Market logics: how locality and mobility make artistic livelihoods in Dakar

This essay addresses two questions linking artists and market spaces in Dakar. First, what do access, proximity, and the representation of locality have to do with the art market? And, secondly, how do markets, networks, and mobility produce and structure artists as a professional category in Dakar? The analysis and theorisation proposed here aligns Dakar’s art market with the city’s other markets as a transactive and productive space. In doing so, this essay also contends with dismissive assessments about the art market in Dakar as inadequate or fledgling. The practices of two artists, Fally Sene Sow and Douts Ndoye, orient discussion of the relationship between artists and markets by focusing specifically on how artists gain mobility and access to multiple networks and opportunities by way of market logics.     

Developing evidenced-based policy and practice in social interventions with children and families

This review article focuses on a series of reports commissioned by Barnardo's, the largest children's charity in the UK.¹ The series examines ‘what works?’ in different forms of social intervention with children and families. The publication of these reports is very timely. There is growing interest, indeed a demand, from many quarters for a strengthening of the evidence base that informs social policy. This, in turn, has opened a debate among researchers and users of research about what constitutes evidence. What sort of information enables us to make claims that a particular initiative works? This series considers the question of appropriate research methodologies and in so doing raises many further questions, which are the theme of this review.     

MUSIC FOR NOTHING OR,I WANT MY MP3

With the public discourse around filesharing veering towards punitive extremes, our aim in this essay is to reframe the issue in two ways. First, we argue that the filesharing debates are ‘too economic’, insofar as they reduce a multi-faceted phenomenon to a single issue: financial loss resulting from the theft of intellectual property. Lost in such arguments is the fact that music routinely circulates through the culture in myriad ways that have little (if anything) to do with commerce and capitalism, and everything to do with affect and affiliation. Second, the filesharing debates are simultaneously ‘not economic enough’, insofar as they evade the financial complexities of the music business in favor of an overly simplistic equation: ‘downloaded music’ leads directly to ‘lost sales revenues’. A more robust analysis of the music industry's standard economic practices, however, undercuts both its economic claims about the negative effects of filesharing on sales and its moral claims to be defending helpless musicians from downloading ‘thieves’.     

Science and social work: a sketch

While recognizing that understanding of ‘science’ varies across time and countries, there are strands of a shared albeit diverse inheritance. Failures to see where we are located within this inheritance make the social work community vulnerable to simplistic claims regarding what, for example, ‘doing science’ is like. This in turn makes it difficult to deal adequately with questions such as in what ways can or should we distinguish social work science from other kinds of knowledge? Is science in some recognizable way a unified form of knowledge? How ought we to deal with disputes and disagreements in social work science? What kinds of consequences might we envisage from social work science? I deal in turn with each of these questions.     

The cosmopolitan organization — an essay on corporate accountability

Abstract Transnational corporations increasingly seek to present a vision of social responsibility alongside the business vision. This reflects greater awareness of ‘the world as one single place’, of global risk scenarios, and the politics of doing business. There are also demands for greater transparency and accountability in corporate actions by state representatives, grassroots movements and organized consumers. Transnational corporations now aim to be socially responsible and to engage in ‘corporate citizenship’ by adhering to voluntary codes of conduct, social accountability standards, etc. This discourse of corporate accountability is part of a discourse of globality, or ‘globe talk’, a vital component of contemporary world culture, largely produced, diffused, and sustained by organizations with expansive ambitions of regulating global business; transnational corporations, business associations, international organizations, NGOs and INGOs. Awareness of the global nature of trade and capitalism, the associated risk scenarios, and the attempts at approaching something like a humane globalization by the setting up of ethics standards and codes of conduct, may be understood as a particular case of ‘worldism’. This ‘worldism’ is foundational, with universalizing and homogenizing claims. ‘Corporate citizenship’ and ‘accountability’ are therefore treated as a form of organizational culture that involves a particular kind of moral cosmopolitanism.     

