Creative work and affect: Social, political and fantasmatic dynamics in the labour of musicians

Abstract

How can we understand contradictory identifications within work to which one is passionately attached? This article explores how seemingly competing accounts of the self at work can not only appear side by side within the self-presentation of creative workers, but also how dominant patterns within the daily socio-economic realities of creative work are reproduced through faux-contestations of them. Following Glynos and Howarth, I will argue that such transgressive notions often recall earlier historical arrangements that have been displaced by current dominant social grammars, or were vital components of the institution of current social hegemony. In a study of musicians, I analyse how alongside dominant logics of employability and virtuosity, traditional notions of artists' craft and autonomy drive counter-identifications that allow dominant social logics to fill the gaps in the indeterminacy and ambiguity of everyday lived experience. By applying an understanding of discursive logics to creative work, this article seeks to contribute to literatures spanning work in the cultural industries, identification, affect and transgression at work, and commons and immaterial labour.

Relational Encounters and Vital Materiality in the Practice of Craft Work

“…Gaining insight into the ‘intensities’ and ‘forces’ of organizational life requires embodied, corporeal methods that focus on events ‘from which sensible experience emerges’ (Beyes & Steyaert, 2012, p. 52; see also Hoedemaekers, 2017). Fieldwork was therefore oriented towards the lived and felt experiences of workers as they engaged with other matter.…”

Persisting with a music career despite the insecurity: When social and motivational resources really matter

“…In Brodsky’s (2006) interview study with orchestral players, they viewed their career as the essential means to being able to socialize with like-minded others, experience camaraderie, solidarity, and friendship. Using a case study, Hoedemaekers (2018) discovered musicians are concerned with employability and invest efforts into developing social networks to support their career. Indeed, other interview studies also highlight the importance of social networks for managing life as a musician (Coulson, 2012; Dobson, 2011; Lim, 2014; Portman-Smith & Harwood, 2015; Umney & Kretsos, 2014; Vaag et al, 2014).…”

“…However, research on the impact of employment characteristics is more recent. Although qualitative studies with musicians have revealed themes related to career insecurity (Coulson, 2012; Cooper & Wills, 1989; Dobson, 2011; Hoedemaekers, 2018; Kirschbaum, 2007; Umney & Kretsos, 2014; 2015; Oakland, MacDonald, & Flowers, 2012; Portman-Smith & Harwood, 2015; Vaag, Giaever, & Bjerkeset, 2014), this is yet to be studied systematically. As such, our research investigates the impact of career insecurity (i.e., a stressor) on a range of potential strains relevant to musicians.…”

Audience and Social Criticism in Sisir Tanah Songs

“…Criticism is a response that is usually in the form of evaluation accompanied by a description and excellent and lousy consideration. Most musicians give social criticism against something global or social community [3]. Social criticism can be conveyed through the lyrics poured into a song where the lyrics contain criticism; it can be anything such as about the government or satire to individuals to individuals.…”