Culture is Bad for You: Inequality in the Cultural and Creative Industries

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What role should the labour movement – trade unions, trades councils, the Labour Party and other political parties – play? She is a South Asian woman from a middle-class background, living in London and working in film and TV.

She is the author of The Headcount (2021) report into gender breakdown at eight core funded theatre companies in Northern Ireland for Waking the Feminists NI. After a century in which an assumption was held across the ideological spectrum from left to right and from Marxists to economic individualists that the rational pursuit of material gain underlay social and political activity, the fundamental importance of the cultivation and preservation of identity is re-emerging across the whole spectrum of politics in which Britain is one example only. Henna tells us some of our reasons why we’ve written this book, and why we’ve given it the provocative title of Culture is bad for you. Which stories get told is a result of how cultural production is organised’ (Brook, O’Brien and Taylor, 2020: 14). The result is as much a manifesto for change as well as a valuable addition to scholarship countering the ‘celebratory discourse’ in relation to the CCIs over the past 25 years.It’s also massively to do with being a woman of colour… They would much rather hire the white dude, and they feel more comfortable with the white dude, than the bolshy brown woman who seems to have done things that they don’t feel comfortable with. Culture Is Bad for You posits that absolute mobility has gone down, but also that the labour market has changed: there are less ‘traditional’ working class jobs now than there were in the 1960s, which means that relative mobility has remained the same. Cultural hierarchies are made through space: cultural consumption at a venue is ‘attendance’, cultural consumption at home is ‘leisure’.

During the pandemic many wondered why government institutions, funding bodies and even cultural workers were more concerned with keeping cultural institutions ‘alive’ than making sure all precarious, self-employed cultural workers would be guaranteed an income. Talking about their own careers, they obscure their own privileges, using the ‘gentlemanly motifs’ of luck and modesty. His PhD-thesis investigates how music genres shape socio-spatial inequalities in nightclub production in Amsterdam. There’s a very interesting and persuasive argument for this that Kevin Osborne’s recently written, that I’d recommend people read.Saving courses allow you to compare them, it also allows you to create a permanent list of 'favourites' that will always be there when you visit our site.