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Culture is Bad for You: Inequality in the Cultural and Creative Industries

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The patterns of inequality aren’t the same in all regions of England, but in many ways that reflects the large fraction of cultural jobs that are in London. Dr Brook used data on schools in areas of social deprivation, with a high proportion of pupils claiming free school meals, mapping this against concentrations of people working in creative and cultural industries who could be approached to become mentors. abstract = "In Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020), authors Orian Brook, Dave O{\textquoteright}Brien and Mark Taylor cut through a Gordian Knot of interconnected and complex factors that create and maintain multiple inequalities within the UK Creative and Cultural Industries (CCIs). As we recover and rebuild, a ‘business as usual’ cultural sector will struggle to find legitimacy if it reverts back to an exclusive workforce and an exclusive audience. It was never going to be a hard and fast you must go here; more a suggestion of areas that may be more fertile ground.

The perception of social inequality in creative work was that it must have got worse, as there used to be more people from working-class backgrounds in creative jobs, so they must now be being excluded.The modern backstory to culture leaves us with some mightily unsatisfactory arrangements that need addressing, though it is difficult to say from this read what we ought to be doing about it.

She is a South Asian woman from a middle-class background, living in London and working in film and TV. Unless explicitly stated otherwise, all material is copyright © The University of Edinburgh 2021 and may only be used in accordance with the terms of the licence. We use cookies for different reasons, including measuring your visits to our sites and remembering your preferences.This was for people who didn’t have the social capital to already know people who were working for the BBC for example, or in architecture or film. For some people, “culture” will mean “the sorts of things that were funded by the Arts Council sixty years ago”: literary fiction, classical music, ballet, experimental theatre. There really is an arts emergency, the reality of the class crisis is shocking, but this book shows how we can do something right now to change things. It is written in very clear manner, and they take the trouble to explain very basic concepts of cultural sociology.

It was a real moment of realisation for the industry, and we’ve tripled in size since its publication. The fact that they may be saying no to unpaid work doesn’t mean they’re not committed or passionate or talented. The authors remark that the best paid cultural workers are the most likely to believe that talent is the only thing that matters in the cultural industries.Bibliographical noteMaggie Cronin is an actress, playwright and director currently undertaking a PhD at Queen’s University Belfast. The key point here is that the organisation of work makes a sustainable career in culture extremely difficult, but disproportionally so for those people from working-class backgrounds, people of colour and women.

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