2017
DOI: 10.4324/9781315308159
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Young Migrant Identities

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Cited by 3 publications
(4 citation statements)
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“…The existence of networks that build trust across those interfaces contribute to successful multicultural art projects. Permission from the family, for example, emerged as an important factor for second-generation NESB artists in their career path regardless of their ethnic background or class status; this mirrors the findings specific to Arab-Australian male artists (Idriss 2018).…”
Section: Constraints To the Idealsupporting
confidence: 53%
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“…The existence of networks that build trust across those interfaces contribute to successful multicultural art projects. Permission from the family, for example, emerged as an important factor for second-generation NESB artists in their career path regardless of their ethnic background or class status; this mirrors the findings specific to Arab-Australian male artists (Idriss 2018).…”
Section: Constraints To the Idealsupporting
confidence: 53%
“…Several postponed creative careers until they had completed family approved tertiary qualifications, usually in the fields of law, commerce or medicine. Permission from the family emerged as an important factor for second-generation NESB artists in their career path regardless of their ethnic background or class status; this mirrors the findings attributed to Arab-Australian male artists (Idriss 2018 As distinct from the perception (possibly) held by community members that artists live a free-floating 'bohemian' lifestyle, Ly appreciates the time and (often arduous) labour that artists invest in their work. This concept is not always considered by Arab-Australian artists from Western Sydney who see art as an income generating enterprise (Idriss 2018, 97).…”
Section: Family Mattersmentioning
confidence: 55%
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“…These are not only economic matters, they have censorious effects on cultural production that add further problems to what is already a difficult sector to navigate and work in (Taylor & Luckman, 2020). It is increasingly evident that cultural production and the so-called creative industries are dominated by the privileged (Eikhof & Warhurst, 2013), especially those who are white and male (Idriss, 2018;Luckman et al, 2020). The sectors themselves are mired in the rhetorical promotion of 'fakequity' (Hadley et al, 2022) rather than addressing issues of social justice and inequality.…”
Section: Rising Materials Inequality and Cultural Productionmentioning
confidence: 99%