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<div style="font-size: 14px;"><span style="font-size: 12px;">**Apologies for cross posting**</span></div>
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<p class="MsoNormal" align="center" style="text-align: left;"><font face="Calibri" style="font-size: 12px;">Call for papers— Special Issue of <i>Organization</i> – Deadline for full papers 1 December 2015<o:p></o:p></font></p>
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<div style="text-align: left;"><b>Diversifying the creative: Creative work, creative industries, creative identities</b></div>
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<div style="font-size: 14px;"><span style="font-size: 12px;">Special issue edited by: </span></div>
<div style="font-size: 14px;"><span style="font-size: 12px;">Deborah Jones, Kate Sang, Naomi Stead, Rebecca Finkel, Dimi Stoyanova Russell </span></div>
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<p class="MsoNormal" style="font-size: 12px;">Links to full call: Via Organization
<a href="http://org.sagepub.com/content/22/4/617.full.pdf+html">http://org.sagepub.com/content/22/4/617.full.pdf+html</a><o:p></o:p></p>
<p class="MsoNormal" style="font-size: 12px;">Or <a href="https://migrantacademics.wordpress.com/2015/05/08/call-for-papers-special-issue-proposal-for-organization-diversifying-the-creative-creative-work-creative-industries-creative-identities/">
https://migrantacademics.wordpress.com/2015/05/08/call-for-papers-special-issue-proposal-for-organization-diversifying-the-creative-creative-work-creative-industries-creative-identities/</a><o:p></o:p></p>
<p class="H1" style="line-height: normal;"><span style="font-weight: normal; font-size: 12px;"><font face="Calibri"><span style="text-align: justify;">To diversify the creative is to ask how certain bodies, certain work practices and certain identities come
to be counted as ‘creative’, while others are excluded. Creativity and creatives have become desirable, socially and economically, as creativity has been rebranded as the engine of post-industrial ‘creative economies’ over the last decade or so. The rhetoric
of creativity encompasses specifically designated ‘creative industries’ and ‘creatives’ (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Caves, 2000</span><span style="text-align: justify;">), as well as a much wider idea
of ‘the creative’ at work in all kinds of organisations and occupations (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Bilton, 2006</span><span style="text-align: justify;">). Creativity is conceptualised in a wide range
of forms, in which traditional and new are spliced together. For instance, a romantic framing of arts and artists, based on a distinction between the creative and the industrial, is linked with ideas of art as a vocation and of the artist as a distinctive
kind of individualised genius (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Becker, 1974</span><span style="text-align: justify;">). A more recent, 21st-century vision is linked with the idea of innovation as the key
to economic success so that workplaces are specifically designed to attract and affirm creative talent (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Hesmondhalgh, 2012</span><span style="text-align: justify;">). Here,
the ideal ‘creative’ may be imagined as a member of smoothly functioning team of passionate and diverse talents, a member of a new, ‘creative class’ (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Florida, 2002</span><span style="text-align: justify;">).
Contemporary governmental policies—national, regional, industry-driven—have set out to extend, evaluate and monetise it (Department of Culture, Media and Sport (</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">DCMS), 2001</span><span style="text-align: justify;">;
</span><span style="text-align: justify; border: 1pt none windowtext; padding: 0cm;">Flew, 2012</span><span style="text-align: justify;">).</span></font></span></p>
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<p class="TEXT" style="line-height:normal"><font face="Calibri"><span style="text-indent: 12pt;">Creative work has increasingly been recognised as
</span><i style="text-indent: 12pt;">work</i><span style="text-indent: 12pt;">, with governmental technologies accounting for creative subjects—artists, technicians, entrepreneurs—in data sets where earnings and occupations can be surveyed. In oppositional
mode, critical scholars have increasingly paid attention to creative labour and have raised questions about the forms of exploitation and exclusion with which it is associated (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Nixon
and Crewe, 2004</span><span style="text-indent: 12pt;">). They frame creative work in relation to other kinds of exploitative or precarious work, while maintaining a focus on the distinctive features of the creative (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Gill,
2002</span><span style="text-indent: 12pt;">). In particular, such research recognises that struggles over the creative are also struggles over the control of cultural production (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Dean,
2008</span><span style="text-indent: 12pt;">; </span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Hesmondhalgh and Saha, 2013</span><span style="text-indent: 12pt;">).
