Abstract
AbstractThe promise of ‘doing what you love’ continues to attract new aspirants to creative work, yet most creative industries are so characterised by low investment, shifting foci and ongoing technological innovation that all promises must be unreliable. Some would-be creative workers negotiate their own pathways from the outset, ‘following their dream’ as they attempt to convert personal enthusiasms and amateur activities into income-earning careers. Others look to the proliferation of available training and education options, including higher education courses, as possible pathways into creative work. This chapter reviews recent research from the USA, Australia and the UK on the effectiveness—or otherwise—of higher education as preparation for a creative career. The chapter discusses the obstacles that many creative workers, including graduates, encounter on their creative pathways, for instance, as a result of informal work practices and self-employment. The chapter also looks at sources of advantage and disadvantage, such as those associated with particular geographic locations or personal identities. The chapter concludes by introducing the subsequent chapters in the collection. These critically explore the experience of new creative workers in a wide range of national contexts including Australia, Belgium, China, Ireland, Italy, Finland, the Netherlands, Russia and the UK.
Highlights
Hesmondhalgh and Baker 2015; Oakley and O’Brien 2016; O’Brien et al 2016; Scharff 2018; Wreyford 2015). They are increasingly acknowledged as a more widespread and problematic feature of the cultural and creative landscape (Azmat and Rentschler 2015; Basas 2009; Gregory and Brigden 2017; Morgan and Nelligan 2018; Screen Australia 2016; Smith et al 2019; North 2012, 2015). Both academics and workers themselves are aware that creative employment is frequently insecure
The fifth section outlines the subsequent chapters in the collection; these critically explore creative work pathways as they are experienced by workers in a wide range of national contexts including Australia, Belgium, China, Ireland, Italy, Finland, the Netherlands, Russia and the UK
Creative industries policy narratives are often embraced by cities and regions hit hard by the loss of traditional manufacturing jobs to cheaper offshore locations (Coppola and d’Ovidio 2018; Trubina, this collection; van den Berg, this collection). Such fringe or ‘rust-b owl’ cities may be able to market their affordability in order to attract artists to start-ups, the aspirations to change the local economy can be challenged by the profile of the existing workforce
Summary
The attractions of creative work appear to be undiminished, even though its challenges are well recognised. Hesmondhalgh and Baker 2015; Oakley and O’Brien 2016; O’Brien et al 2016; Scharff 2018; Wreyford 2015) They are increasingly acknowledged as a more widespread and problematic feature of the cultural and creative landscape (Azmat and Rentschler 2015; Basas 2009; Gregory and Brigden 2017; Morgan and Nelligan 2018; Screen Australia 2016; Smith et al 2019; North 2012, 2015). Both academics and workers themselves are aware that creative employment is frequently insecure. The fifth section outlines the subsequent chapters in the collection; these critically explore creative work pathways as they are experienced by workers in a wide range of national contexts including Australia, Belgium, China, Ireland, Italy, Finland, the Netherlands, Russia and the UK
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