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CRI 760 ● Diversity in the Creative Industries ● Winter 2019 Professor

Dr. Miranda Campbell

Section/Time/

Classroom Wednesday 3-6pm, POD 370

Email miranda.campbell@ryerson.ca

Phone X 3519

Office RCC 313

Office Hours By appointment at a mutually convenient time.

GA/TA Lucy Wowk: lucy.wowk@ryerson.ca

Only Ryerson e-mail accounts to be used for communication between faculty and students.

All news (announcements) posted on class D2L.

Course Description

While the creative industries are a growing sector of the economy, women and visible minorities

remain underrepresented and underpaid in creative work. How can we best foster the principles

of equity, diversity, and inclusion in the creative industries across gender, sexuality, race, and class?

Students in this course analyze the problems of lack of equity and diversity in creative fields and

then examine best practices and propose solutions to create inclusion.

Course Objectives

By the end of the course, students will be able to:

❑ Understand, assess and articulate inequities in the creative industries [1(a)P]

❑ Conduct research to investigate root causes of creative industries inequity [5(b)R]

❑ Employ various methods to respectfully discuss and engage with issues related to

equity and diversity, including but not limited to race, class, gender, and sexuality

[4(a)R, 7(d)R]

❑ Propose solutions to better foster inclusion in the creative industries [1(b)P; 8bP]

❑ Effectively communicate inclusion strategies in report, oral, and visual forms [4(a)R,

4(b)R, 4(c)R]

Related to the following Creative Industries Educational Goals/Program Objectives:

Introduction (I), Reinforcement (R), reach a level of Proficiency (P). Please see the end of this

course outline for our Program Objectives.

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Required Readings and Resources

The following required text is available for purchase at the Ryerson bookstore:

Liss, Sarah. Army of Lovers: A Community History of Will Munro. Toronto: Coach House, 2013.

Additionally, other required readings are available on eReserve through DRL or are

hyperlinked in the course outline itself. Please ensure the required readings are complete before

coming to the course lecture, so that you are prepared to discuss and engage in the course

material and complete the case study assignments (see below).

Weekly Schedule (Subject to change)

WEEK ONE January 16

TOPICS Welcome and Creating a Safe Space vs a Brave Space

READINGS

• Brian Arao and Kristi Clemens, “From Safe Space to Brave

Space: A New Way to Frame Dialogue. Around Diversity and

Social Justice.” In Lisa M. Landreman, ed. The Art of Effective

Facilitation. Sterling, VA: Stylus Publishing, 2013, 135-150.

• Girls Action Foundation. (2009). Creating a Group Agreement.

In Amplify Toolkit: Designing Spaces and Programs for Girls.

Montreal: Girls Action Foundation.

http://www.girlsactionfoundation.ca/en/amplify-toolkit-

/section-3-appendices/i-creating-a-group-agreement

Optional Resource:

• Seeds for Change (2013). A Consensus Handbook: Co-operative

Decision Making for Activists, Co-ops, and Communities,

Lancaster : Seeds for Change.

http://seedsforchange.org.uk/handbookweb.pdf

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WEEK TWO January 23

TOPICS Surveying Diversity in the Creative Industries Sector: Problems

and Responses

READINGS • Sara Ahmed, “The Language of Diversity” in On Being

Included: Racism and Diversity in Institutional Life. Durham:

Duke UP, 2012, 51-81. Available on course reserves.

• “What It’s Really Like to Work in Hollywood”:

http://www.nytimes.com/interactive/2016/02/24/arts/hollywoo

d-diversity- inclusion.html?_r=0

Choose one of the following to read:

• Bridget Conor, Rosaland Gill, and Stephanie Taylor,

“Introduction: Gender and Creative Labour” in Gender and

Creative Labour. Chicester, West Sussex: The Sociological Review, 2015, 1-22. Available on course reserves.

or:

• Anamik Saha, “Approaching Race and Cultural Production”

in Race and the Cultural Industries. London: Polity, 2018, 29-56.

Available on course reserves

WEEK THREE January 30

TOPICS Improving Engagement I

WORKSHOP

Inclusion Toolkit: Care

• Tronto, Joan and Berenice Fisher. 1990. “Toward a Feminist

Theory of Caring.” In Circles of Care, edited by Emily Abel and

Margaret Nelson, 36-54. Albany, NY: SUNY Press. Available

on course reserves.