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<p class="TEXT" style="line-height:normal"><font face="Calibri"><span style="text-indent: 12pt;">But people working in creative fields often refuse such analyses. Identifying as artists with a vocation, they often work in what they see as non-creative jobs,
perhaps part-time or intermittently, to fund their creative practice (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Menger, 1999</span><span style="text-indent: 12pt;">). The distinctions between paid and unpaid work are
blurred (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Hesmondhalgh and Baker, 2011</span><span style="text-indent: 12pt;">), and unpaid positions such as internships may be institutionalised as a way to get a foot in the
door of a creative industry (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Siebert and Wilson, 2013</span><span style="text-indent: 12pt;">). The language of workplace rights is frequently marginalised or silenced altogether,
and forms of collective organising such as unionisation are often unavailable or rejected (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Blair et al., 2003</span><span style="text-indent: 12pt;">). Some government initiatives
to develop creative industries also attempt to address social diversity in terms of equal access to work and of cultural inclusion and exclusion, but there is not much evidence of success (</span><span style="text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Proctor-Thomson,
2013</span><span style="text-indent: 12pt;">).</span></font></p>
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<p class="TEXT" style="line-height:normal"><font face="Calibri"><span style="letter-spacing: -0.2pt; text-indent: 12pt;">In this context, it can be very difficult to articulate claims about diversity and (in)equalities within creative work. For example, it
is nearly impossible for women to find a forum or space to raise issues of creative work and gender equality, such as pay, status, recognition or acknowledgement of family responsibilities (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Thynne,
2000</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">). Even if they are in paid creative work, creatives may accept low pay, extremely demanding working conditions and precarious employment (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Haunschild
and Eikhof, 2009</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">). Such patterns are also seen within established professions such as architecture, where members often reflect on architecture as a lifestyle and persona rather than as a job
or career. The construction and negotiation of personal and professional identities, as well as the performance of creativity through dress and demeanour, bodily comportment and body art, compound the complex understanding of what it means to be a creative
‘worker’.</span></font></p>
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<p class="TEXT" style="line-height:normal"><font face="Calibri"><span style="letter-spacing: -0.2pt; text-indent: 12pt;">The construction of identities takes varying forms in relation to the creative. For instance, the creative is typically constructed so that
women do not become the creative stars or geniuses, do not have equal access to creative work, are not equally rewarded and are subject to various forms of occupational segregation that reinforce these inequalities of both recognition and reward (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Sang
et al., 2014</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">). Intersecting with gender are constructions of class, ethnicity, age, disability and sexuality, which complicate and extend privilege and inequality (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Grugulis
and Stoyanova, 2012</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">). However, less is known about how other marginalised identities experience creative work, and in particular how gender may intersect with other identities to construct these
experiences. Furthermore, there is poor understanding of how these intersecting identities may affect who or what is considered creative. Economic development rhetoric has been influential in claiming that cities ‘tolerant’ to diversity will attract the ‘creative
classes’, but this claim is frequently undercut by continuing patterns of class, gender and racial inequalities (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Leslie and Catungal, 2012</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">).
At the same time, new creative spaces can operate as sites where claims to cultural citizenship can be contested by marginalised identities such as sexual minorities (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Yue,
2007</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">) and people with disabilities (</span><span style="letter-spacing: -0.2pt; text-indent: 12pt; border: 1pt none windowtext; padding: 0cm;">Darcy and Taylor, 2009</span><span style="letter-spacing: -0.2pt; text-indent: 12pt;">).
