程。在整个项目中，研究员将融入Centrala团队，参与组织的日常运作，特别关注为/与中东欧艺术家和政策参与组织活动。对学生的监督和指导将完全纳入Centrala主任Alicja Kaczmarek的工作量。