In this podcast, I discuss my new book Cultural Entrepreneurship: The Cultural Worker’s Experience of Entrepreneurship with entrepreneur and business consultant Daniella Genas-Ogunbanjo.
Daniella is a multi award winning entrepreneur, experienced business consultant and advocate for women in business. A former student from BCU’s School of Media, Daniella was alumni of the year in 2012, when she was running her event management business and a social enterprise, Aspire4U.
Listen to our conversation below:
How can we address inequalities of representation in the cultural workforce and specifically in cultural and arts leadership?
Working with Professor Jenny Phillimore at University of Birmingham, Dr Karen Patel and I were commissioned to investigate existing data on Cultural Leadership and Diversity in the West Midlands. The study has been produced as part of our research at Birmingham Centre for Cultural and Media Research (BCMCR) will contribute to a wider study investigating diversity and leadership across a range of industries, in the region.
We have made key findings and our recommendations available here. We offer original findings on the diversity of leadership based on our analysis of ACE National Portfolio Organisations (NPOs) in the West Midlands. We highlight areas which need further research and policy attention in relation to cultural leadership, and offer a working definition of cultural leadership. Our research highlights the significance of freelancers and cultural entrepreneurs in the sector, creating complexity in how we view leadership training and opportunities. We also draw attention to good practice in the region, specifically to projects such as RE:Present16 and ASTONish.
Since March 2016 I have been involved in the evaluation of the RE:Present programme, a new initiative aimed at emergent and established cultural leaders/ producers and artist/leaders from diverse backgrounds who are currently underrepresented in Birmingham. Continue reading RE:Present Symposium: Cultural Leadership & Diversity
As part of my role as a researcher at Birmingham Centre for Media and Cultural Studies, I was recently invited to evaluate Re:Present, a new programme of activities which seeks to transform the diversity of Birmingham’s cultural leadership. As researcher / evaluator my focus will be twofold: the individual participants’ experience and the significance of the programme in relation to Birmingham’s cultural ecology.
Created and delivered by Helga Henry of Creative Shift and Lara Ratnaraja, Re:Present is funded by Birmingham City Council and Arts Council England, with the additional support of University of Birmingham, Birmingham City University and Aston Business School. But Re:Present is also best described as a very personal project for Lara and Helga. Having worked with Birmingham’s cultural industries for over 15 years, they have witnessed significant changes in the cultural landscape during that period of time. Re:Present was created in response to their concerns and what they perceive as a lack of opportunities for individuals from ‘diverse’ backgrounds. I will explore the idea of ‘diversity’ in future posts but for this first blog post, I describe the context for this initiative. Continue reading Diversity and Cultural Leadership
With my colleague Karen Patel, I am writing a paper which seeks to address issues of identity and professionalism for female cultural entrepreneurs by drawing on the online activities of a small group of women. We are investigating the construction of professional identities as expressed through social media activities, in this case we focus on twitter as a key platform for cultural workers.
One of the contradictions in women’s contemporary experience is a level freedom and empowerment co-existing with inequalities. This is described by Angela McRobbie (2004) as an entanglement of feminist and anti-feminist ideas illustrated by celebrities such as Karen Brady and Sheryl Sandberg who merge a feminist discourse of empowerment with neoliberal values (Gill and Scharff, 2011). In particular, entrepreneurial activities tend to appropriate a ‘can do’ language which puts an emphasis on individualism and agency as a driving force for personal development. Of concern to scholars such as McRobbie, Gill and Scharff is the pervasiveness of a neoliberal agenda on personal identity and notions of subjectivity as individuals become preoccupied with self-image to demonstrate qualities such as expertise and professionalism. Continue reading Post-feminism, Cultural Entrepreneurship and Social Media
I recently presented at the New Directions in Film and Television Production Studies 2015 conference as part of a panel presenting research on the topic of Creative Labour.
My paper, entitled ‘The nature of entrepreneurial labour in regional film making’, focused on a small sample of Birmingham film makers and has drawn on my PhD thesis.
My aim was to explore the day-to-day lived experience of entrepreneurial modes of work, identifying individual endeavours and collaborative initiatives, within the context of recent UK cultural and film policies. The space in which film maker’s negotiate personal identities is framed by the local milieu: policies, institutions and individuals. In my research, I find that at a local level, entrepreneurial film makers have a pragmatic approach by contributing to policies and engaging in developing alternative support systems. Structures and relations between individuals help to shape the cultural milieu for entrepreneurial cultural work, but this is a fluid space in which individual film makers negotiate diverse priorities and values.
Continue reading What is the Nature of Entrepreneurial Labour in Regional Film Making?
We had a fascinating discussion yesterday, Wednesday 11th February, at the weekly BCMCR research seminar. First, Dr Christina Scharff presented her research project ‘Young, female and entrepreneurial?
Exploring the working lives of young women in the classical music profession’ addresses various timely issues, such as the racial, classed and gendered inequalities that characterise the classical music profession, the gendered politics of self-promotion, as well as the psychic life of neoliberalism and the subjective experiences of precarious work.
I followed Christina with my own research based on an aspect of my PhD thesis, ‘Identity and becoming a cultural entrepreneur’. My paper explores the idea of ‘rethinking cultural entrepreneurship’ by focusing on the cultural entrepreneurs’ sense of themselves. Their personal identities based on their subjective experience of being an entrepreneurial cultural worker. As this is not a fixed identity, I propose the idea of becoming a cultural entrepreneur, in an environment in which individuals negotiate their version of the entrepreneurial cultural worker. In my presentation, I argue that cultural entrepreneurs perform the identity of the cultural entrepreneur, either by making use of popular stereotypes or by counteracting them, and that they are not puppets, passively accepting dominant attitudes and behaviours associated with entrepreneurship or with cultural work. Rather, cultural entrepreneurs are reflexive and negotiate their identity to suit their personal narrative, within a relational context. Here are the presentation slides:
Becoming a Cultural Entrepreneur