Migrant Workers Home and its practices on shaping the culture and community of ‘New Working Class’: a criticism on cultural-political activism in contemporary China

ABSTRACT

New Workers Home (Beijing, China) has been the most important site of activism and organizing of New Workers culture in Mainland China over the past 15 years. Beyond today’s intellectual atmosphere of liberal and ‘left-phobia’ in China, exploring the formation of a New Working Class can give us a new sense of class discourse and imagination of socialist China in the dimensions of both knowledge and activism. Based on my half-year fieldwork in New Workers Home and participant observation in knowledge and activism of New Workers culture, this paper aims at providing an in-depth analysis of the implications and tensions in the Migrant Workers Home’s imagination of New Workers culture and the organization’s energy and internal turbulence in their imagination of the community of the New Working Class, through reviewing their cultural actions focusing on the ‘cultural battlefield’ and community culture of Pi Cun (an urban fringe village in Beijing), their wider actions in social enterprise, ecological agriculture, organizational works among New Workers and their own organization’s internal situation. The outline of the problematics in this paper can be drawn by putting forward the following questions. How is the New Workers culture shaped by Migrant Workers Home? According to the situation of New Workers in contemporary China, what is its imagination of this forming class? How does it intervene the forming of a New Working Class with its cultural activism? By establishing a museum, college, social enterprises and ecological farms, how do these practices show its imagination of labours’ culture and politics? Located in Beijing and facing special political conditions, how does it arrange the guidelines and strategies of movements? What are the dilemmas of these practices, strategies and real politics?     

Tracking ‘the transnational’: studying transnational organizations and managements,and the management of cohesion

This article argues for greater clarity in researching transnational organizations and management, and the need for gendered multi‐level theory and gendered multi‐actor analysis. It examines different understandings and conceptualizations of ‘the transnational’ in studying transnational organizations and management, and their implications for understanding and conceptualizing the ‘management of cohesion’. In so doing, three conceptual and theoretical questions are considered: what are the major meanings of ‘the transnational’ in studying transnational organizations and management? What are the major different disciplinary frameworks in studying transnational organizations and management? What are the major epistemological debates in studying transnational organizations and management? Particular emphasis is placed on: the field of studies on transnational organizations and management; transnational research projects on transnational organizations and management; and the lives of transnational researchers. Two ongoing research projects – on gender relations in transnational organizations and managements, and men's changing organizational practices in Europe – are focused on to illustrate these issues. The theme of gender critique is developed throughout.     

Notes on contributors

This article focuses on the organizational practices of the music industry to contribute a neglected dimension to our understanding of rap as a commercial activity and cultural form. It initially situates the production of rap within the context of the corporate strategies and business practices of musical entertainment companies, stressing how rap production is located within the context of corporate ‘black music divisions’ and the major labels' relationships to smaller companies. At the same time, the study considers how musical production is shaped by broader culture processes and practices that are not directly within the control or understanding of the company. As corporate organization intersects with and attempts to make sense of surrounding culture, I argue that the actions of recording companies are a direct intervention into and contribution to the way in which the social world is rationalized and fragmented and through which different cultural experiences are separated and treated unequally. This argument is focused on the theme of ‘the street’ and ‘executive suite’ through which I suggest that, while it is important to acknowledge the struggles of rap artists and entrepreneurs for both recognition and independence from the corporate world, it is also important to highlight deliberate attempts to maintain a distance between the corporate world and the genre culture of rap. This article seeks to contribute to our understanding of the articulations between musical genre, occupational practices and broader cultural formations, highlighting a significant series of connections and relational practices which connect production and consumption and the articulations through which corporate organization is linked to broader cultural formations.     

From ‘Asylum-Seeker’ to ‘British Artist’: How Refugee Artists are Redefining British Art

This essay takes a case-study approach to examine how culture may be transferred from immigrant cultures to a so-called host culture. Considering the work of three visual artists who came to the UK as refugees but who are now considered ‘British artists’, it examines the effect this curatorial definition may have on gallery viewers. The author proposes that looking at work that previously might have been viewed as ‘exotic’ or ‘foreign’ but that is now classed as British forces viewers to reassess and renegotiate their understanding of the nature of ‘Britishness’ and indeed of place-Britain. Drawing on the ideas of Edouard Glissant and also of contemporary geographers about the nature of place, the study proposes that place-Britain, like all places, is in a constant and never ending state of production. The work of artists from refugee populations, shown now as ‘British art’, becomes a dynamic part of this process and a means by which new elements are transferred and added to an ever-changing British cultural fabric     

‘Ink Art’ as strategy for Hong Kong institutions

Abstract

In both their wider cultural dimensions and the institutional practices they stem from, the practices of ink art in Hong Kong manifest themselves in a variety of discourses ranging from the ‘traditionalism’ of the conservative nativists to the ‘contemporaneity’ of artists and institutions often identified as being closer to ‘Western’ culture. Even though the most influential discourse about ink art in Hong Kong has clearly been produced by official institutions, like the future museum of visual culture called M+ and the already existing Museum of Art, it has also been profoundly influenced by private associations whose influence has been far reaching. The most visible of these private associations in Hong Kong is the Ink Society, whose founding members and their affiliates and friends have played a central role in the early debate about the nature of ink art in the history of local arts. Through an analysis of a failed attempt by the Ink Society to bid for the right to manage a historical site, this paper attempts to unravel some of the ideas that support the notion of ink art in Hong Kong.     

