Module Information

The history of the creative sector in Britain in the twentieth century has generated a vast amount of historical interest. Histories range from the very general to the individual, in terms of people or artefacts. And yet much of this study conforms to one of two general approaches. Firstly the examination and privileging of individual genius, hagiographies of artists, musicians and designers abound, based around life stories in terms of influence, opportunity, fortune and determination. Secondly, studies focus on the artefact – the tune, the picture or sculpture (or installation) the clothing etc. - deconstructing this artefact for influences, meanings, impact and so on . This course will examine the strengths and weaknesses of these approaches in terms of sources and interpretation, but will also encourage students to explore wider explanations for the development of these sectors of the arts in terms of wider motivations, and broader societal and cultural contexts, and to explore the types of materials and approaches which might be of use in this more comprehensive approach. A range of sources encompassing diaries, letters, oral histories, memoirs, autobiographies and biographies will be highlighted and analysed. Students will confront the difficulties with archival materials (and advantages in some cases.) The course will not entirely abandon the idea of focussing on the artefact. Indeed we will look at a series of case studies in music, fashion and art in Britain and we will also profile the musicians, artists and designers who have been influential in shaping the creative sector in Britain.

The module will examine the ways in which the history of creativity in Britain, in chosen sectors of the arts, has been represented in a range of histories. It will explore ways in which a more comprehensive approach might be developed, and in relation to these objectives, students will critically interrogate a range of source materials. Themes which will run through the course include the nature of artistic creativity; connections or disconnections within these fields of creativity; networks and influences crossing over between sectors (e.g. pop music, fashion and pop art in the 1960s…) and the ways these may change over time; the development of hyper-Schumpeterian innovation cycles as a model for understanding the development of creativity in context in Britain; the particular profile of the creative sectors in Britain. In engaging with all these issues students will confront a spectrum of source materials, and be encouraged to consider the value of these to the historian.