Araştırma Makalesi
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Creative Labour in Turkey

Yıl 2018, Cilt: 5 Sayı: 2 - Yaratıcı Endüstriler ve Yaratıcı Emek, 174 - 194, 15.12.2018
https://doi.org/10.17572/mj2018.2.174194

Öz

In recent years, the political and academic discourse focusing on the economic potential of creative cultural industries is raising. The idea of creative culture industries which focuses on creativity and symbol production instead of material production presented as a source of prosperity for developing countries. It is claimed that individuals are set free from the routine working life by creative work, which offer flexible and independent work opportunities. At first glance, this change, which is considered to liberate the industrial revolution from the control measures, contains insecurities that burden the responsibility of learning and employment to the individual. The creative labor debate at the center of the creative economy involves the development of an individual's talent set on the one hand and the critique of these risks on the other. This study examines whether the sector dynamics in Turkey developed creative labour by means of online survey method and qualitative analysis. At the same time, aims to reveal the extent of the characteristics in the international literature. The similarities and differences with international literature have been discussed on subjective experiences related to precarious working conditions in Turkey.

Kaynakça

  • Allen, K., Quinn, J., Hollingworth, S., & Rose, A. (2013). Becoming employable students and ‘ideal’ creative workers: exclusion and inequality in higher education work placements. British Journal of Sociology of Education, 34(3), 431-452. doi:10.1080/01425692.2012.714249
  • Ball, L., Pollard, E., & Stanley, N. (2010). Creative Graduates Creative Futures. London: Institute for Employment Studies.
  • Banks, M. (2007). The politics of cultural work: Palgrave.
  • Barrowclough, D., & Kozul-Wright, Z. (Eds.). (2012). Creative Industries and Developing Countries: Voice, Choice and Economic Growth. London: Routledge.
  • Baumann, A. (2002). Informal labour market governance: The case of the British and German media production industries. Work, employment and society, 16(1), 27-46.
  • Bridgstock, R. (2011). Skills for creative industries graduate success. Education+ Training, 53(1), 9-26.
  • Brown, R. (2007). Promoting entrepreneurship in arts education. In C. Henry (Ed.), Entrepreneurship in the creative industries: an international perspective (s. 126-141). Massachusetts: Edward Elgar Publishing.
  • Bulut, E. (2014). Yaratıcı Ekonomiyi Tanımlamak. In M. A. Peters & E. Bulut (Eds.), Bilişsel kapitalizm: Eğitim ve dijital emek (pp. 221-240). Ankara: Nota Bene Bilişim.
  • Carlo, R., Andy, L., Mark, B., & Justin, O. C. (2000). Teaching and learning entrepreneurship for micro and small businesses in the cultural industries sector. Education + Training, 42(6), 356-365. doi:doi:10.1108/00400910010353653
  • DCMS. (2001). Creative industries mapping document. London: Department of Culture Media and Sport.
  • DCMS. (2016). Creative Industries: Focus on Employment. London: Department of Culture Media and Sport.
  • Demir, E. M. (2014). Yaratıcı Endüstriler. İLEF Degi, 1(2), 87-107.
  • Demir, E. M. (2018). Halkla İlişkilerde Profesyonellik ve Yaratıcı Emek. İletişim Araştırmaları Dergisi, 14(1).
  • Demir, O. (2018). Looking forward for Istanbul's creative economy ecosystem. Creative Industries Journal, 11(1), 87-101.
  • Denzin, N. K., & Lincoln, Y. S. (2017). The SAGE Handbook of Qualitative Research. Los Angeles: SAGE Publications.
  • Ekdi, F. P. Ö., & ÇIRACI, H. (2015). Cultural/creative industries in Istanbul: Beyoğlu case. A| Z ITU Journal of the Faculty of Architecture, 12(1), 67-82.
  • Elefante: H., & Deuze, M. (2012). Media work, career management, and professional identity: Living labour precarity. Northern Lights, 10(1), 9-24.
  • Esen, Ü. B., & Atay, Ö. (2017). Ekonominin Yeni Yüzü: Yaratıcı Ekonomi. Sosyoekonomi, 25(3).
  • Evans, G. R. (2007). Akademisyenler ve gerçek dünya. İstanbul: İstanbul Bilgi Üniversitesi Yayınları.
  • Fitzgerald, S., Rainnie, A., Bennett, D., & Coffey, J. (2012). Creative Labour: Towards a Renewed Research Agenda. The Proceedings of the 26TH Annual Australian and New Zealand Academy of Management Conference (ANZAM).
  • Florida, R. L. (2012). The Rise of the Creative Class: Revisited: Basic Books.
  • Gill, R., & Pratt, A. (2008). Precarity and Cultural Work In the Social Factory? Immaterial Labour, Precariousness and Cultural Work. Theory, Culture & Society, 25(7-8), 1-30.
  • Hartley, J. (2005). Creative Industries: Wiley.