Self-work and social change: disindividualised participation amongst young Australian Buddhist practitioners

Recent work on youth participation has mobilised a ‘DIY’ or ‘individualised’ framework to explain the nature of contemporary participation, particularly amongst minoritised religious youth. This paper examines this conceptual framework in light of concurrent claims that contemporary participation can be better conceptualised using a ‘doing it with others’ (DIWO) approach, which emphasises the collaborative nature of participation. In light of these claims, I analyse the participation experiences of 22 young adult Buddhist practitioners who are located within a neo-liberal Australian context, yet simultaneously have access to religious teachings and practices which challenge distinct notions of selfhood. This paper shows that both ‘DIY’ and ‘DIWO’ conceptions of participation find expression in the participation experiences of participants from the study, and that both DIY and DIWO approaches can additionally be seen as mutually reinforcing rather than distinctly contrasting. I propose a new concept of ‘disindividualisation’, suggesting that Maffesoli's concept of ‘disindividuation’ and Elias's work linking psychological development and social change should be considered in conjunction with an individualised or DIY perspective on youth participation to denote this kind of participatory work.     

“Bad Things Happened”: How Children of the Digital Age Make Sense of Violent Current Events

Digital technologies collapse distance and accelerate the speed at which information travels. This has made it easier for children to encounter violent clashes from across the globe. Thus, the digital era has raised new questions for educators about how to teach current events in an increasingly globalized world. When children have easy access to information, how do they make sense of what they see and hear? When world events take a violent turn, what cognitive and emotional sense-making strategies do children employ? And, in light of children’s developing thoughts and feelings about global affairs, what role should educators play in helping children make sense of violent current events? This research explores these questions by examining one particular case of children’s understanding of violent current events. Through interviews and storytelling exercises it investigates how a group of Jewish children in the United States attempted to make sense of the 2014 war between Israel and Hamas, interrogating the cognitive and emotional sense-making strategies that the children employed. In doing so it highlights the opportunities and challenges of current events education at a time of unprecedented global connectivity.     

‘My anorexia story’: girls constructing narratives of identity on YouTube

The phenomenon of pro-anorexia (‘pro-ana’) communities has attracted extensive academic attention over the last 15 years, with feminist scholars fascinated by the political complexities of such cultures. But the internet has also enabled a range of eating disorder recovery cultures to emerge – whether organized around blogs, Facebook, Instagram or YouTube – and such spaces have been largely ignored by feminist scholarship which has fetishized the apparently more resistant and controversial discourses of pro-ana. As such, this article explores a set of videos posted on YouTube under the title of ‘My anorexia story’ which present narratives of recovery, or efforts to recover, from anorexia. Primarily produced by white, Western, teenage girls, these videos are effectively slide shows made up of written text and photographs, with selfies of the body sitting at their core. The conceptual and political significance of self-representation has been seen as central to the construction of subjectivity within the digital media landscape, with particular attention paid to the ways in which such practices compare, speak back to, or challenge the existing representational discourses of ‘dominant’ media and wider relations of social power. In this regard, this article explores questions of agency in gendered self-representation, examining what kinds of self-narratives the girls are producing about anorexia. In doing so, it examines how the stories seek to ‘author’ and regulate the meanings of the anorexic body; how these constructions intersect with dominant constructions of anorexia (such as those offered by medical discourse and the media); as well as the implications of the aesthetic strategies they employ. In considering how the narratives visualize, display and ‘expose’ the anorexic body, I draw upon a growing area of work which examines the selfie in relation discourses of surveillance, visibility and selfhood.     

Cultural production and the politics of identity: On the strategic use of ‘multiculturalism’ in two Austrian cities

This article is a résumé of the findings of an empirical study carried out by the ICCR Vienna between July 1993 and July 1994. The study investigated the images of ‘foreigners’ as members of immigrant minorities that emerge out of the interaction between the cultural administration, organizers of cultural events, cultural agents and ‘ethnic minority’ artists, and how these images and the discourse on ‘foreigners’ relates to practices of inclusion and exclusion. Specifically examined were artistic productions and initiatives of the low‐profit and non‐profit sector of theatrical and musical performances in Vienna and Graz. Qualitative interviews with the main actors were supported and enriched through non‐standardized participant observation, action research and a modest social experiment. The article argues that the Austrian variant of the discourse on ‘multiculturalism’ serves as a tool to formulate social order, whereby social inequality is transformed into cultural difference. The emancipatory dimension of culture as a way of life is used to construct homogeneous cultural ( = ’ethnic') collectives. In this construction immigrant artists serve as the representatives of the collective culture of the ‘others’.     

