Heather McLean

Cracks in the Creative City: The Contradictions of Community Arts Practice

The recent flurry of research about arts-led regeneration initiatives illuminates how contemporary arts festivals can become complicit in the production of urban inequality. But researchers rarely engage with detailed empirical examples that shed light on the contradictory role that artists sometimes play within these spectacularized events. Similar research in performance studies connects the political limits and potential of social practice arts — interventions that encourage artists and non-artists to co-produce work — as civic boosters strive to stage cities in order to attract investment. In this article, I explore the case study of Streetscape: Living Space at Regent Park, a participatory artistic intervention programmed in a public housing neighbourhood that is undergoing redevelopment in Toronto, Canada. Streetscape was part of the Luminato festival, an elite booster coalition-led festival of ‘creativity’. I refer to these arts interventions to demonstrate how artists engaging in social practice arts can become complicit in naturalizing colonial gentrification processes at multiple scales. But I also reveal how artists can leverage heterogeneous arts-led regeneration strategies to make space for ‘radical social praxis’ (Kwon, 2004), interventions that challenge hegemonic regimes. I conclude by interrogating the effectiveness of place-based efforts in unsettling the ‘creative city’.

Hos in the garden: Staging and resisting neoliberal creativity

This article takes up the challenge of extending and enhancing the literature on arts interventions and creative city policies by considering the role of feminist and queer artistic praxis in contemporary urban politics. Here I reflect on the complicities and potentialities of two Toronto-based arts interventions: Dig In and the Dirty Plotz cabaret. I analyse an example of community based arts strategy that strived to ‘revitalise’ one disinvested Toronto neighbourhood. I also reflect on my experience performing drag king urban planner, Toby Sharp. Reflecting on these examples, I show how market-oriented arts policies entangle women artists in the cultivation of spaces of depoliticised feminism, homonormativity and white privilege. However, I also demonstrate how women artists are playfully and performatively pushing back at hegemonic regimes with the radical aesthetic praxis of cabaret. I maintain that bringing critical feminist arts spaces and cabaret practice into discussions about neoliberal urban policies uncovers sites of feminist resistance and solidarity, interventions that challenge violent processes of colonisation and privatisation on multiple fronts.

In praise of chaotic research pathways: A feminist response to planetary urbanization

This intervention contributes to feminist and queer responses to Brenner and Schmid’s ‘planetary urbanization’ thesis. I discuss the generative potential of their attempts to craft alternative urban research pathways and their critique of urban age discourse, a body of work that defines cities as static sites of ‘innovation’, ‘creativity’, and ‘sustainability’. However, echoing critics of the planetary urbanization approach, I contend that Brenner and Schmid’s research schema risks reproducing exclusionary analytical hierarchies by promoting a totalizing, ‘god-trick-like’ standpoint and ignoring marginalized feminist, queer, and praxis-oriented urban studies approaches. As a result, planetary urbanization ignores situated and relational knowledges and lived experience. Moreover, I question Brenner and Schmid’s efforts to bring order to what they perceive as ‘chaotic’ urban research. I then reflect on the feminist analytic tool kit I employ in my arts-based research in Glasgow, including performing with Fail Better, a cabaret that makes space for politicized artists and under-represented artists of colour, queer artists, and working class artists. I argue that planetary urbanization offers useful strategies for interrogating the globalized geo-economic processes propelling contemporary efforts to re-invent cities into sites of competitive creativity. But I also argue that this approach cannot account for the intersectional inequalities neoliberal regimes reproduce or uncover artists’ and activists’ efforts to forge solidarities. I conclude by calling for feminist, queer, and arts-based research journeys that embrace humility, dialogue, taking risks, and possibly failing in our efforts to chart alternative research pathways.

Regulating and resisting queer creativity: Community-engaged arts practice in the neoliberal city:

This article draws from and advances urban studies literature on ‘creative city’ policies by exploring the contradictory role of queer arts practice in contemporary placemarketing strategies. Here I reflect on the fraught politics surrounding Radiodress’s each hand as they are called project, a deeply personal exploration of radical Jewish history programmed within Luminato, a Toronto-based international festival of creativity. Specifically, I explore how Luminato and the Koffler Centre, a Jewish organisation promoting contemporary art, regulated Radiodress’s work in order to stage marketable notions of ethnic and queer diversity. I also examine how and why the Koffler Centre eventually blacklisted Radiodress and her project. However, I also consider the ways Radiodress and Toronto artists creatively and collectively responded to these tensions. I maintain that bringing queer arts practice into discussions about contemporary creative city policies uncovers sites of queer arts activism that scale up to shape broader policies and debates. Such disidentificatory interventions, acts of co-opting and re-working discourses which exclude minoritarian subjects, challenge violent processes of colonisation and commodification on multiple fronts, as well as fostering more collective and relational ways of being.

A reply to ‘Precarious subjectivities are not for sale: the loss of the measurability of labour for performing arts workers’ by Mauro Turrini and Federico Chicchi

This is a reply to:Turrini, Mauro, and Federico Chicchi. 2013. “Precarious subjectivities are not for sale: the loss of the measurability of labour for performing arts workers.” Global Discourse. 3 (3–4): 507–521. http://dx.doi.org/10.1080/23269995.2014.885167.