How to understand vlogging as a careerCreative Skillset (n.d.), a UK organisation that works with industry to 'develop skills and talent, from classroom to boardroom', created an entry for vlogging in its job role directory that gives the 'lowdown' for the role:

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The UK's creative industries workforce is dominated by the white and relatively privileged, and it appears the craft sector is no different. According to the Crafts Council, compared to the average profile of all occupations, craft workers are more likely to be male and white. The Crafts Council is attempting to support greater diversity in the UK craft sector through various schemes and research projects. This chapter reflects on one such project, a 2018 Arts and Humanities Research Council-funded Creative Economy engagement scheme, which sought to provide social media skills training to women makers from black and minority ethnic (BAME) backgrounds in two UK cities: Birmingham and London. The workshops, facilitated by the author, investigated the specific challenges facing women makers of colour who wish to use social media for the benefit of their craft practice. These challenges centre on the volatile nature of social media platforms, where makers of colour are subject to disproportionate scrutiny. There are also concerns that social media skills gaps may block the pathway of contemporary craft micro-enterprise. The concept 'mutual aid' draws attention to the positive possibilities of social media for unblocking those pathways for makers of colour through mutual support and mobilisation.

Social media platforms are important to self-employed cultural workers as a means of reaching markets and promoting the entrepreneur’s brand identity. But beyond self-branding, how are notions of expertise negotiated by individual cultural entrepreneurs and how does this relate to gender? This article addresses issues of identity and professionalism for women cultural entrepreneurs by focusing on their use of Twitter. Given the well-documented gender and ethnic inequalities in cultural industry work, what does women’s use of Twitter tell us about the nature of women’s professional identities within neoliberal economies? We argue that online platforms are an important space for self-employed cultural workers and that within this context, ideas of femininity and entrepreneurship are entangled. The article concludes by discussing the value of examining social media spaces as a means of exploring the presentation of women’s expertise in a post-feminist era.

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