  • Hesmondhalgh, D. (2007). Creative Labour as a Basis for a Critique of Creative Industries Policy. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader (pp. 61-69). Amsterdam: Institute of Network Cultures.
  • Hesmondhalgh, D. (2008). Cultural and creative industries. In T. Bennett & J. Frow (Eds.), The SAGE handbook of cultural analysis (pp. 553-569): Sage Publications.
  • Hesmondhalgh, D., & Baker, S. (2011). Creative labour. London: Routledge.
  • Hocaoğlu, D. (2015). Yaratıcı Endüstrilerin Yerel Ekonomilerdeki Önemi ve Tasarımın Bu Endüstrilere Katkısı. Planlama, 15(3), 189-194.
  • Hodgson, D., & Briand, L. (2013). Controlling the uncontrollable:‘Agile’teams and illusions of autonomy in creative work. Work, employment and society, 27(2), 308-325.
  • Howkins, J. (2001). The creative economy: how people make money from ideas: Allen Lane.
  • Huws, U. (2014). Labor in the global digital economy: The cybertariat comes of age: NYU Press.
  • Jordan, A., & Carlile, O. (2013). Approaches To Creativity: A Guide For Teachers: McGraw-Hill Education.
  • Kaya, E. (2016). Kapitalist Emek Sürecinin Öğeleri Ekseninde Kültürel Endüstriler ve Yaratıcı Emek. İletişim Araştırmaları Dergisi, 14(1), 43-73.
  • Krippendorff, K. (2004). Content Analysis (2nd Edition ed.). London: Sage.
  • Lazzeretti, L., Capone, F., & Seçilmiş, İ. E. (2014). Türkiye’de yaratıcı ve kültürel sektörlerin yapısı. Maliye Dergisi, 166(1), 195-220.
  • Lin, J. (2018). Be creative for the state: Creative workers in Chinese state-owned cultural enterprises. International Journal of Cultural Studies, Online First. https://doi.org/10.1177/1367877917750670.
  • Loots, E., & van Witteloostuijn, A. (2018). The growth puzzle in the creative industries. Revue de l’Entrepreneuriat, 17(1), 39-58.
  • Macnamara, J. (2005). Media content analysis: Its uses, benefits and best practice methodology. Asia Pacific Public Relations Journal, 6(1), 1-34.
  • Markusen, A., Wassall, G. H., DeNatale, D., & Cohen, R. (2008). Defining the creative economy: Industry and occupational approaches. Economic development quarterly, 22(1), 24-45.
  • McGuigan, J. (2012). The coolness of capitalism today. tripleC, 10(2), 425-438.
  • McKinlay, A., & Smith, C. (2009). Creative Labour: Working in the Creative Industries. London: Palgrave Macmillan.
  • McRobbie, A. (2016). Be Creative: Making a Living in the New Culture Industries. Cambridge: Polity Press.
  • Miller, T. (2010). Culture plus Labour = Precariat. Communicatıon And Critical-Cultural Studies, 7(1), 96-99.
  • Neilson, B., & Rossiter, N. (2005a). Editorial: Multitudes, Creative Organisation and the Precarious Condition of New Media Labour. Fibreculture Journal, 5.
  • Neilson, B., & Rossiter, N. (2005b). From Precarity to Precariousness and Back Again: Labour, life and unstable networks. The Fibreculture Journal, 5.
  • Ross, A. (2007). Nice work if you can get it: The mercurial career of creative industries policy. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader: A Critique of Creative Industries (pp. 19-41). New York: NYU Press.
  • Rossiter, N. (2006). Organized networks: Media theory, creative labour, new institutions. Rotterdam: NAi Publishers.
  • Ruth Eikhof, D., & Warhurst, C. (2013). The promised land? Why social inequalities are systemic in the creative industries. Employee Relations, 35(5), 495-508.
  • Smith, C., & McKinlay, A. (2009). Creative Labour: Content, Contract and Control. In A. McKinlay & C. Smith (Eds.), Creative Labour: Working in the Creative Industries (pp. 29-50). London: Palgrave Macmillan.
  • Sümer, B. (2018). Employment Opportunities in Cultural and Creative Industries in Turkey. Internatıonal Conference On Good Local Governance, Izmir/Turkey.
  • Taylor, S., & Littleton, K. (2016). Contemporary Identities of Creativity and Creative Work: Taylor & Francis.
  • Terranova, T. (2012). Free Labor, Producing Culture for the Digital Economy. In M. Bousquet & K. Wills (Eds.), Digital Labor (pp. 99-121). Stanford: Alt-X.
  • Vardar, S. (2017). Yaratıcı Endüstriler. Kalkınmada Anahtar Verimllik, 29(338), 40-45.
  • Von Osten, M. (2007). Unpredictable Outcomes: A Reflection After Some Years of Debates on Creativity and Creative Industries. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader (pp. 51-60). Amsterdam: Institute of Network Cultures.
  • WEF. (2016). The Future of Jobs Employment, Skills and Workforce Strategy for the Fourth Industrial Revolution. Retrieved from Geneva: World Economic Forum.
  • Yardımcı, A. (2016). Içerdiği Faaliyet Gruplarina Göre Türkiye'deki Yaratıcı Endüstri Üzerine Bir Çalışma. Finans Politik & Ekonomik Yorumlar, 53(613), 65.

