The Cultural Creatives: How 50 Million People Are Changing the World

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We spoke to a wide range of representatives from the creative and cultural sectors. They ranged across the UK’s regions from many of the UK’s most recognised cultural institutions, through to dynamic, newly emerging creative and digital SMEs, and a rich tapestry of community-based arts groups. For many of those we spoke to, virtual reality and reality itself are expected to evolve alongside each other; performance to live audiences to be integrated with streaming to global ones; and online experimentation to accompany buildings-based experiences. It may not yet be possible to apprehend exactly what the UK’s arts, cultural and creative sectors will look like in a decade’s time. But amidst a quiet revolution in data science and digital technology, there is a widely shared view – conveyed by the case studies at the end of this report – that change is in the air and their future will not simply be an extrapolation from their past. Boundless Creativity case studies Broadening access to digital platforms Communication studies always have taken an interest in the production of culture as both a universal human feature and a social formation. As a universal, each individual comes into being through the transformation of his or her environment, producing the self via the reproduction of language and symbolic goods. Whereas animals may also construct their environments in collective formations, it was famously Karl Marx who wrote, “what distinguishes the worst of architects from the best of bees is this, that the architect raises his structure in imagination before he erects it in reality” (Marx, 2007/1967, p. 198). Marx rejected the dualism between the mind and the material, including the body that would be enrolled in labor. Under industrial capitalism, workers exchanged their own resources for wages. In return, those resources were marshaled in the production of goods that workers did not own, as property or as an extension of their imaginations. This data was supplied by participants at symposiums held between September 2020 and February 2021. ↩ Learn from Festival UK* 2022 to understand the effectiveness of R&D in fostering creativity and innovation between cross-sector organisations. Ray, P., & Anderson, S. (2000). The Cultural Creatives: How 50 Million People Are Changing the World. Three Rivers Press.

Ethnographies of the processes of creation, production, and distribution of a particular cultural good or product.

Business support - Information, advice, mentoring and financial support to help early career artists, start-ups, and established local freelancers and businesses that have potential to grow. We find that cultures are not more or less creative than one another, rather their cultural values and their enforcement determine how people achieve creativity in a country. Whilst the restorative effects of culture have long been anecdotally discussed, it is only in recent years that the academic community has started to robustly analyse the connection and seek to demonstrate the value of creativity beyond the economic. According to a recent report produced for the World Health Organisation, access to culture can both prevent ill health, promote good health and assist with the management and treatment of ongoing illness. [footnote 9]

Investigate the impact of COVID-19 on new technology-enabled distribution platforms and online cultural participation, consumption and user preferences across a range of audience groups; Broaden Digital Access for Producers and Consumers: AHRC will galvanise new research on the barriers to entry into the digital market faced by freelance artists and smaller creative organisations, and will work with DCMS to look into framing new policy interventions that level up commercial opportunities for streaming beyond larger institutions and beyond London. We will incentivise the bigger players to make their platforms open source and / or develop a shared platform to give smaller cultural practitioners more control over their content and how they profit from it. For task motivation as antecedent (which includes intrinsic motivation and self-efficacy), we find that tight cultures such as in China, Hong Kong and India, with collectivism, power distance, masculinity, and low uncertainty avoidance, show the strongest relationship. Conscious Connection was designed as the premier magazine for cultural creatives. But what exactly is a cultural creative, and are you perhaps one of them? This article will provide some insight on this emerging demographic and present several cultural creative qualities to see if you are a part of this group of people dedicated to changing the world. Distillation of the insights and intelligence from AHRC’s rapid response COVID-19 research on live performance with a view to presenting this in a timely fashion to DCMS, identifying gaps in knowledge regarding COVID-secure live cultural environments.

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In our study, we first illustrate that focusing on either the cultural dimensions independently or on cultural tightness on its own, does not explain much in terms of difference in creativity across countries. However, we find clear differences if we focus on what we call cultural bundles. A cultural bundle is the set that includes both the cultural values characterizing a given country, and the strength of the norms enforcing these values (or “cultural tightness”). You may have tried Eastern religious paths and meditation practices and learned from them. However, you did not find a home in them like at one time you may have in Christianity. All cultural creatives place a very high emphasis on their health and remaining active. Many tend to be yoga instructors/students, holistic health counselors, nutritionists or personal trainers. In addition to exercising regularly, cultural creatives also ensure they eat properly and encourage others to do the same. They take a deep interest in developing their spiritual body as much as their physical body and often turn to learning about many forms of religion or spirituality to satisfy their need for holistic spiritual growth. 4. Enjoy a Creative & Active Lifestyle In The Cultural Creatives: How 50 Million People Are Changing the World by sociologist Paul H. Ray andpsychologistSherry Ruth Anderson, the authors introduce the term "Cultural Creatives" to describe a large segment inWestern societywho since about 1985 have developed beyond the standard paradigm of progressivesversus conservatives. In 2001, Ray and Anderson claimed to have found 50 million adult Americans (slightly over one quarter of the adult population) who could be identified as belonging to this group. They estimated an additional 80–90 million “cultural creatives” exist in Europe. Those numbers have almost certainly increased since then.

Grow the evidence base linking cultural assets and creative activity post-COVID to mental health and health generally, and to identify the local assets, partnerships and delivery mechanisms best suited to a national roll-out of arts- and culture-based policy to redress the inequalities in health outcomes amplified by the pandemic. The Tempest was an intramedia performance produced by Creation Theatre. With funding support from AHRC, Pascale Aebischer and Rachael Nicholas from the University of Exeter developed a digital toolkit based on Creation Theatre’s experiences to help other companies transition from physical performances to digital ones. Education, training, and work experience to develop creative skills, nurture talent, and support people who work, or want to work, in the cultural and creative industries. Just under half of the CC population comprises the more educated, leading-edge thinkers. This includes many writers, artists, musicians, psychotherapists, alternative health care providers and other professionals. They combine a serious focus on their spirituality with a strong passion for social activism. Build a Strong, Resilient and Diverse Digital Skills Base: Building on Arts Council England’s digital maturity index and tech champions network, DCMS will continue to invest in schemes such as the National Skills Fund, Digital Skills Partnerships, and Digital Skills Bootcamps. This will ensure the whole cultural and creative sector can embrace digital transformation and build a workforce with the necessary skills. AHRC will work with DCMS and other arts funding agencies (such as Arts Council England) to look at the digital skills gaps in the UK cultural and creative sector, with a particular focus on regional growth and interconnectivity and the demands of specific and diverse demographics.We find that the antecedent creative-relevant skills (which includes flexible cognitive style, open personality, and affect), is very important to achieve creativity in culturally tight countries like the U.K. when they are characterized by individualism, low power distance, masculinity, and low uncertainty avoidance. We are a team dedicated to teaching traditional craft skills whilst raising awareness of mental health conditions and the environmental impact of textile consumerism. Our emphasis is on creating personal, quality items, mending and remaking old into new. We embrace new technologies whilst providing opportunities to learn from our craft heritage. Environmental impact of the textile industry is a global problem very much present in the media today. Cultural Creatives CIC will work with the local community to look at ways we can reduce textile waste whilst also restoring our own wellbeing through partaking in affordable craft activities.