By Helmut K Anheier, Yudhishthir Raj Isar

Within the globalization 'game' there are not any absolute winners and losers. Neither homogenisation nor variety can trap its contradictory circulation and personality. The essays and papers accumulated right here supply, from quite a few views, a wealthy exploration of creativity and innovation, cultural expressions and globalization. This quantity of essays, in all their range of contents and theoretical perspectives, Read more...

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How do those who stay and survive as artists make their livelihood? What is the social interplay between livelihood and the creative process? What types of connections and contradictions exist between African art and global influences? In what ways is African art both ‘universal’ and ‘African’? A starting point for Brickhill is storytelling – in which artist and audience are interwoven – for this is how all African art is understood by Africans themselves. The historic migration of peoples has created an awareness of art as being transient, informed by memory, captured by stories, crafted by improvisation and retold in limitless variation of forms.

Do the creators themselves care about standards, or are creative acts more play for entertainment than work inspired by the muses, and more about escaping the status quo than changing it? Market-driven phenomena may well be creating new figures of the symbol creator as a ‘motor of innovation’ and altering the profile of the ‘creative subject’. The World Wide Web with its attendant domains of the internet and cyberspace may signal a ‘brave new world’ to some, though beyond its virtual borders significant areas nevertheless still manifest age-old problems – a persistent scarcity of food, shelter and clothing haunts the planet.

8 QL YH UV Adorno, T. (1991) The Culture Industry. London: Routledge. Anheier, H. , (2007) Conflicts and Tensions. The Culture and Globalization Series, 1. London: SAGE. Barber, B. (1995) Jihad vs. McWorld. New York: Times books. S. and Dugiud, P. B.

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