A critical examination of creativity and diversity therefore allows us to interrogate and denaturalise both of these concepts: we can ask how the ‘creative’ comes to be seen as a kind of essence inhabiting particular kinds of bodies, and also how the ‘diversity’
that is supposed to generate the creative works seems to rewrite traditional relations of power.</span></font></p>
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<p class="TEXT" style="line-height:normal"><span style="text-indent: 12pt;"><font face="Calibri">The special issue invites empirical, theoretical or methodological papers critically exploring creative work and, in particular, the ways in which it is diversified.
For instance, the gendered construction of creativity can be seen in analyses of women’s employment within creative industries and in the ways in which creativity is imagined or represented in a range of occupations and practices. Intersectional perspectives
regarding how gender intersects with class, ethnicity, disability and sexual orientation for those working in the sector also can be explored. Although the special issue is open to any discussion of diversity in creativity or creative work, explorations of
specific work settings or contexts, for example, architecture, film and television, comedy, literature, music and design, will be prioritised. An inter-disciplinary approach is welcome, acknowledging that the literatures of work in the creative industries,
like the sector itself, have developed in and across a range of disciplines, including cultural studies, sociology, geography, management and organisational studies. Contributions also could include explorations of innovative methodologies for studying and
understanding the creative industries, creative identities and creative labour, such as those employing visual and ethnographic methods. Research may open up new discourses for imagining, re-negotiating and managing diversity in creative work, opening up in
turn new opportunities for marginalised groups to lead, collaborate and develop skills in creative spaces of greater equality.</font></span></p>
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<p class="H1" style="line-height:normal"><span lang="EN-US">Scope<o:p></o:p></span></p>
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<li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Embodying the creative</span></i><span lang="EN-US" style="color: windowtext;">:
How is creativity embodied as gendered, racialised, aged and able? How do organisations do support or discourage these embodiments, implicitly or explicitly?</span></font></span></li></ul>
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<li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Imagining and organising diversity
in creative work</span></i><span lang="EN-US" style="color: windowtext;">: What would decent work in the creative sector look like for women and other marginalised groups? How do minorities organise in guilds, professional groups, unions or lobby groups to
raise issues of equality in this sector? How do they organise creative projects with across or within boundaries of difference?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Experiences of women and other
marginalised groups in the creative industries</span></i><span lang="EN-US" style="color: windowtext;">: Autobiographical and third-party accounts of experiences in various creative fields can ask questions such as follows: How is equality approached and negotiated?
What challenges have been faced and what kinds of approaches taken to varying outcomes and successes?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Intersectional analyses of working
life in the creative industries</span></i><span lang="EN-US" style="color: windowtext;">: The complex intersections between different identity categories sometimes create unexpected effects, both negative and positive. How does the compounding or intersection
of diversity categories in single cases add to a study of working life in the creative industries?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Claiming the creative</span></i><span lang="EN-US" style="color: windowtext;">:
How are ‘creative’ identities allocated and recognised? How is the ‘super-creative core’ constituted in relation to the ‘below the line’ people, that is, the ‘crew’, support workers and administrators? What systems are there of awards, grants, training and
