Pub Date : 2021-04-22DOI: 10.1080/17510694.2021.1911536
Sven Brodmerkel, Richie Barker
Abstract As recent statistics confirm, the advertising industry lives up to its image of being a preserve of the young: Less than 10% of all advertising practitioners in the US, UK and Australia are over the age of 45. But what are the social processes and discursive formations that create and sustain this skewed age profile? Based on 26 in-depth interviews with older advertising professionals and the thematic analysis of recent ageism-related coverage in advertising industry news media publications, we illustrate (1) how this age inequality is understood, represented and negotiated by practitioners and industry observers, and (2) how the dynamic interplay between individual identifications, organisational practices, and social structures (re)produces what we refer to as ‘ambiguous ageism’ – an entrenched and opaque marginalisation process which disadvantages older advertising practitioners, but in which they are also at the same time often complicit in. By conceptualising and applying a relational, multi-level perspective for investigating age inequality in the creative industries, we offer new insights into the empirical realities of creative work and provide a framework that can guide further research into the dialectics between ageing and organisational life in the creative industries and beyond.
{"title":"Making sense of ‘ambiguous ageism’: a multi-level perspective on age inequality in the advertising industry","authors":"Sven Brodmerkel, Richie Barker","doi":"10.1080/17510694.2021.1911536","DOIUrl":"https://doi.org/10.1080/17510694.2021.1911536","url":null,"abstract":"Abstract As recent statistics confirm, the advertising industry lives up to its image of being a preserve of the young: Less than 10% of all advertising practitioners in the US, UK and Australia are over the age of 45. But what are the social processes and discursive formations that create and sustain this skewed age profile? Based on 26 in-depth interviews with older advertising professionals and the thematic analysis of recent ageism-related coverage in advertising industry news media publications, we illustrate (1) how this age inequality is understood, represented and negotiated by practitioners and industry observers, and (2) how the dynamic interplay between individual identifications, organisational practices, and social structures (re)produces what we refer to as ‘ambiguous ageism’ – an entrenched and opaque marginalisation process which disadvantages older advertising practitioners, but in which they are also at the same time often complicit in. By conceptualising and applying a relational, multi-level perspective for investigating age inequality in the creative industries, we offer new insights into the empirical realities of creative work and provide a framework that can guide further research into the dialectics between ageing and organisational life in the creative industries and beyond.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"121 - 145"},"PeriodicalIF":1.1,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1911536","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45529973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-10DOI: 10.1080/17510694.2021.1899499
Rick Everts, E. Hitters, Pauwke Berkers
Abstract This paper explores the working life of early-career musicians after technological innovations transformed the music industry. Based on in-depth interviews, a diary questionnaire study and post-questionnaire interviews with 17 early-career pop musicians aiming to build a career with their act in the Dutch industry, we investigate what day-to-day activities they perform and how they value these work activities. The analysis reveals that musicians perform a wide variety of non-creative work activities, including DIY and entrepreneurial tasks. Moreover, they spend over 40 percent of their time on creative tasks, and, remarkably, devote minimal time to social media. In addition, three accounts of value were identified which shape the way musicians perceive their work, as they understand their work in pop music as art, as a business or as a hobby, transcending the traditional art-commerce dichotomy. This way, the paper contributes to our understanding on the nature of work and how early-career workers perceive its value in the creative industries.