Türkiye'de Yaratıcı Emek

Yıl 2018, Cilt: 5 Sayı: 2 - Yaratıcı Endüstriler ve Yaratıcı Emek, 174 - 194, 15.12.2018
https://doi.org/10.17572/mj2018.2.174194

Öz

Son yıllarda yaratıcı kültür endüstrilerinin (YKE) ekonomik potansiyelini merkeze alan politik ve akademik söylem yaygınlaşmaktadır. Gelişmekte olan ülkelere bir refah kaynağı olarak sunulan yaratıcı kültür endüstrileri düşüncesi, maddi üretim yerine yaratıcılık ve sembol üretimini odağa alır. Yaratıcı çalışmanın bireyleri rutin çalışma yaşamından kurtararak esnek ve serbest çalışma imkânları sunduğu iddia edilir. İlk bakışta çalışanı sanayi devriminin kontrol tedbirlerinden özgürleştirdiği düşünülen bu değişim, öğrenme ve istihdam sorumluluğunu bireye yükleyen güvencesizlikler barındırır. Yaratıcı ekonominin odağındaki yaratıcı emek tartışması bir yandan bireyin yetenek setini geliştirmeyi diğer yandan da söz konusu risklerin eleştirisini içerir. Bu çalışma Türkiye’de sektör dinamiklerinin yaratıcı emeği oluşturup oluşturmadığını anket yöntemiyle saha araştırması ve nitel veri analizi üzerinden incelemektedir. Aynı zamanda uluslararası alan yazındaki karakteristiklerin Türkiye’de ne ölçüde görüldüğünü ortaya çıkarmayı amaçlar. Türkiye’de preker çalışma koşullarına ilişkin öznel deneyimlerin uluslararası alan yazın ile benzeştiği ve ayrıştığı noktalar tartışılmıştır.