READINGS • Glavas, Ante. "Corporate social responsibility and employee

engagement: enabling employees to employ more of their

whole selves at work." Front Psychol 7, (2016).

• Lytle, Tamra. “7 Tips to Increase Employee Engagement

Without Spending a Dime.” September 22, 2016. SHRM.

https://www.shrm.org/hr-today/news/hr-

magazine/1016/pages/7-tips-to-increase-employee-

engagement-without-spending-a-dime.aspx

DUE Report Presentations

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WEEK FOUR February 6

TOPICS Improving Engagement II

WORKSHOP

Inclusion Toolkit: Active Listening

Carl Rogers, Empathic Listening,

https://www.youtube.com/watch?v=2dLsgpHw5x0

READINGS

• Ritu Bhasin, “Your Authentic Self: Who You Would Be if

There Were No Consequences” and “Leaders: Be The

Change” in The Authenticity Principle. Toronto: Melanin Made

Press, 2017, 29-41 and 155-180. Available on course reserves.

DUE Report Presentations

WEEK FIVE February 13

TOPICS Unconscious Bias I

WORKSHOP

Inclusion Toolkit: Anti-Oppressive Practice

• Beverley Burke and Philomena Harrison, “Anti-Oppressive

Practice” in Social Work: Themes, Issues, and Critical Debate,

eds. Robert Adams, Lena Dominelli, Malcolm Payne, and

Jo Campling. London: Palgrave, 1998, 229-239.

https://pdfs.semanticscholar.org/2717/2e07b0fdd1f5b3c90170f967

eec6375d65eb.pdf

READINGS

• Cracking the Codes: Joy DeGruy, A Trip to the Grocery Store.

https://www.youtube.com/watch?v=GTvU7uUgjUI

• Peggy McIntosh, White Privilege: Unpacking the Invisible

Knapsack

https://www.winnipeg.ca/clerks/boards/citizenequity/pdfs/whit

e_privilege.pdf

DUE Report Presentations

Study Week – No class February 20

WEEK SIX February 27

TOPICS Unconscious Bias II

WORKSHOP Inclusion Toolkit: Intersectionality

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• Patricia Hill Collins and Sirma Bilge, “What is

Intersectionality” in Intersectionality. Cambridge: Polity Press,

2016. Available on course reserves.

DUE Annotated Bibliography Due

WEEK SEVEN March 6

TOPICS Diversity and Inclusion at Work I

WORKSHOP

Inclusion Toolkit: Shine Theory and Amplification

• https://www.thecut.com/2016/09/heres-how-obamas-female-

staffers-made-their-voices-heard.html

• https://www.thecut.com/2013/05/shine-theory-how-to-stop-

female-competition.html

WEEK EIGHT March 13

TOPICS Diversity and Inclusion at Work II

WORKSHOP

Inclusion Toolkit: Consent

• Intellectual Property Issues in Cultural Heritage Project. Think

Before You Appropriate. Things to Know and Questions to Ask in

Order to Avoid Misappropriating Indigenous Cultural Heritage.

Vancouver: Simon Fraser University, 2015.

http://www.sfu.ca/ipinch/sites/default/files/resources/teaching_r

esources/think_before_yo u_appropriate_jan_2016.pdf

• “The Ethics of Cultural Borrowing”:

http://www.theaustralian.com.au/arts/visual-arts/the-ethics-of-

cultural-borrowing/story-fn9d3avm-1226538593187

WEEK NINE March 20

TOPICS Reappropriation from the Margins: The Work of Mickalene

Thomas

WORKSHOP Tentative field trip to the AGO or other cultural institution

READINGS Kate Taylor, “At the AGO, Mickalene Thomas Puts Black Women in

the Picture.” The Globe and Mail, December 8, 2018, R8-R9.

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WEEK TEN March 27

TOPICS Fostering an Inclusive Climate I

WORKSHOP

Inclusion Toolkit: Calling in Vs Calling Out

• Ngọc Loan Trần, “Calling In: A Less Disposable

Way of Holding Each Other Accountable” in The

Solidarity Struggle: How People of Colour Succeed

and Fail at Showing Up for Each Other in The Fight

for Freedom, ed. Mia McKenzie. Oakland: BDG

Press, 2016, 59-63.

