Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

Ferals, nomads, drifters, gypsies, vagrants, blow-ins, thieves, troublemakers, tricksters and terrorists : creative writing, from creative industries to creative ecologies

In this paper I consider some issues that I, as a creative writer and academic, find with the concept and current understandings of the term creative industries. The subject of creative industries is not one that has been adequately teased out in relation to creative writing, even though the creative industries model has been a strong force in cultural policymaking internationally since the late 1990s. It influences policies that in turn may affect writers, especially those applying for state or national funds to resource their writing, and also writers working within the academy and attempting to gain recognition and funding for creative work there. The issues relating to creative industries are also particularly pertinent at this time in Australian universities, as the new system of research quality measurement is negotiated, and creative arts scholars, including those in creative writing, struggle to define their work in terms of those negotiations. I will argue that the recent work of Paul Carter looks towards ways in which creative industries may be more inclusive and useful for the creative arts, including creative writing, and suggest that a reclaimed term, creative ecologies, indicates a good way of taking creative industries into the future.

Book review : Entrepreneurship in the creative industries : an international perspective

Colette Henry (Ed) (2007) Entrepreneurship in the Creative Industries: An International Perspective, Edward Elgar, Cheltenham, United Kingdom

Freelancing in the creative industries

Freelancing in the Creative Industries introduces creative artists from diverse arts industry areas to key policies, creative project concepts and strategic planning central to becoming a successful freelancer in the creative industries. The purpose of the book is to encourage exploration of the relevance of theoretical background and arts policy, case study experiences and the nexus between creative entrepreneurship and arts practice. The book is intended as a useful ongoing support to the practice-led research and applied business knowledge of the early career creative artist, and is also relevant to extending creative entrepreneurship of established industry creative artists.Utilising a diverse range of case studies from theatre/performance, dance, writing, visual arts, jewellery-making, photography and film, this book explores flexible creative vision and innovation blended with a capacity to move between projects and collaborations as key characteristics of the successful artist-as-freelancer.

Valuing creativity in the higher education sector : what price the creative knowledge economy?

Contemporary economic and social contexts including the creative knowledge economy provide competing perspectives on ‘the future’ of higher education and the role of the academic within these contexts. Increasingly educators and educationa leaders are expected to act in ‘futures’ oriented ways whilst remaining true to the professional standards of their present environments. Working in the creative industries or as part of the creative knowledge economy increasingly contributes to Australia’s strategic directions for the future but also has an influence on what is valued in the higher education sector.
This paper explores the impact of the creative knowledge economy on the higher education sector and its response to the changing educational landscapes. An exploration is undertaken of the shift towards creative industries where the value of creativity and the arts is linked to economic value. It is argued that this shift requires researchers to alter their identities from that of having ‘academic’ value to engaging with the commodification of knowledge. The paper concludes with a suggested way forward for both the creative industries and the higher education sector using Giri’s (2002) model for transdisciplinarity.