{"title":"The working life of musicians: mapping the work activities and values of early-career pop musicians in the Dutch music industry","authors":"Rick Everts, E. Hitters, Pauwke Berkers","doi":"10.1080/17510694.2021.1899499","DOIUrl":"https://doi.org/10.1080/17510694.2021.1899499","url":null,"abstract":"Abstract This paper explores the working life of early-career musicians after technological innovations transformed the music industry. Based on in-depth interviews, a diary questionnaire study and post-questionnaire interviews with 17 early-career pop musicians aiming to build a career with their act in the Dutch industry, we investigate what day-to-day activities they perform and how they value these work activities. The analysis reveals that musicians perform a wide variety of non-creative work activities, including DIY and entrepreneurial tasks. Moreover, they spend over 40 percent of their time on creative tasks, and, remarkably, devote minimal time to social media. In addition, three accounts of value were identified which shape the way musicians perceive their work, as they understand their work in pop music as art, as a business or as a hobby, transcending the traditional art-commerce dichotomy. This way, the paper contributes to our understanding on the nature of work and how early-career workers perceive its value in the creative industries.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"97 - 117"},"PeriodicalIF":1.1,"publicationDate":"2021-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1899499","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43206920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-22DOI: 10.1080/17510694.2021.1899489
Arief Rijanto
Abstract Many SME entrepreneurs in the creative industries have difficulty funding creative projects because of limited access to banks or venture capital. Crowdfunding can be an alternative for financing creative projects such as art, cultural events, books, and film projects. This research explores crowdfunding as an alternative funding for entrepreneurs with a focus on fundraising targets and the role of backers. Multiple regression and probit methods are used to test the empirical significance of fundraising through crowdfunding gradually. The results showed that the value raised in the first week and supporters significantly correlated positively in determining the success of financing creative projects through crowdfunding. The number of fundraising targets has a significant negative effect on crowdfunding success. Proponents of creative projects play a significant positive role in driving success in the funding phase by 25%–75% in raising funds through crowdfunding. But project supporters are no longer important if the project has reached 100% or more of the fundraising target. The backer role is very significant at the level of fund collection when it reaches 25%, 50% and 75% of the fundraising target. Creative entrepreneurs also must be careful in setting targeted funds because it impacts the overall fundraising success.
{"title":"Creative industries project financing through crowdfunding: the roles of fund target & backers","authors":"Arief Rijanto","doi":"10.1080/17510694.2021.1899489","DOIUrl":"https://doi.org/10.1080/17510694.2021.1899489","url":null,"abstract":"Abstract Many SME entrepreneurs in the creative industries have difficulty funding creative projects because of limited access to banks or venture capital. Crowdfunding can be an alternative for financing creative projects such as art, cultural events, books, and film projects. This research explores crowdfunding as an alternative funding for entrepreneurs with a focus on fundraising targets and the role of backers. Multiple regression and probit methods are used to test the empirical significance of fundraising through crowdfunding gradually. The results showed that the value raised in the first week and supporters significantly correlated positively in determining the success of financing creative projects through crowdfunding. The number of fundraising targets has a significant negative effect on crowdfunding success. Proponents of creative projects play a significant positive role in driving success in the funding phase by 25%–75% in raising funds through crowdfunding. But project supporters are no longer important if the project has reached 100% or more of the fundraising target. The backer role is very significant at the level of fund collection when it reaches 25%, 50% and 75% of the fundraising target. Creative entrepreneurs also must be careful in setting targeted funds because it impacts the overall fundraising success.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"79 - 96"},"PeriodicalIF":1.1,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1899489","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41627539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-05DOI: 10.1080/17510694.2021.1890417
Freja Sørine Adler Berg
Abstract In 2019, Podimo, a major paid subscription podcast platform, was launched in Denmark. This sparked a recurring debate among independent podcasters in small language areas with a correspondingly small podcast market: How can podcasters working independently of public service institutions and commercial companies find viable funding models? Taking its departure from the research field of creative labour in the cultural industries and research on the platformization of podcasts , this article explores the inherent tensions between creativity and commerce that independent podcasters experience specifically in relation to paid subscription platforms. This is done by conducting and analysing qualitative interviews with four Danish independent podcasters (The Bad Judges, The Tear Channel, Childless Birds, and Third Ear) who have decided to become exclusive content on Podimo, thereby intensifying the shift from being free labour to paid labour. Interviews are combined with transcriptions of podcast episodes in which podcasters seek to justify why they joined Podimo. The analysis reveals commerce, autonomy and discovery as the podcasters’ key motivations, while their overriding concern is the drop of listeners’ numbers.
