The politics of journalistic creativity: expressiveness, authenticity and de-authorization

This article begins with the assertion that creativity in journalism has moved from being a matter of guile and ingenuity to being about expressiveness, and that this reflects a broader cultural shift from professional expertise to the authenticity of personal expression as dominant modes of valorization. It then seeks to unpack the normative baggage that underpins the case for creativity in the cultural industries. First, there is a prioritization of agency, which does not stand up against the phenomenological argument that we do not own our own practices. Second, creative expression is not necessarily more free, simply alternately structured. As with Judith Butler’s performativity model, contemporary discourses of creativity assume it to have a unique quality by which it eludes determination (relying on tropes of fluidity), whereas it can be countered that it is in spontaneous, intuitive practice that we are at our least agencical. Third, the article argues against the idea that by authorizing journalists (and audiences) to express themselves, creativity is democratizing, since the always-already nature of recognition means that subjects can only voice their position within an established terrain rather than engage active positioning

Symbolic capital and the production discourse of The American Music Show: a microhistory of Atlanta cable access

The American Music Show, an Atlanta cable public access television show that ran from 1981 to 2005, is not only a forgotten piece of production history but also a fertile case study. This article—situated in both local Atlanta and national cable access contexts in which the show began—uses the tools of production studies to construct a microhistory of local cable access, analyzing the hopes, ideals, ethos, and actual production practices that surrounded the show. The producers of The American Music Show refl ect on their work in the initial years of the show as creatively avant-garde but ultimately limited within the commercial structures of television. It is that tension that has enabled them to claim part of the show’s symbolic capital.Published versio

The self-practice of sport psychologists : Do they practice what they preach?

The maturation processes of applied sport psychologists have received little research attention despite trainees and practitioners having often reported experiencing challenging circumstances when working with clients. Within clinical psychology literature the self-practice of cognitive techniques, alongside self-reflection, has been advocated as a means of addressing such circumstances, and as a significant source of experiential learning. The present study sought to identify the possible types of, and purposes for, self-practice amongst twelve UK-based sport psychology practitioners. Thematic analysis of semi-structured interviews indicated all participants engaged in self-practice for reasons such as managing the self, enhancing understanding of intervention, and legitimising intervention. Some participants also described limitations to self-practice. Subsequently, three overriding themes emerged from analysis: a) the professional practise swamp, b) approaches to, and purposes for, self-practice, and, c) limitations of self-practice. It is concluded that self-practice may provide a means of better understanding self-as-person and self-as-practitioner, and the interplay between both, and is recommended as part of on-going practitioner maturationPeer reviewedFinal Accepted Versio

Resisting relocation and reconceptualising authenticity: the experiential and emotional values of the Southbank Undercroft London UK

The tagline, ‘You Can’t Move History: You Can Secure the Future’, encapsulated the battle at the heart of the campaign to retain the Southbank Undercroft skate spot in the light of planned redevelopment of the Southbank Centre, London. The 2013-15 campaign against relocation adopted a position of no compromise and provides a lens through which three key areas of heritage theory and practice can be examined. Firstly, the campaign uses the term found space to reconceptualise authenticity and places a greater emphasis on embodied experiences of, and emotional attachments to, historic urban spaces. Secondly, the paper argues that the concept of found space opens up a discussion surrounding the role of citizen expertise in understanding the experiential and emotional values of historic urban spaces. Finally, the paper considers the wider relevance of found space in terms of reconceptualising authenticity in theory and practice. The paper is accompanied by the award-winning film ‘You Can’t Move History’ which was produced by the research team in collaboration with Paul Richards from Brazen Bunch and directed by skater, turned filmmaker, Winstan Whitter

Fit for purpose? Pattern cutting and seams in wearables development

This paper describes how a group of practitioners and researchers are working across disciplines at Nottingham Trent University in the area of Technical Textiles. It introduces strands of ongoing enquiry centred around the development and application of stretch sensors on the body, focusing on how textile and fashion knowledge are being reflexively revealed in the collaborative development of seamful wearable concepts, and on the tensions between design philosophies as revealed by definitions of purpose. We discuss the current research direction of the Aeolia project, which seeks to exploit the literal gaps found in pattern cutting for fitted stretch garments towards experiential forms and potential interactions. Normative goals of fitness for purpose and seamlessness are interrogated and the potential for more integrated design processes, which may at first appear ‘upside down’, is discussed

Unmasking Hybridity in Popular Performance

This paper explores cultural hybridization in popular music and the eroticization of the exotic eastern aesthetic. Using musicology and anthropology as tools, the paper examines varying perspectives of the artists, audience and marginalized groups. Although cultural appropriation has been used recently as a blanket buzzword in mainstream dialogue, it does provide a platform to discuss complex issues on gender, race and sexuality that has been muddled by colonial mentalities

Hip Hop Highways: Mapping Complex Identities through Moroccan Rap

During the post-colonial period, Moroccan visual artists belonging to the “School of the Sign” reformulated traditional symbols of Moroccan heritage in new and innovative ways in order to directly challenge orientalist conceptions of Moroccan identity. Today, media outlets have heralded the rise of the musical genre of Moroccan hip-hop as a potential new medium for the transmission of Moroccan youth identity and revolutionary ideals. As a result, the purpose of this study was to investigate how Moroccan rappers assert their personal conceptions of cultural identity in a larger framework of resistance against societal expectations. What, if any, are the “signs” of Moroccan heritage appropriated and refashioned by Moroccan rappers? In order to ascertain the existence of any links, this study synthesized existing scholarship with information gathered from six semi-structured interviews with Moroccan rappers and four informal interviews with Moroccans intimately involved in the local hip-hop scene. Ultimately, the results of the study revealed that while Moroccan rappers do not have any coherent strategies for embedding identity into their music, a modern and complex young Moroccan identity nevertheless emerges from the manifestation of hip-hop culture. The preoccupation of Moroccan rappers with certain broader themes—struggles for authenticity, linguistic choice, class discourse, fluidity and change, and resistance and contestation—reveals the way in which rappers craft a dynamic and often conflicted identity that is undeniably Moroccan in character, but nevertheless resists simplistic categorization by external forces

Native Birth: Identity and Territory in Postcolonial Guinea-Bissau, West Africa

Author's final manuscript