促进艺术创业的公平性

Charlie Wall-Andrews, M. E. Luka
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引用次数: 0

摘要

作者对加拿大的国家股权X项目进行了实证调查,不仅了解了女性在成为制作人和发展商业技能以推动她们作为艺术家企业家的职业生涯方面所面临的障碍,还了解了新兴专业人士对她们所感知到的机会的感受。作者首先将研究置于关于创意部门的公平和包容以及音乐产业在此背景下的重要性的文献中。然后,他们使用了一个影响评估框架,该框架结合了围绕公平和包容、美学目标和方法以及可访问性措施的关键指标,以帮助组织来自受访者的六个丰富的数据集群(N=397)。使用对半结构化问题的开放式回答的迭代开放编码,以及批判性话语分析,作者检查聚类数据,以说明或解决这些影响措施,并梳理出每个数据簇的含义。对这六组数据的分析可以帮助该行业(及其资助者和政策制定支持者)更好地了解创业能力建设的优先事项,包括专业化、技术技能、自我发展、通过网络获得的归属感、创业发展和对该行业的情感参与。虽然这项研究并没有表明系统性歧视可以很快被克服,但它确实提供了证据,证明音乐领域的女性创意人士相信,在技术和商业技能方面变得更加精通将有助于她们;这也说明了他们对能够克服歧视的乐观态度。这产生了一个更复杂的理解,不仅是对加拿大音乐生态系统中不同的女性艺术家企业家所面临的一些挑战,还有对她们如何克服这些挑战的看法。文章最后概述了改善艺术创业中全系统歧视所需的未来工作。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Advancing Equity in Arts Entrepreneurship
The authors conduct an empirical investigation of the national Equity X Program to understand not just the barriers that women face in becoming producers and developing business skills to move their career forward as artist entrepreneurs in Canada but also how emerging professionals feel about their perceived opportunities. The authors first situate the study within the literature on equity and inclusion in the creative sector and the importance of the music industry in this context. They then use an impact assessment framework that incorporates key indicators around equity and inclusion, aesthetic goals and approaches, and accessibility measures to help organize six rich clusters of data drawn from respondents (N=397). Using iterative open coding of open-ended responses to semi-structured questions, as well as critical discourse analysis, the authors examine the clustered data to illustrate or address these impact measures and to tease out the implications of each cluster of data. The analysis of the six clusters of data can help the sector (and their funders and policymaking supporters) better understand priorities for entrepreneurial capacity-building, including professionalization, technical skills, self-development, a sense of belonging through networking, entrepreneurial development, and emotional engagement in the sector. While the study does not suggest that systemic discrimination can be overcome any time soon, it does provide evidence of the ways in which women creatives in music believe that becoming more proficient in technical and business skills will help them; it also illustrates their optimism about being able to overcome discrimination. This generates a more complex understanding not just of some of the challenges faced by diverse women artist-entrepreneurs within Canada’s music ecosystem but also perceptions about how they aim to overcome these challenges. The article concludes by outlining future work required to ameliorate system-wide discrimination in arts entrepreneurship.
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