WEEK ELEVEN April 2

TOPICS Fostering an Inclusive Climate II: Lessons from the

Grassroots and Changing the Frame

READINGS • Liss, Sarah. Army of Lovers: A Community History of

Will Munro. Toronto: Coach House, 2013.

• Krajewski, Jill. “The Noisey Guide to Not Being a

Shithole and Making Your Venue Inclusive.”

http://noisey.vice.com/en_ca/blog/a-guide-for-

making-your-venue-inclusive

• Mark Banks (2018) Creative economies of

tomorrow? Limits to growth and the uncertain

future, Cultural Trends, 27:5, 367-380, DOI:

10.1080/09548963.2018.1534720

WEEK TWELVE April 9

DUE

• Poster Presentation of Final Projects

• Inclusion Action Plan Due

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Assignments, Evaluation, Marking

Assignment Brief Description Due Date % of Final

Grade Start of class unless noted

#1 Report Presentation Scheduled between

Week 3-5 15

#2 Annotated Bibliography Week 6 20

#3 Case Study Reponses Throughout the semester 25

#4 Inclusion Action Plan Week 11 25

#5 Poster Presentation Week 12 15

Description of Assignments

Please note that additional details / information on assignments will be posted on the Course

D2L. Professors reserve the right to (re)assign students to balance numbers and skills.

❑ Report Presentation

- In a small group, you will choose a report on diversity and equity in the creative industries

(see final page of this course outline). You may also choose another report not on this list,

but you must have your choice approved by the professor. Individually, you will present

on the premise/ problem, findings, methodologies, recommendations, and connection to

course or outside material found in this report. Grades will be individually assigned to

team members on the accuracy, depth, and critical thinking evident in the presentation,

as was as effective communication in visual and oral means.

❑ Annotated Bibliography

Choose an area of interest related to diversity and inequity in the creative industries. This

topic might connect to your lived experience or it may be a topic outside your lived

experience. Do research to find 5 scholarly, 5 journalistic, and 5 cultural texts related to

this topic. Write short abstracts of 150-300 words describing the content of each text

(mirror overall report presentation sections, see above). At the end of your abstracts, write

a short justification (500 words) for why you choose your topic, and why you choose the

texts do did. Annotated bibliography will be graded on quality of your choices, quality

of your annotations, and quality of your justification.

❑ Case study responses

Throughout the term, we will example recent and sometimes controversial incidents in

the media that related to diversity in the creative industries. Students will learn to

examine these case studies from multiple angles and perspectives, and learn to form their

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own views while acknowledging the views of others. Reponses to case studies (250-500

words) will be written on D2L discussion boards during class time, and you must be

present in class to complete these assignments. Case study responses will be graded on

demonstration of critical thinking, demonstration of informed and evidence-based views,

and connection to course material.

Note: There will be 4-6 case study responses during the semester, and all responses will

be equally weighted. The lowest mark will be dropped.

❑ Inclusion Action Plan

Using your research from your annotated bibliography and from the course material, you

will develop inclusion strategies for the topic you chose in your annotated bibliography.

You can complete this inclusion plan either individually or in a group. Your action plan

must make connections to the course material and cite this material appropriately. Note

that much of the weekly content of this course will be delivered through lecture, and you

will be asked to use these key terms and ideas from the lecture material in your project,

while also going additional outside research that goes beyond your annotated

bibliography. Projects will be assessed on quality of research, quality of connection to

course material, and appropriateness and innovation of inclusion strategies.

❑ Poster Presentation

Prepare a poster providing an overview of your inclusion plan in a visually compelling

way, and prepare a short (2-3 minute) verbal overview of your plan. Assessment will be

based in the quality of your verbal and visual presentation.

Appendix: Choices for Report Presentations

1. Amanda Coles. 2016. ‘What’s Wrong With This Picture? Directors and Gender

Inequality in The Canadian Screen-Based Production Industry.’ Research Report.