2019年，大型付费订阅播客平台Podimo在丹麦上线。这在小语种地区的独立播客中引发了一场反复的争论:独立于公共服务机构和商业公司的播客如何找到可行的融资模式?本文从文化产业创造性劳动的研究领域和播客平台化的研究出发，探讨了独立播客在付费订阅平台上所经历的创造力与商业之间的内在紧张关系。这是通过对四个丹麦独立播客(The Bad Judges, The Tear Channel, children - dless Birds, and Third Ear)进行定性采访和分析完成的，他们决定成为Podimo的独家内容，从而加强了从免费劳动力到付费劳动力的转变。采访与播客片段的转录相结合，在这些片段中，播客试图证明他们为什么加入Podimo。分析显示，商业、自主和发现是播客的主要动机，而他们最关心的是听众数量的下降。
{"title":"The tension between podcasters and platforms: independent podcasters’ experiences of the paid subscription model","authors":"Freja Sørine Adler Berg","doi":"10.1080/17510694.2021.1890417","DOIUrl":"https://doi.org/10.1080/17510694.2021.1890417","url":null,"abstract":"Abstract In 2019, Podimo, a major paid subscription podcast platform, was launched in Denmark. This sparked a recurring debate among independent podcasters in small language areas with a correspondingly small podcast market: How can podcasters working independently of public service institutions and commercial companies find viable funding models? Taking its departure from the research field of creative labour in the cultural industries and research on the platformization of podcasts , this article explores the inherent tensions between creativity and commerce that independent podcasters experience specifically in relation to paid subscription platforms. This is done by conducting and analysing qualitative interviews with four Danish independent podcasters (The Bad Judges, The Tear Channel, Childless Birds, and Third Ear) who have decided to become exclusive content on Podimo, thereby intensifying the shift from being free labour to paid labour. Interviews are combined with transcriptions of podcast episodes in which podcasters seek to justify why they joined Podimo. The analysis reveals commerce, autonomy and discovery as the podcasters’ key motivations, while their overriding concern is the drop of listeners’ numbers.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"58 - 78"},"PeriodicalIF":1.1,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1890417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42681048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-24DOI: 10.1080/17510694.2021.1890378
Dawn Joseph
Abstract Participating, learning music and performing are key factors to joining music ensembles. This paper situates itself in Melbourne (Australia) and forms part of my research project Promoting relationships through sound in formal and informal settings where I investigated why members of an instrumental group met to share their music making and practice and how it contributes to their quality of life. I draw on a phenomenological viewpoint from questionnaire and interview data undertaken in May 2018 with the ensemble players. Data were analyzed using Interpretative Phenomenological Analysis that is reported thematically under three broad headings: Music learning for self as a community, wellbeing and spirituality, and sharing music for the community. The findings show that staying active as older adults (50+) contributed to members sense of wellbeing as they continued to engage with music learning and performance. Playing for personal growth contributed positively to members quality of life as a serious leisure activity. Generalization to other instrumental community groups in Australia cannot be made. Further research is required to support the perceived meanings and benefits of planning, preparing, practicing and performing as older musicians.
{"title":"‘The Potted Palms is bigger than each of us individually’: older musicians playing as community and for community","authors":"Dawn Joseph","doi":"10.1080/17510694.2021.1890378","DOIUrl":"https://doi.org/10.1080/17510694.2021.1890378","url":null,"abstract":"Abstract Participating, learning music and performing are key factors to joining music ensembles. This paper situates itself in Melbourne (Australia) and forms part of my research project Promoting relationships through sound in formal and informal settings where I investigated why members of an instrumental group met to share their music making and practice and how it contributes to their quality of life. I draw on a phenomenological viewpoint from questionnaire and interview data undertaken in May 2018 with the ensemble players. Data were analyzed using Interpretative Phenomenological Analysis that is reported thematically under three broad headings: Music learning for self as a community, wellbeing and spirituality, and sharing music for the community. The findings show that staying active as older adults (50+) contributed to members sense of wellbeing as they continued to engage with music learning and performance. Playing for personal growth contributed positively to members quality of life as a serious leisure activity. Generalization to other instrumental community groups in Australia cannot be made. Further research is required to support the perceived meanings and benefits of planning, preparing, practicing and performing as older musicians.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"40 - 57"},"PeriodicalIF":1.1,"publicationDate":"2021-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1890378","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44690835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-01DOI: 10.1080/17510694.2021.1878668
Aileen O’Driscoll
Abstract Utilising adaptations of Richard Pollay’s 1983 methodology for measuring the cultural values that are contained in advertising texts this study conducts an interpretive content analysis of 214 TV adverts archived by the Irish Film Institute and funded by the Broadcasting Authority of Ireland under the ‘Irish Adverts Project’. Findings show that throughout the decades surveyed the dominant cultural value referenced in these adverts is Enjoyment/Leisure; followed by Success/Status, with the third most prominent cultural value being Modernity/Technology. Given that Ireland in the 1960s was emerging from decades of inward-looking, protectionist policies and was growing in confidence (economically, politically and culturally), advertising appeals that focused on topics such as holidaying overseas, social status and technology align with the cultural changes Ireland was experiencing; although the full picture for people in Ireland in these years is more mixed. The results of the analysis thereby arguably add some credence to the claim that advertising acts a ‘distorted mirror’, reflecting a marketable version of society back to itself.