networks, and how are they diversified? Who are the gatekeepers to these resources and who receives them? Who in a profession or occupation actually gets to be creative at all, and why?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Personal branding and the benefits
of difference</span></i><span lang="EN-US" style="color: windowtext;">: In the creative industries, standing out as distinct from peers can sometimes be advantageous in the construction of a creative persona, even when this difference stems from being part
of a marginalised group. How can it sometimes be beneficial to be in a minority? How does difference link with constructions of originality and uniqueness in such cases?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Authorship, attribution and
credit in collaborative work</span></i><span lang="EN-US" style="color: windowtext;">: Creative work is very often collaborative, yet the credit is often attributed to one individual. This is not just a case of unscrupulous individuals stealing credit, but
publications and awards and organisations insisting on a single creative figurehead. What implications and effects does this practice have in terms of equality?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Exceptionalist discourses</span></i><span lang="EN-US" style="color: windowtext;">:
How do some creative professions frame themselves as unlike any other profession and entirely incomparable? What are the unequal consequences of this framing?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Anti-management</span></i><span lang="EN-US" style="color: windowtext;">:
There are tendencies in creative professions actively to resist perceived managerialism, including any kind of official equity initiatives. How is this resistance exploited by employers to increase their own profit at the expense of their workers or to prevent
equity interventions?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">The creative profession as cult</span></i><span lang="EN-US" style="color: windowtext;">:
Colleagues may become the creative’s only friends, romantic and business partners and family. How does this exclusive culture engender inequalities?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Creativity and vocation</span></i><span lang="EN-US" style="color: windowtext;">:
There is often a sense of ‘calling’ to the creative professions. What are the effects of such quasi-metaphysical ideas? For example, are people willing to put up with exploitation and precariousness because they are dedicated to a larger ideal, one which frames
economic and business imperatives as dishonourable and low-minded?<o:p></o:p></span></font></span></li><li><span style="color: rgb(0, 0, 0); font-family: 'Times New Roman', serif; font-size: 13px; font-style: normal; font-weight: normal; text-decoration: none;"><font face="Calibri"><i><span lang="EN-US" style="color: windowtext;">Methodologies for studying gendered
creativity</span></i></font><span lang="EN-US" style="color: windowtext;"><font face="Calibri">: Explorations of innovative methods for studying and understanding the creative industries and creative labour. What methods are most appropriate or interesting
(e.g. visual, ethnographic) for understanding diversity and creative labour?</font><o:p></o:p></span></span></li></ul>
<p class="EH" style="font-size: 12px; line-height: normal;"><span lang="EN-US">Submissions<o:p></o:p></span></p>
<p class="AN" style="line-height: normal;"><span lang="EN-US"><font face="Calibri">Papers for the special issue must be submitted electronically between 31 October and 1 December 2015 (please note dates) to SAGETrack at
<span style="border: 1pt none windowtext; padding: 0cm;"><a href="http://mc.manuscriptcentral.com/organization">http://mc.manuscriptcentral.com/organization</a></span>. Papers should be no more than 8000 words, excluding references, and will be blind reviewed
following the journal’s standard procedures. Manuscripts should be prepared according to the guidelines published in
<i>Organization</i> and on the journal’s website: </font></span><span lang="EN-US"><a href="http://goo.gl/Ukuor0"><span style="border: 1pt none windowtext; padding: 0cm;"><font face="Calibri">http://goo.gl/Ukuor0</font></span></a><span style="border: 1pt none windowtext; padding: 0cm; border-color: windowtext; border-width: 1pt; padding: 0cm;"></span><o:p></o:p></span></p>
<p class="EH" style="font-size: 12px; line-height: normal;"><span lang="EN-US">Workshop<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12px;">The special issue editors are planning a writing workshop for authors interested in submitting papers to the special issue to be held at Heriot-Watt University in Edinburgh (Scotland) in the first week of
