Kuleva_summary in english (1137042), страница 4
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This study suggests a new comparison line, the need for which arose from working withthe Russian research field: the comparison of the public and private sectors of creativeindustries. A similar comparison was not made in previous studies.In addition to the substantial contribution to the problems, the author emphasizes the workcarried out to disseminate the results of the research, which, as the author hopes, will eventuallymake the problem of poor working conditions in the cultural sector more visible and significantfor Russian society.MethodologyAs part of this thesis, the author conducted an independent empirical study of workers inthe sector of creative industries in large cities of Russia.
The empirical base of the study included61 in-depth interviews (including 44 interviews taken personally by the author of the dissertation).As additional materials for the analysis, observation materials were used (observations were madeas part of case studies in St.
Petersburg and Moscow, the field diary was conducted throughout thefieldwork, it consists of 43 diary articles), the secondary data include websites and statutorydocuments of cultural institutions (in total, 30 cultural organizations), contracts of employees (ifavailable and with the consent of the informant, in total, 6)57. The data were collected through anumber of collective and individual research projects: the projects of the Center for Youth Studiesof the Higher School of Economics St. Petersburg "Innovative potential of Russian youth:57Also, in 2016-2017, 28 interviews with cultural workers in London were collected, which were not included inthe final version of the dissertation, but were used contextually as additional data when comparing the data obtainedin Russia and the results of Western European studies.13solidarity, activism, civic responsibility" and "Civic culture of the youth of Russia: modernmeanings and practices" (2012-2013, supervised by E.L.
Omelchenko); group research "Researchof the creative city" (2013-2014, supervised by M.A. Safonova); an individual grant of the HigherSchool of Economics received by the author of the thesis (2016, nomination 2); an individual grantof a thesis obtained by the author of the thesis from the program of support of postgraduate studentsby the Center for the Study of Germany and Europe of St. Petersburg State Univerisity andUniversity of Bielefeld (2014-2017).As a result of the research, a unique set of data was collected, systematically presenting theproblems of working in the creative industries in Russia based on the visual art cases.The subject of the study is creative workers engaged in the field of visual art in major cities ofRussia (Moscow and St. Petersburg). In particular, the conducted empirical study includes threecases58:1.
The study of art-managers who are full-time in state and non-state cultural institutions inSt. Petersburg;2. The study of full-time employees at private-funded art centers in Moscow;3. Study of young artists of St. Petersburg.The selection of research cases was based on their heuristic capabilities of representing the Russianspecifics of labour and employment in the creative industries. In particular, young artists as aprofessional group (case 3) have been studied in detail by many researchers in Western countries,which creates a good ground for a detailed comparison.
Wage workers in the visual arts sector,namely employees of cultural institutions (cases 1 and 2), are empirically well represented in theRussian case, but have not yet been sufficiently studied in the English-speaking discussion, mostlybecause sustainable forms of labour relations are being replaced by more flexible and short-termalternatives.59.The empirical part of the dissertation research is based on qualitative methods. The mainmethod is in-depth semi-structured interviews, the additional methods are observations in offices,workshops, public events of cultural institutions, analysis of documents (employment contracts,websites of cultural institutions, curricula of art schools).
Media monitoring and pile-sorting werealso used for selecting cultural institutions.58The empirical objects of research are presented in more detail in the articles attached to this summary.Jeffcutt P., Pratt A. C. Managing creativity in the cultural industries //Creativity and innovation management. –2002. – Т. 11. – №. 4. – С. 225-233.5914Fieldwork for the dissertation research was conducted in two cities, St. Petersburg (26 indepth interviews, case 1; 15 in-depth interviews, Case 3) and Moscow (20 in-depth interviews,Case 2), in several stages.
A total of 61 semi-structured interviews was held, the average durationwas 1.5 hours (the shortest interview lasted 53 minutes, the longest was 2 hours and 48 minutes)60.Selection of informantsCases 1 and 2:In both cities, the informants, the employees of cultural institutions, were selected in twostages. Since the research tasks included the analysis of labour practices in the main culturalinstitutions, the cultural production patterns in which could potentially influence the workorganization at the city and national level, the cultural institutions themselves were selected first.For the case 1, the principle of selecting organizations in St.
Petersburg was carried out by the pilesorting method, highlighted by P. Foster and S. Borgatti61, the initial stage allowed to compile alist of the most significant cultural institutions in the city: a three-month monitoring of all St.Petersburg media, writing about culture, the result of which was the rating of references toorganizations62.The main aim of fieldwork in Moscow (case 2) was to supplement the data received in St.Petersburg, in particular by including in the sample private top-down organizations missing in St.Petersburg (ie, created from the "top", subject to significant financial investments), mainly artcenters and museums of contemporary art. Based on the expert survey, as well as data obtained inSt. Petersburg interviews, a list of the 10 largest organizations was compiled, which were includedin the study.At the next stage, the selection of informants was carried out.
For both cities, similar criteriawere chosen: full employment (in the case where the amount of employment was not determinedby the contract, it was based on the interpretation of the informant) or, in exceptional cases, pastexperience of full employment and their direct connection with the main activity of the culturalinstitution (for example, exhibitions).The interviews were conducted based on the guide, which included 6 main blocks: (1)biographical (questions about the social background of the informant, age, family, milestones of6044 out of 61 interviews were collected by the author herself, while other 17 were carried out as parts of researchprojects: 10 interviews by Creative City research group (case 1, field researchers: A.
Barmina, F. Veselov, A.Zhelnina, M. Safonov, N. Sokolova, T. Tretyakova), other 7 IDI’s are by conducted by A. Kolycheva in theframework of a CYS’s project (case 3).61Foster P., Borgatti S. P., Jones C. Gatekeeper search and selection strategies: Relational and network governancein a cultural market //Poetics. – 2011. – Т. 39. – №. 4. – С. 247-265.62The result of the statistical analysis of pile-sorting is presented in the article by Barmina and Safonova (2017), inthis research the task of monitoring and the following expert poll was based on a technical principle in the selectionof organizations.15biography); (2) education (school (including additional art education during schooling), admissionand study at the university, higher education programme, additional education, transition fromstudy to work); (3) the professional path and career (questions were asked about professional selfdetermination, how and when the informant chose (a) the sphere of culture as his employment,their first and all further jobs, the specifics of recruiting and contract, the image of their furthercareer); (4) about the actual place of work (its organizational structure, financing principles,hierarchy, discrimination, the working day and place organization); (5) about the working regimesand daily routine of the informant (the working routine of the informant and cultural institution,emotions and climate at the workplace, social well-being, the balance between work and the restof life); (6) about the urban and national cultural production scene (what other cultural institutionsinformants know and visit, whether they communicate with their employees, whether theseinstitutions are similar to her / his work places in terms of their organization and dominant modesof work).
During the work on the dissertation project, the research guide underwent minor changes,in most cases they were complementary. The exception is the interviews collected within the"Creative City" project: in this case, the main blocks of the thesis guide were included in thegeneral guide for the project.Case 3:This case was a study of young artists of St.
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