STRATEGIES FOR ENGAGING ADOLESCENT GIRLS AT AN EMERGENCY SHELTER IN A THERAPEUTIC RELATIONSHIP: RECOMMENDATIONS FROM THE GIRLS THEMSELVES

Engaging clients is an extremely important part of the therapeutic process. Although there is a literature on adult engagement, few articles discuss adolescent engagement. Those articles that do discuss adolescent engagement have been conducted from the perspective of adults. The purpose of this study was to explore, from the client's perspective, ways to engage and build a positive therapeutic alliance with adolescent girls. A focus group (N = 5) was conducted with residents of an emergency shelter for adolescent girls in an urban area. Clients were asked three questions: ‘If you could tell a counselor anything, what would you tell her/him?’ .‘What do counselors need to know?’ and ‘How can a counselor get you to talk?’ Seven messages emerged from the clients' responses, which focused on a request to be respected, listened to, and not judged. More specifically, themes included ‘Treat me like I'm on your level’, ‘Tell me a little about yourself’, ‘Ask my permission to take notes’, ‘Pay attention to what I'm saying’, ‘Tell me what you're doing’, ‘Don't tell me what's in my file’, and ‘Don't call me names’. Clients provided concrete ways in which social workers and other counseling professionals could better work with them.     

The unaccountable risks of LIBOR

One of the on‐going consequences of recent financial crises seems to be that the conventional ‘anchor’ measures of global finance (such as the US dollar, treasury bonds and AAA rated securities) are no longer playing the anchoring role once believed of them. LIBOR now needs to be added to this list and not just because it has been tarnished by illegal practices, but because it is looking increasingly surpassed by financial market practices. LIBOR was believed to provide a risk‐free rate of interest, but has been revealed to be risk‐laden. Moreover, LIBOR is a measure of the costs of borrowing, whilst market concern is increasingly with measures of interest rate volatility. This paper looks at why, in the context of crisis, financial market focus on interest rates is turning towards other benchmarks, notably the overnight indexed swap (OIS) market, and what this shift might be telling us about the anchoring requirements of global financial markets.     

All the way from … authenticity and distance in world music production

World music and the narratives it produces are at the very centre of a formerly transnational production and consumption process. However, the shortened distance between the sites of production and consumption of this good, brought on by migration and greater participation, has created a dilemma for the UK-based artists who perform it: how to maintain authenticity without the added value of ‘distance’. Therefore, the aim of this article is to examine the ways in which musicians and other participants attempt to overcome this problem and in doing so (re)-construct particular aspects of their identity. Rather than being just another critique on authenticity, this article uses distance as an organizing concept in understanding the challenges facing world music production in the UK.     

‘Aboriginal mass culture’: a critical history

In Australia, some Aboriginal art objects are celebrated as fine art of great cultural, aesthetic and economic value, while the vast majority are judged to be stylistically derivative and intrinsically compromised by overtly mercenary market forces. This article introduces the concept ‘Aboriginal mass culture’ as a means for understanding the significance of the often maligned forms of the Aboriginal art and culture industry in Australia and to address the problem of why it continues to be difficult to demarcate the space of Aboriginal fine art. While a canonical and connoisseurial art history approach must disavow the vast majority of ‘Aboriginal art’, this article embraces a sociological perspective and turns an analytical eye upon the Aboriginal art and culture industry in its entirety, treating it as a phenomenon of visual culture that mediates Indigenous/non-indigenous relations within national public culture. It offers a critical history of ‘Aboriginal mass culture’ from the market for ‘Aboriginalia’ in the post-Second World War era through to the unruly Aboriginal art market of the present day. In so doing, it illuminates some of the drivers of these cultural forms across commercial, governmental and civil society domains. Its analysis reveals the way in which ‘Aboriginal mass culture’ manifests the unique social and economic circumstances that underpin Aboriginal art practices and the ways in which Aboriginal art is entangled with a redemptive political and civic project in Australia that has sought to affirm a resilient Indigenous presence and stimulate new visions of nationhood, heritage and intercultural fellowship.