{"title":"Documenting the changing cultural values in TV advertising in Ireland from 1960s to 1980s","authors":"Aileen O’Driscoll","doi":"10.1080/17510694.2021.1878668","DOIUrl":"https://doi.org/10.1080/17510694.2021.1878668","url":null,"abstract":"Abstract Utilising adaptations of Richard Pollay’s 1983 methodology for measuring the cultural values that are contained in advertising texts this study conducts an interpretive content analysis of 214 TV adverts archived by the Irish Film Institute and funded by the Broadcasting Authority of Ireland under the ‘Irish Adverts Project’. Findings show that throughout the decades surveyed the dominant cultural value referenced in these adverts is Enjoyment/Leisure; followed by Success/Status, with the third most prominent cultural value being Modernity/Technology. Given that Ireland in the 1960s was emerging from decades of inward-looking, protectionist policies and was growing in confidence (economically, politically and culturally), advertising appeals that focused on topics such as holidaying overseas, social status and technology align with the cultural changes Ireland was experiencing; although the full picture for people in Ireland in these years is more mixed. The results of the analysis thereby arguably add some credence to the claim that advertising acts a ‘distorted mirror’, reflecting a marketable version of society back to itself.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"15 1","pages":"17 - 39"},"PeriodicalIF":1.1,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2021.1878668","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43219273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-30DOI: 10.1080/17510694.2020.1860620
A. Besana, A. Esposito
Abstract Independent foundations deliver grants for the welfare of communities. The founder can be an artist and the artist, as philanthropist, is a very recent topic and issue in social sciences, whose approaches usually mean the artist either as a starving or a star. Their foundations can be both operating and grant-making and relationship marketing can shape community engagement, both as regards fundraising in order to increase endowments and as regards grant-making thanks to multiple sponsors and financing mechanisms. Effective communication is crucial for relationship marketing and essential for helping foundations to understand their audiences. In addition to the website, communication of these foundations can include digital communication strategies and social media, that allow real-time communication among many actors. The aim of this paper concerns American artist-endowed foundations, managing with arts or community issues with different performances and communication. The methodology includes the analysis of mission statements, websites and 990 Forms, and a cluster analysis of 2016’s accounting data. Thanks to the cluster analysis, economic performances, fundraising and fund-giving are highlighted and a concentration ratio indicates the degree of involvement either in specific arts (visual, performing, etc.) and creativity or in community welfare and other issues.
{"title":"Neither star nor starving! Economics and marketing of the artist-endowed foundation","authors":"A. Besana, A. Esposito","doi":"10.1080/17510694.2020.1860620","DOIUrl":"https://doi.org/10.1080/17510694.2020.1860620","url":null,"abstract":"Abstract Independent foundations deliver grants for the welfare of communities. The founder can be an artist and the artist, as philanthropist, is a very recent topic and issue in social sciences, whose approaches usually mean the artist either as a starving or a star. Their foundations can be both operating and grant-making and relationship marketing can shape community engagement, both as regards fundraising in order to increase endowments and as regards grant-making thanks to multiple sponsors and financing mechanisms. Effective communication is crucial for relationship marketing and essential for helping foundations to understand their audiences. In addition to the website, communication of these foundations can include digital communication strategies and social media, that allow real-time communication among many actors. The aim of this paper concerns American artist-endowed foundations, managing with arts or community issues with different performances and communication. The methodology includes the analysis of mission statements, websites and 990 Forms, and a cluster analysis of 2016’s accounting data. Thanks to the cluster analysis, economic performances, fundraising and fund-giving are highlighted and a concentration ratio indicates the degree of involvement either in specific arts (visual, performing, etc.) and creativity or in community welfare and other issues.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"14 1","pages":"283 - 294"},"PeriodicalIF":1.1,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2020.1860620","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49186090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-15DOI: 10.1080/17510694.2020.1858707
Penny Williams, Paula McDonald, Robyn Mayes
Abstract The actual and potential impacts of technological disruption on established organisations and industries have received considerable attention. Yet, impacts on individual workers and professional groups, including in the creative sector that is at the forefront of disruption, remain under-examined. This study draws on in-depth interviews with professional photographers to explore how the convergence of technological innovations, digital media and crowdsourcing platform businesses have changed the nature of photographic work and employment in the industry, and how photographers have responded. The findings reveal that disruptive innovations have profoundly altered labour market dynamics, the value ascribed to photography services and the professional identity of photographers themselves. The implications for workers, including self-employed freelancers, are significant, especially in terms of social and economic opportunities and rights and protections. More broadly, the study contributes to the emerging literature on technology, disruption and the future of work.