September 2015. We will also be offering a skype workshop in September, date to be advised. Please contact Kate Sang:
<a href="mailto:K.Sang@hw.ac.uk">K.Sang@hw.ac.uk</a> for details.<o:p></o:p></span></p>
<p class="EH" style="font-size: 12px; line-height: normal;"><span lang="EN-US">Early abstract submission<o:p></o:p></span></p>
<p class="AN" style="font-size: 12px; line-height: normal;"><span lang="EN-US"><font face="Calibri">The editors have requested that (where possible) authors send abstracts of their proposed papers
<b>by 31 October 2015</b>. This will ensure that potential reviewers for these papers are identified prior to paper submission.</font><o:p></o:p></span></p>
<p class="EH" style="font-size: 12px; line-height: normal;"><span lang="EN-US">Special Issue Editor contact details<o:p></o:p></span></p>
<p class="AN" style="font-size: 12px; margin-bottom: 0.0001pt; line-height: normal;">
<span lang="EN-US"><font face="Calibri">For further information, please contact one of the guest editors:<o:p></o:p></font></span></p>
<p class="MsoNormal" style="font-size: 12px;"><font face="Calibri">Deborah Jones:
<a href="mailto:Deborah.Jones@vuw.ac.nz">Deborah.Jones@vuw.ac.nz</a><o:p></o:p></font></p>
<p class="MsoNormal" style="font-size: 12px;"><font face="Calibri">Kate Sang: <a href="mailto:K.Sang@hw.ac.uk">
K.Sang@hw.ac.uk</a><o:p></o:p></font></p>
<p class="MsoNormal" style="font-size: 12px;"><font face="Calibri">Naomi Stead: <a href="mailto:n.stead@uq.edu.au">
n.stead@uq.edu.au</a><o:p></o:p></font></p>
<p class="MsoNormal" style="font-size: 12px;"><font face="Calibri">Rebecca Finkel:
<a href="mailto:RFinkel@qmu.ac.uk">RFinkel@qmu.ac.uk</a><o:p></o:p></font></p>
<p class="MsoNormal" style="font-size: 12px;"><font face="Calibri">Dimi Stoyanova Russell:
<a href="mailto:StoyanovaRussellD@cardiff.ac.uk">StoyanovaRussellD@cardiff.ac.uk</a></font><o:p></o:p></p>
<p class="MsoNormal" style="font-size: 12px;"><o:p> </o:p></p>
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<div><font color="#1f497d" style="font-size: 12px;">-- </font></div>
<div><font color="#1f497d" style="font-size: 12px;"><b>Naomi Stead</b> <i>PhD, BArch</i></font></div>
<div><span style="color: rgb(31, 73, 125); font-size: 12px;">Associate Professor </span></div>
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<div><span style="color: rgb(31, 73, 125); font-size: 12px;">Deputy Director, Research Centre ATCH (Architecture|Theory|Criticism|History)</span></div>
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<div><span style="color: rgb(31, 73, 125); font-size: 12px;">Research Higher Degree Coordinator</span></div>
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<div><font color="#1f497d" style="font-size: 12px;">School of Architecture</font></div>
<div><font color="#1f497d" style="font-size: 12px;">The University of Queensland</font></div>
<div><font color="#1f497d" style="font-size: 12px;">St Lucia, Q, 4072</font></div>
<div><font color="#1f497d" style="font-size: 12px;">Australia</font></div>
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<div><span style="color: rgb(31, 73, 125); font-size: 12px;">Co-Editor: <i>Culture Unbound: Journal of Current Cultural Research</i></span></div>
<div><font color="#1f497d" style="font-size: 12px;"><a href="http://www.cultureunbound.ep.liu.se/">http://www.cultureunbound.ep.liu.se/</a></font></div>
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<div><font color="#1f497d" style="font-size: 12px;">Associate Editor: <i>Parlour: Women, Equity, Architecture</i></font></div>
<div><span style="color: rgb(31, 73, 125); font-size: 12px;"><a href="http://www.archiparlour.org">http://www.archiparlour.org</a></span></div>
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<div><font color="#1f497d" style="font-size: 12px;">p. +61 7 3346 7852</font></div>
<div><font color="#1f497d" style="font-size: 12px;">e. <a href="mailto:n.stead@uq.edu.au">
n.stead@uq.edu.au</a></font></div>
<div><font color="#1f497d" style="font-size: 12px;">w. www.naomistead.com</font></div>
<div><font color="#1f497d" style="font-size: 12px;">w. researchers.uq.edu.au/researcher/636</font></div>
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<div><span style="font-size: 12px;"><font style="color: rgb(31, 73, 125);">My working days are </font><font><font color="#1f497d">Monday, Wednesday, Thursday, and Friday. </font></font></span></div>
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