ULTIMATE JEWELRY

Against Creativity (Mould, O 2018) and Culture is Bad for You

(O'Brien, Brook, and Taylor. 2019) both critique the mainstream discourse around creativity and cultural participation They argue that these concepts are often framed in individualistic terms, which can lead to social exclusion and a narrow understanding of what counts as valuable cultural and creative practices

Na omi Lord

An introduction to key thinking on issues within the mainstream discourse around creativity and cultural participation forms of social cohesion and practical steps to guide positive cultural change in formal and informal educational settings Creating the case for deep learning through creative partnerships and community outreach practices.

ASSESSING THE LIE OF THE LAND. SOCIAL MOBILITY & BUILDING INCLUSIVE CULTURES.

Recalibration of school-based and community practices to deliberately foster participation equity for children and young people is essential to the growth of their cultural capital and agency. By creating opportunities for children and young people to engage in civic activities and pragmatic topical learning, they can develop valuable skills that can be applied to their communities and organisations. This can help to create a more connected and engaged society, where children and young people are actively involved in shaping their communities

This form of work involves a comprehensive approach to co-creative change. It requires a reset of values and concepts that underpin current practices, deliberate attitudes that prioritise collaboration and inclusiveness, making organisational changes that enable effective communication and collaboration, and developing requisite skills and competencies that facilitate co-creation All of these efforts together can create an environment where rich inclusive cultural activity can thrive, and meaningful change can occur

Mould argues that the emphasis on creativity in neoliberal societies has led to a culture of self-promotion and competition, which can be detrimental to collective well-being and social cohesion. He suggests that instead of focusing on individual creativity, we should strive for co-creation and collaboration, which can foster more inclusive and sustainable forms of social innovation.

Brook et al. similarly critique the narrow definition of ‘culture in mainstream discourse and argue that cultural participation can be exclusionary and reinforce social inequalities They suggest that we need to move beyond the idea of culture as a commodity or an individual pursuit, and instead embrace more collective forms of cultural engagement that are accessible and inclusive to all

The mainstream discourse around creativity and cultural participation often focuses on individualistic and market-driven perspectives. Creativity is often seen as a commodity to be exploited for economic gain, while cultural participation is viewed as a leisure activity for individuals to consume This narrow approach can lead to social exclusion and reinforce social inequalities, as it fails to recognise the collective and inclusive nature of cultural practices

BEYOND LIMITING TRENDS: PRACTICAL STEPS FOR POSITIVE CHANGE

1 Decolonising creativity and cultural participation: This discourse focuses on centring the perspectives and experiences of marginalised communities and challenging the dominant narratives that have historically silenced their voices It involves acknowledging the ways in which colonialism and imperialism have influenced cultural production and consumption, and working towards a more equitable and inclusive cultural landscape

Some practical approaches