{"title":"The impact of disruptive innovation on creative workers: the case of photographers","authors":"Penny Williams, Paula McDonald, Robyn Mayes","doi":"10.1080/17510694.2020.1858707","DOIUrl":"https://doi.org/10.1080/17510694.2020.1858707","url":null,"abstract":"Abstract The actual and potential impacts of technological disruption on established organisations and industries have received considerable attention. Yet, impacts on individual workers and professional groups, including in the creative sector that is at the forefront of disruption, remain under-examined. This study draws on in-depth interviews with professional photographers to explore how the convergence of technological innovations, digital media and crowdsourcing platform businesses have changed the nature of photographic work and employment in the industry, and how photographers have responded. The findings reveal that disruptive innovations have profoundly altered labour market dynamics, the value ascribed to photography services and the professional identity of photographers themselves. The implications for workers, including self-employed freelancers, are significant, especially in terms of social and economic opportunities and rights and protections. More broadly, the study contributes to the emerging literature on technology, disruption and the future of work.","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"14 1","pages":"130 - 151"},"PeriodicalIF":1.1,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2020.1858707","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41351282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-23DOI: 10.1080/17510694.2020.1848267
Sviatoslav Poliakov
Abstract Based on the analysis of 53 in-depth interviews, the article reconstructs the career paths of young cultural entrepreneurs working in the creative clusters of St. Petersburg. Four style groups are distinguished, which differ in career type, the locus of subjective success, identity, attitude towards education and the type of sociality: ‘Downshifters’, ‘Tourists’, ‘Independent professionals’ and ‘Early businessmen’. ‘Downshifters’ have downward career mobility and professionalize leisure and/or life-style practices. ‘Tourists’ are characterized by a dotted career and career swings between entrepreneurship and precarious low-status employment. “Independent professionals” achieve autonomy in the context of a specific professional field. “Early businessmen” are building their careers as entrepreneurs. cultural entrepreneurs, lifestyles, career, St. Petersburg
{"title":"Careers and lifestyles of young cultural entrepreneurs in St. Petersburg","authors":"Sviatoslav Poliakov","doi":"10.1080/17510694.2020.1848267","DOIUrl":"https://doi.org/10.1080/17510694.2020.1848267","url":null,"abstract":"Abstract Based on the analysis of 53 in-depth interviews, the article reconstructs the career paths of young cultural entrepreneurs working in the creative clusters of St. Petersburg. Four style groups are distinguished, which differ in career type, the locus of subjective success, identity, attitude towards education and the type of sociality: ‘Downshifters’, ‘Tourists’, ‘Independent professionals’ and ‘Early businessmen’. ‘Downshifters’ have downward career mobility and professionalize leisure and/or life-style practices. ‘Tourists’ are characterized by a dotted career and career swings between entrepreneurship and precarious low-status employment. “Independent professionals” achieve autonomy in the context of a specific professional field. “Early businessmen” are building their careers as entrepreneurs. cultural entrepreneurs, lifestyles, career, St. Petersburg","PeriodicalId":38664,"journal":{"name":"Creative Industries Journal","volume":"14 1","pages":"269 - 282"},"PeriodicalIF":1.1,"publicationDate":"2020-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17510694.2020.1848267","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47919720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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