Montreal, QC: Canadian Unions for Equality on Screen.

https://www.womeninfilm.ca/_Library/Advocacy/Coles_WWWTP_Report.pdf

2. Eikhof, D. R. (2017). Analysing decisions on diversity and opportunity in the cultural

and creative industries: A new framework. Organization, 24(3), 289–307.

https://doi.org/10.1177/1350508416687768

3. Malik, S., Chapain, C., & Comunian, R. (2017). Rethinking cultural diversity in the UK

film sector: Practices in community filmmaking. Organization, 24(3), 308–329.

https://doi.org/10.1177/1350508416689094

4. Zanoni, P., Thoelen, A., & Ybema, S. (2017). Unveiling the subject behind diversity:

Exploring the micro-politics of representation in ethnic minority creatives’ identity

work. Organization, 24(3), 330–354. https://doi.org/10.1177/1350508417690396

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5. Duberley, J., Carrigan, M., Ferreira, J., & Bosangit, C. (2017). Diamonds are a girl’s best

friend …? Examining gender and careers in the jewellery industry. Organization, 24(3),

355–376. https://doi.org/10.1177/1350508416687767

6. Alacovska, A. (2017). The gendering power of genres: How female Scandinavian crime

fiction writers experience professional authorship. Organization, 24(3), 377–396.

https://doi.org/10.1177/1350508416687766

7. K. Allen, J. Quinn, S. Hollingworth & A. Rose (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

8. Simon Darcy & Tracy Taylor (2009) Disability citizenship: an Australian human rights

analysis of the cultural industries, Leisure Studies, 28:4, 419-441, DOI:

10.1080/02614360903071753

9. Dean, Deborah (2008) No human resource is an island : gendered, racialized access to work as a

performer. Gender, Work & Organization, Vol.15 (No.2). pp. 161-181. doi:10.1111/j.1468-

0432.2007.00389.x

10. Siebert, S., & Wilson, F. (2013). All work and no pay: consequences of unpaid work in

the creative industries. Work, Employment and Society, 27(4), 711–721.

https://doi.org/10.1177/0950017012474708

11. Banks, Mark. “Introduction: Cultural Work and Justice” and “Concepts for Creative

Justice” in Creative Justice: Cultural Industries, Work and Inequality. London: Rowman &

Littlefield, 2017. pp. 1-12 and pp.145-164.

https://research-

api.cbs.dk/ws/portalfiles/portal/44436324/sara_louise_muhr_identity_diversity_postprin

t.pdf

12. Holck, L., Muhr, S. L., & Villesèche, F. (2016). Identity, diversity and diversity

management. Equality, Diversity and Inclusion: An International Journal, 35(1), 48-64.

doi:10.1108/EDI-08-2014-0061

13. Stacey Smith, Marc Choueiti, and Katherine Pieper. Inequality in 900 Popular Films.

https://annenberg.usc.edu/sites/default/files/Dr_Stacy_L_Smith-

Inequality_in_900_Popular_Films.pdf

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Handing in Papers / Late Policy / Other Relevant Information

• It is the student’s responsibility to contact the professor or the Academic Manager,

Student Affairs (Paula) or the Student Affairs Assistant (Angella) promptly concerning

any situation that may have an adverse impact upon his/her academic performance as

soon as the issue becomes known. Please note that when a student formerly requests

consideration on health grounds the University requires a Health Certificate of letter from

an appropriate health professional to be submitted to the School (in this case, Paula or

Angella). The form can be found http://www.ryerson.ca/senate/forms/medical.pdf

• Any considerations for academic accommodation for religious reasons must be requested

by the end of the second week of the term.

• We expect that all communications by e-mail and in person between students, their

colleagues, and instructors will be civil and professional as per Senate Policy #61.

• Grades are posted on the D2L. Not all materials submitted for marking will be returned,

so make extra copies for your records.

• Assignments submitted late, without extension, will result in a penalty of (5% deducted

per day, 10% for a weekend). Do not wait until the last moment to submit your paper.

Allow for technical glitches. Missed presentations without permission will result in a 0;

• Check with your individual professor to see if they require hard copies or not of the

assignments.

• Students are required to retain a copy of all work undertaken as well as all rough materials,

references, sources, and notes until the marked original has been returned.

• The professors reserve the right to modify the syllabus and assignments as required over

the course of the term, but any changes to the course assignments, due dates, and/or

grading scheme will be discussed with the class prior to being implemented.