Kaynakça

  • Allen, K., Quinn, J., Hollingworth, S., & Rose, A. (2013). Becoming employable students and ‘ideal’ creative workers: exclusion and inequality in higher education work placements. British Journal of Sociology of Education, 34(3), 431-452. doi:10.1080/01425692.2012.714249
  • Ball, L., Pollard, E., & Stanley, N. (2010). Creative Graduates Creative Futures. London: Institute for Employment Studies.
  • Banks, M. (2007). The politics of cultural work: Palgrave.
  • Barrowclough, D., & Kozul-Wright, Z. (Eds.). (2012). Creative Industries and Developing Countries: Voice, Choice and Economic Growth. London: Routledge.
  • Baumann, A. (2002). Informal labour market governance: The case of the British and German media production industries. Work, employment and society, 16(1), 27-46.
  • Bridgstock, R. (2011). Skills for creative industries graduate success. Education+ Training, 53(1), 9-26.
  • Brown, R. (2007). Promoting entrepreneurship in arts education. In C. Henry (Ed.), Entrepreneurship in the creative industries: an international perspective (s. 126-141). Massachusetts: Edward Elgar Publishing.
  • Bulut, E. (2014). Yaratıcı Ekonomiyi Tanımlamak. In M. A. Peters & E. Bulut (Eds.), Bilişsel kapitalizm: Eğitim ve dijital emek (pp. 221-240). Ankara: Nota Bene Bilişim.
  • Carlo, R., Andy, L., Mark, B., & Justin, O. C. (2000). Teaching and learning entrepreneurship for micro and small businesses in the cultural industries sector. Education + Training, 42(6), 356-365. doi:doi:10.1108/00400910010353653
  • DCMS. (2001). Creative industries mapping document. London: Department of Culture Media and Sport.
  • DCMS. (2016). Creative Industries: Focus on Employment. London: Department of Culture Media and Sport.
  • Demir, E. M. (2014). Yaratıcı Endüstriler. İLEF Degi, 1(2), 87-107.
  • Demir, E. M. (2018). Halkla İlişkilerde Profesyonellik ve Yaratıcı Emek. İletişim Araştırmaları Dergisi, 14(1).
  • Demir, O. (2018). Looking forward for Istanbul's creative economy ecosystem. Creative Industries Journal, 11(1), 87-101.
  • Denzin, N. K., & Lincoln, Y. S. (2017). The SAGE Handbook of Qualitative Research. Los Angeles: SAGE Publications.
  • Ekdi, F. P. Ö., & ÇIRACI, H. (2015). Cultural/creative industries in Istanbul: Beyoğlu case. A| Z ITU Journal of the Faculty of Architecture, 12(1), 67-82.
  • Elefante: H., & Deuze, M. (2012). Media work, career management, and professional identity: Living labour precarity. Northern Lights, 10(1), 9-24.
  • Esen, Ü. B., & Atay, Ö. (2017). Ekonominin Yeni Yüzü: Yaratıcı Ekonomi. Sosyoekonomi, 25(3).
  • Evans, G. R. (2007). Akademisyenler ve gerçek dünya. İstanbul: İstanbul Bilgi Üniversitesi Yayınları.
  • Fitzgerald, S., Rainnie, A., Bennett, D., & Coffey, J. (2012). Creative Labour: Towards a Renewed Research Agenda. The Proceedings of the 26TH Annual Australian and New Zealand Academy of Management Conference (ANZAM).
  • Florida, R. L. (2012). The Rise of the Creative Class: Revisited: Basic Books.
  • Gill, R., & Pratt, A. (2008). Precarity and Cultural Work In the Social Factory? Immaterial Labour, Precariousness and Cultural Work. Theory, Culture & Society, 25(7-8), 1-30.
  • Hartley, J. (2005). Creative Industries: Wiley.
  • Hesmondhalgh, D. (2007). Creative Labour as a Basis for a Critique of Creative Industries Policy. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader (pp. 61-69). Amsterdam: Institute of Network Cultures.
  • Hesmondhalgh, D. (2008). Cultural and creative industries. In T. Bennett & J. Frow (Eds.), The SAGE handbook of cultural analysis (pp. 553-569): Sage Publications.
  • Hesmondhalgh, D., & Baker, S. (2011). Creative labour. London: Routledge.
  • Hocaoğlu, D. (2015). Yaratıcı Endüstrilerin Yerel Ekonomilerdeki Önemi ve Tasarımın Bu Endüstrilere Katkısı. Planlama, 15(3), 189-194.
  • Hodgson, D., & Briand, L. (2013). Controlling the uncontrollable:‘Agile’teams and illusions of autonomy in creative work. Work, employment and society, 27(2), 308-325.
  • Howkins, J. (2001). The creative economy: how people make money from ideas: Allen Lane.
  • Huws, U. (2014). Labor in the global digital economy: The cybertariat comes of age: NYU Press.
