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

现在人们认识到，在创意产业中，黑人、亚洲人和少数民族（BAME）从业者和实践的代表性明显不足。实证研究已经注意到英国创意产业中BAME实践和消费的代表性不足（ford, 2005; Oakley, 2006），以及文化价值和参与讨论的边缘化（Bakshi和Cunningham， 2016）。辩论从扩大参与延伸到政治空间，通过政治空间，“无形的创造力”发生（mold, 2014），排斥成为现实（Leung, 2016; Eikhof, 2017），不同的动机和想法从政策集合中出现。考虑到城市黑人文化对整个创意产业的影响，黑人创意企业在某些空间的优势（Gregory, 2106），以及黑人类型的出现，例如黑人英国文学，“黑人设计”（Brydges和Pugh， 2021），以及电影和戏剧（见Alacousica和O' brien, 2021），这一点尤为重要。在一些文化领域，如Drill音乐，有复杂而交织的特征，包括强大而基本上独立的地下实践，正式和制度化的上层，以及所有塑造情感空间的政策组合。因此，创意产业中的BAME实践与需要解码的更广泛的政策、权力、行动者-代理和紧缩的复杂性交叉。例如，Drill和Hip-Hop已经从另类的黑人音乐/遗产演变成一种创造性的运动，通过使用音乐、舞蹈、服装、涂鸦和其他符号学符号和代码来调解，并作为区域场景进行高度本地化。然而，Drill这个词意味着“从打扮得漂漂靓丽的女性到街头战争”（Meara, 2012）到“一种文化的整体：行话、舞蹈、心态……”（Drakes, 2017），与基层紧缩压迫交织在一起（例如Major和Billson的“Cool Posture Theory”）。同样，在没有首先从内部审视隐藏的文化、情感空间和政治权力的情况下，描绘黑人在创意产业中的机会和代表性不足是有危险的。

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.