3 Cosmopolitanism, Cultural Diversity, and Inclusion: Attracting and Retaining Artistic Talent in Toronto

Leslie, Deborah; Hunt, Mia; Brail, Shauna

doi:10.3138/9781442667938-008

Cited by 2 publications

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“…Even when these standards are met, ethnic minority creatives and their work run a higher risk of being perceived and represented as 'other' and 'lesser', stressing their difference from the superior vantage point of a western subject and for his or her consumption (Bauman, 1977;Bock and Borland, 2011;Hutnyk, 2000;Kirshenblatt-Gimblett, 1998;Thoelen and Zanoni, 2016). A second mechanism of exclusion is rather related to the structurally disadvantaged position of minorities in social networks (Leslie et al, 2013). As cultural norms are largely non-codified, they are mainly transmitted through socialization into the habitus of the ethnic (upper-class) majority to which ethnic minority individuals have little or no access (Bourdieu, 1986(Bourdieu, , 1993.…”

Section: Ethnic Diversity In the Creative Industriesmentioning

confidence: 99%

“…Blair, 2001;Haunschild, 2004), and where an oversupply of labor leads to high competition (Becker, 1982;Bielby and Bielby, 1994;Caves, 2000;Henry, 2007). As individuals tend to be connected more to individuals with similar socio-demographic profiles, minority individuals are likely to have less access to established networks, which are instrumental to build their careers (Oakley, 2006), and therefore compete in an unequally structured social space (Leslie et al, 2013).…”

Section: Ethnic Diversity In the Creative Industriesmentioning

confidence: 99%

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Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

2017

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Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

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Section: Ethnic Diversity In the Creative Industriesmentioning

confidence: 99%

Section: Ethnic Diversity In the Creative Industriesmentioning

confidence: 99%

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

2017

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Tending the Garden: Possibilities and Limitations of Developing Inclusive Environments in the Arts and Culture Sector

Chung¹,

Campbell²

2022

Journal of Cultural Analysis and Social Change

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Diversity, equity, and inclusion are increasingly part of public conversations about social change. With heightened awareness of the pervasive realities of societal systemic racism, organisations are called to reflect on their working practices and representation and engagement with diverse communities, both internally and externally. Our research study, based in two years of fieldwork at a not-for-profit arts and culture festival, investigated organisational structure and how the festival is run, with a particular focus on internal working practices. Our research investigates: what are the possibilities and limitations of shifting towards more inclusive working practices within an organisation with few full-time paid staff, relying on unpaid or honorarium-paid volunteer labour, as is common in the not-for-profit arts and culture sector? We draw on the concepts of organisational inclusion practices (OIP) from management studies and institutional entrepreneurship from institutional theory to assess the possibilities and limitations of shifting towards more inclusive working practices within this field of the cultural industries. Our findings identify three overarching themes that illuminate a series of tensions in fostering inclusion: 1) decision-making authority; 2) internalfacing concerns (IFC) and external-facing concerns (EFC); and 3) task-based organisation (TBO) and engagement-based organisation (EBO). In our study, EFC practiced with TBO by team members with decision-making authority constrained opportunities to develop more inclusive practices for the volunteer team. Realizing the goals and values of diversity and inclusion remains challenging because of the constraints of resources, labour, and output.

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3 Cosmopolitanism, Cultural Diversity, and Inclusion: Attracting and Retaining Artistic Talent in Toronto

Cited by 2 publications

References 0 publications

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Tending the Garden: Possibilities and Limitations of Developing Inclusive Environments in the Arts and Culture Sector

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