• On occasion guest speakers may attend our class. Students should refrain from contacting

these guests after the class, unless invited to do so.

• Turnitin.com is a plagiarism prevention and detection service to which Ryerson

subscribes. Students who do not want their work submitted to this service must, by the

end of the second week, consult with the instructor to make alternate arrangements.

• The unauthorized use of intellectual property of others, including your

professors’, for distribution, sale, or profit is expressly prohibited, in accordance

with Policy 60 (Sections 2.8, 2.10). Intellectual property in this context includes,

but is not limited to: slides, lecture notes, presentation materials used in and out

of class, lab manuals, course packs, and exams.

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• Show respect for your fellow students.

❑ Arrive on time (before 10 minutes after the hour). Be ready to start.

❑ Do not indulge in side conversations in class. Disruptive students will be asked

to leave. We reserve the right to adjust a student’s overall mark if he/she

interferes with their colleagues’ learning.

❑ NO eating in class. Coffee or water are fine.

Computers and other electronic devices are allowed in class to take notes, mark up lecture

slides and do quick internet searches of relevant materials. But students on Facebook or

Youtube or watching the hockey game or texting distract not only themselves but also their

colleagues. Any student who gratuitously “multitasks” will not be allowed to use electronic

devices in the classroom.

No electronic recording of any segment of lectures / sessions without the express prior

agreement of the instructor.

This course is conducted in accordance with all relevant University academic policies and procedures and

students are expected to familiarize themselves with them and adhere to them. Students should refer online

(ryersoncreative.ca) to the 2016/17 Creative Industries Student Handbook for specific information with

respect to the following policies:

• Policy #60: Student Code of Academic Conduct

• Policy #61: Student Code of Non-Academic Conduct

• Policy #134: Undergraduate Academic Consideration and Appeals.

• Policy #157: Ryerson's E-mail Accounts for Official Communication

• Policy #159: Academic Accommodation of Students with Disabilities

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School of Creative Industries’ Intended Learning Outcomes

By the end of this program, successful students will be able to …..

1)… contribute productively to the Creative Industries by

a) critically analyzing and synthesizing knowledge of the cultural, economic,

legal, political, and technological environments in which the Creative Industries

function and

b) recommending how the Creative Industries as sectors or as individual

enterprises should best manage interactions with cultural, economic, legal,

governmental and technical spheres and work confidently with industry,

government and community organizations in the Canadian and international

contexts;

2)… demonstrate an entrepreneurial capacity

a) to engage in independent learning and

b) to transform creative ideas into commercial products and services through the

application of business and management concepts and practices applicable to

media and cultural production.

3)…facilitate the work of artists, writers, designers and media makers by

a) applying an integrated knowledge of creative and production processes (both

individual and system-based)

b) accessing funding and investments; and,

c) recognizing and responding to future challenges and opportunities in their

sectors including technological change.

4) …communicate within and to creative enterprises, academia and industry effectively

and persuasively in

a) verbal form

b) written form; and,

c) presentations using a range of appropriate media

5)… conduct research relevant to cultural and industry issues,

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a) formulating appropriate research questions and conceptual frameworks;

employing data collection techniques and applying the appropriate

b) quantitative tools and methodologies and/or

c) qualitative tools and methodologies

6)… implement and manage projects requiring

a) problem-solving,

b) team building,

c) negotiation and

d) collaborative work practices.

7) … apply the skills and knowledge to:

a) critically evaluate the aesthetic quality of creative works

b) apply fundamental business and management skills within organizations and

as entrepreneurs,

c) integrate an aesthetic sensibility and business acumen to the practical realities of

production, promotion and distribution of commercial or noncommercial cultural

products with a solid understanding of the theoretical and historical

underpinnings of one or more creative industry sectors; and;

d) apply an understanding of the limits to their own knowledge and abilities and

how this might influence their analyses and need to learn more

8) … participate fully in the greater community upon graduation by:

a) Having develop a personal plan for continuing development of professional

skills and flexible ongoing career paths;

b) acting as socially responsible citizens, exhibiting behavior consistent with

integrity and strong ethical mores; and,

c) working towards creating diverse and inclusive cultural opportunities accessible

to all