  • Jordan, A., & Carlile, O. (2013). Approaches To Creativity: A Guide For Teachers: McGraw-Hill Education.
  • Kaya, E. (2016). Kapitalist Emek Sürecinin Öğeleri Ekseninde Kültürel Endüstriler ve Yaratıcı Emek. İletişim Araştırmaları Dergisi, 14(1), 43-73.
  • Krippendorff, K. (2004). Content Analysis (2nd Edition ed.). London: Sage.
  • Lazzeretti, L., Capone, F., & Seçilmiş, İ. E. (2014). Türkiye’de yaratıcı ve kültürel sektörlerin yapısı. Maliye Dergisi, 166(1), 195-220.
  • Lin, J. (2018). Be creative for the state: Creative workers in Chinese state-owned cultural enterprises. International Journal of Cultural Studies, Online First. https://doi.org/10.1177/1367877917750670.
  • Loots, E., & van Witteloostuijn, A. (2018). The growth puzzle in the creative industries. Revue de l’Entrepreneuriat, 17(1), 39-58.
  • Macnamara, J. (2005). Media content analysis: Its uses, benefits and best practice methodology. Asia Pacific Public Relations Journal, 6(1), 1-34.
  • Markusen, A., Wassall, G. H., DeNatale, D., & Cohen, R. (2008). Defining the creative economy: Industry and occupational approaches. Economic development quarterly, 22(1), 24-45.
  • McGuigan, J. (2012). The coolness of capitalism today. tripleC, 10(2), 425-438.
  • McKinlay, A., & Smith, C. (2009). Creative Labour: Working in the Creative Industries. London: Palgrave Macmillan.
  • McRobbie, A. (2016). Be Creative: Making a Living in the New Culture Industries. Cambridge: Polity Press.
  • Miller, T. (2010). Culture plus Labour = Precariat. Communicatıon And Critical-Cultural Studies, 7(1), 96-99.
  • Neilson, B., & Rossiter, N. (2005a). Editorial: Multitudes, Creative Organisation and the Precarious Condition of New Media Labour. Fibreculture Journal, 5.
  • Neilson, B., & Rossiter, N. (2005b). From Precarity to Precariousness and Back Again: Labour, life and unstable networks. The Fibreculture Journal, 5.
  • Ross, A. (2007). Nice work if you can get it: The mercurial career of creative industries policy. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader: A Critique of Creative Industries (pp. 19-41). New York: NYU Press.
  • Rossiter, N. (2006). Organized networks: Media theory, creative labour, new institutions. Rotterdam: NAi Publishers.
  • Ruth Eikhof, D., & Warhurst, C. (2013). The promised land? Why social inequalities are systemic in the creative industries. Employee Relations, 35(5), 495-508.
  • Smith, C., & McKinlay, A. (2009). Creative Labour: Content, Contract and Control. In A. McKinlay & C. Smith (Eds.), Creative Labour: Working in the Creative Industries (pp. 29-50). London: Palgrave Macmillan.
  • Sümer, B. (2018). Employment Opportunities in Cultural and Creative Industries in Turkey. Internatıonal Conference On Good Local Governance, Izmir/Turkey.
  • Taylor, S., & Littleton, K. (2016). Contemporary Identities of Creativity and Creative Work: Taylor & Francis.
  • Terranova, T. (2012). Free Labor, Producing Culture for the Digital Economy. In M. Bousquet & K. Wills (Eds.), Digital Labor (pp. 99-121). Stanford: Alt-X.
  • Vardar, S. (2017). Yaratıcı Endüstriler. Kalkınmada Anahtar Verimllik, 29(338), 40-45.
  • Von Osten, M. (2007). Unpredictable Outcomes: A Reflection After Some Years of Debates on Creativity and Creative Industries. In G. Lovink & N. Rossiter (Eds.), My Creativity Reader (pp. 51-60). Amsterdam: Institute of Network Cultures.
  • WEF. (2016). The Future of Jobs Employment, Skills and Workforce Strategy for the Fourth Industrial Revolution. Retrieved from Geneva: World Economic Forum.
  • Yardımcı, A. (2016). Içerdiği Faaliyet Gruplarina Göre Türkiye'deki Yaratıcı Endüstri Üzerine Bir Çalışma. Finans Politik & Ekonomik Yorumlar, 53(613), 65.
Toplam 55 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim ve Medya Çalışmaları
Bölüm Makaleler (Tema)
Yazarlar

Erman M. Demir 0000-0002-7123-5742

Yayımlanma Tarihi 15 Aralık 2018
Gönderilme Tarihi 21 Eylül 2018
Kabul Tarihi 15 Aralık 2018
Yayımlandığı Sayı Yıl 2018 Cilt: 5 Sayı: 2 - Yaratıcı Endüstriler ve Yaratıcı Emek

Kaynak Göster

APA Demir, E. M. (2018). Türkiye’de Yaratıcı Emek. Moment Dergi, 5(2), 174-194. https://doi.org/10.17572/mj2018.2.174194