Creative Economies Engagement Fellowships
The Scottish Graduate School for Arts and Humanities (SGSAH), is delighted to announce the launch of an Arts & Humanities Research Council (AHRC) funded initiative – The Creative Economies Engagement Fellowships. SGSAH will appoint between three and six fellows to this scheme from six exciting projects detailed below.
These fellowships are funded through the National Productivity Investment Fund (NPIF) and aim to:
- support the career development of talented early career researchers and nurture future leaders
- support the broader skills development of high-calibre recent doctoral graduates or early career post-doctoral researchers in the arts and humanities, particularly in relation to working with creative economy partners to support the wider impact of research
- support projects which will contribute to the Creative Economy; and
- support research which is cross-disciplinary, collaborative and innovation-oriented.
Applicants should submit a curriculum vitae with details of three references and covering letter (no more than three pages) outlining how they meet the criteria for this project.
The University of Stirling is offering a Fellowship opportunity to facilitate new engagements with Celtic Art for the creative industries, with a specific focus on collaboration between individual craftspeople and the museum sector. It will expand the cultural and creative ecosystems and places that support the creative sector, linking an HEI, non-academic institution (Groam House Museum) and individuals. The emphasis will be on Scotland and independent craftspeople, but wider learning points are envisaged.
Through replication, reworking and re-invention of early medieval sculptures, metalwork and manuscripts, ‘Celtic Art’ has spawned imitations across the world, not least in its British and Irish homelands. The challenge is that many of the products are poor quality, and often regarded as kitsch. The meanings people attach to these commodified Celtic designs are also often bound up with local and political identities. But what might it mean for such an art form to find a market in the twenty-first century beyond that of tourist boutiques, the sentimental needs of the diaspora, neo-pagans and the far right (Williams 2017)? We do not understand how such Celtic art is perceived by contemporary artists, craftspeople and industrial designers, or the people who buy, use and live with their products.
To what extent is modern interpretation of the symbology shaping and limiting what is produced, and for whom? How can artists have inspirational encounters with the original art objects that might enable greater individual creativity, skill and talent, and a new generation of products and buyers that are empowered to look at Scotland’s traditional Celtic art in a new light? The aim of this Fellowship is to revitalise creativity, innovation and productivity by facilitating new engagements with Celtic Art for the creative industries.
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This opportunity has expired. It was originally published here: