Making New Zealand's Pop Renaissance
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A01=Michael Scott
Author_Michael Scott
Category=AVLP
creative
Creative Industries
Creative Industries Discourse
Creative Industries Policies
creative industries research
Cultural Entrepreneurs
cultural policy analysis
DIY Musician
domestic
Domestic Music
Domestic Music Industry
Domestic Music Market
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
industries
industry
informal music economies
Making Tracks
music
Music Industry
Music Industry Actors
music industry economics
Music Policy
national identity formation
Online Sales Site
Outward Sound
policies
policy
Pop Renaissance
popular
Popular Music
Popular Music Policies
promotional
Public Private Partnership
public-private partnerships culture
Social Reproduction
state
state intervention in popular music sector
State Music Programmes
UK's Creative Industry
UK’s Creative Industry
Upward Social Trajectory
Zealand Music
Zealand's Music Industry
Zealand's Popular Music
Zealand’s Music Industry
Zealand’s Popular Music
Product details
- ISBN 9781409443353
- Weight: 498g
- Dimensions: 156 x 234mm
- Publication Date: 23 Dec 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Since the early 2000s New Zealand has undergone a pop renaissance. Domestic artists' sales, airplay and concert attendance have all grown dramatically while new avenues for 'kiwi' pop exports emerged. Concurrent with these trends was a new collective sentiment that embraced and celebrated domestic musicians. In Making New Zealand's Pop Renaissance, Michael Scott argues that this revival arose from state policies and shows how the state built market opportunities for popular musicians through public-private partnerships and organizational affinity with existing music industry institutions. New Zealand offers an instructive case for the ways in which 'after neo-liberal' states steer and co-ordinate popular culture into market exchange by incentivizing cultural production. Scott highlights how these music policies were intended to address various economic and social problems. Arriving with the creative industries' discourse and policy making, politicians claimed these expanded popular music supports would facilitate sustainable employment and a sense of national identity. Yet popular music as economic and social policy presents a paradox: the music industry generates commercial failure and thus requires a large unattached pool of potential talent. Considering this feature, Scott analyses how state programs induced an informal economy of proto-pop production aimed at accessing competitive state funding while simultaneously encouraging musicians to adopt entrepreneurial subjectivities. In doing so he argues New Zealand's music policies are a form of social policy that unintentionally deploy hierarchical structures to foster social inclusion amongst growing numbers of creative workers.
Michael Scott is a Lecturer in Sociology at Flinders University, Adelaide, Australia. He has previously published in Popular Music, Journal of Sociology and Poetics.
