Robin Steedman
Biographic Data
| ID | 102005 |
|---|---|
| NAME | Robin Steedman |
| GIVEN NAMES | Robin |
| FAMILY NAME | Steedman |
| SIGNATURE | STEEDMAN R |
| AFFILIATIONS | Copenhagen Business School |
| ORCID | 0000-0003-1033-9318 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 36 |
| AUTHOR COUNT | 17 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 4 |
From Africa to London to the World: Film Africa’s Leading Role in the Circulation of African Cinemas
Film Africa is currently the largest festival and meeting point in the UK celebrating the best of African cinema. This chapter probes the festival’s goals and how its practices shape the circulation of African cinema in London and beyond. We begin with an exploration of the festival’s understanding of “Africa” in dialogue with the festival location. We suggest that the festival adopts an expansive definition, encompassing the continent, diaspora,…
Squeezing money out of a rock”: Diverse economies of contemporary theatre in Ghana
Ghana has a vibrant theatre tradition, and yet making theatre in Ghana is complex and theatre artists must grapple with the challenges posed by a lack of state support, limited access to formal funding and theatre venues, and a precarious labour market. This paper employs the perspective of diverse economies to explore how theatre artists make theatre. Rather than privileging formal institutions, capitalist enterprises, and waged labour, the dive…
Creative Hustling: Women Making and Distributing Films from Nairobi
The first book-length study of Nairobi-based female filmmakers—and how their dogged pursuit of opportunities, innovation, and cultural support is defining an industry. Nairobi, the capital of Kenya, is home to something extraordinary and unlikely: in this city, the most critically acclaimed filmmakers—both directors and producers—are women. Yet, across the globe, women make up less than 10 percent of film directors. In Creative Hustling,Robin Ste…
Imaginaries of platform entrepreneurship in the creative industries: Techno-optimism and subversion in Ghanaian filmmaking
This article examines imaginaries of platform entrepreneurship in film industries in Ghana. To understand how these imaginaries are spatially shaped and locally defined, we carried out in-depth qualitative research with fifty filmmakers in four regions of Ghana. Digital and platform technologies have long been optimistically celebrated as a way for marginalized creative entrepreneurs, particularly in Africa, to break into global markets and reach…
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
Creative Hustling: Women Making and Distributing Films from Nairobi
Hustling in the creative industries: Narratives and work practices of female filmmakers and fashion designers
This paper examines practices and narratives of hustling in the creative industries. We draw on two illustrative cases: independent female filmmakers in Nairobi, Kenya, and independent female fashion designers in Toronto, Canada, with a combined 69 interviews. Taking a comparative, intersectional approach, we explore both the practices and narratives that entrepreneurial creative workers construct. In doing so, we contribute to ongoing conceptual…
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
Approaching public perceptions of datafication through the lens of inequality: A case study in public service media
Research on data and discrimination in particular has highlighted how already socially unequal populations are discriminated against in data-driven systems. Elsewhere, there is growing interest in public perceptions of datafication, amongst academic researchers interested in producing ‘bottom up’ understandings of the new roles of data in society and non-academic stakeholders keen to establish positive perceptions of data-driven systems. However,…
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
The work of hope: Spiritualizing, hustling and waiting in the creative industries in Ghana
This paper examines the dynamics of hope in creative industries in the city of Accra in Ghana. Building on theoretical insights from geography, anthropology and sociology that have mobilized the concept of hope as an analytical category, we examine the economic actions and entrepreneurial behaviour of creative entrepreneurs working in "precarious geographies", i.e. locations where precarity is not a deviation from the norm but a constant and long…
Complex ecologies of trust in data practices and data-driven systems
Trust in data practices and data-driven systems is widely seen as both important and elusive. A data trust deficit has been identified, to which proposed solutions are often localised or individualised, focusing either on what institutions can do to increase user trust in their data practices or on data management models that empower the individual user. Scholarship on trust often focuses on typologies of trust. This paper shifts the emphasis to …
Public perceptions of good data management: Findings from a UK-based survey
Low levels of public trust in data practices have led to growing calls for changes to data-driven systems, and in the EU, the General Data Protection Regulation provides a legal motivation for such changes. Data management is a vital component of data-driven systems, but what constitutes 'good' data management is not straightforward. Academic attention is turning to the question of what 'good data' might look like more generally, but public views…
Nairobi-based middle class filmmakers and the production and circulation of transnational cinema
Nairobi‐based Female Filmmakers: Screen Media Production between the Local and the Transnational
Jim Chuchu, director. Stories of Our Lives. 2014. 60 minutes. Swahili and English, with English subtitles. Kenya. The Nest, with Uhai and Big World Cinema. No price reported
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Judy Kibinge, director. Something Necessary. 2013. 85minutes. Swahili and English, with English subtitles. Kenya and Germany. One Fine Day Films. Available by subscription at Buni.tv
Judy Kibinge, director. Something Necessary. 2013. 85minutes. Swahili and English, with English subtitles. Kenya and Germany. One Fine Day Films. Available by subscription at Buni.tv. - Volume 58 Issue 3
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
The work of hope: Spiritualizing, hustling and waiting in the creative industries in Ghana
This paper examines the dynamics of hope in creative industries in the city of Accra in Ghana. Building on theoretical insights from geography, anthropology and sociology that have mobilized the concept of hope as an analytical category, we examine the economic actions and entrepreneurial behaviour of creative entrepreneurs working in "precarious geographies", i.e. locations where precarity is not a deviation from the norm but a constant and long…
Hustling in the creative industries: Narratives and work practices of female filmmakers and fashion designers
This paper examines practices and narratives of hustling in the creative industries. We draw on two illustrative cases: independent female filmmakers in Nairobi, Kenya, and independent female fashion designers in Toronto, Canada, with a combined 69 interviews. Taking a comparative, intersectional approach, we explore both the practices and narratives that entrepreneurial creative workers construct. In doing so, we contribute to ongoing conceptual…
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
Public perceptions of good data management: Findings from a UK-based survey
Low levels of public trust in data practices have led to growing calls for changes to data-driven systems, and in the EU, the General Data Protection Regulation provides a legal motivation for such changes. Data management is a vital component of data-driven systems, but what constitutes 'good' data management is not straightforward. Academic attention is turning to the question of what 'good data' might look like more generally, but public views…
Nairobi-based middle class filmmakers and the production and circulation of transnational cinema
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
Judy Kibinge, director. Something Necessary. 2013. 85minutes. Swahili and English, with English subtitles. Kenya and Germany. One Fine Day Films. Available by subscription at Buni.tv
Judy Kibinge, director. Something Necessary. 2013. 85minutes. Swahili and English, with English subtitles. Kenya and Germany. One Fine Day Films. Available by subscription at Buni.tv. - Volume 58 Issue 3
Jim Chuchu, director. Stories of Our Lives. 2014. 60 minutes. Swahili and English, with English subtitles. Kenya. The Nest, with Uhai and Big World Cinema. No price reported
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Nairobi‐based Female Filmmakers: Screen Media Production between the Local and the Transnational
Nairobi-based middle class filmmakers and the production and circulation of transnational cinema
Complex ecologies of trust in data practices and data-driven systems
Trust in data practices and data-driven systems is widely seen as both important and elusive. A data trust deficit has been identified, to which proposed solutions are often localised or individualised, focusing either on what institutions can do to increase user trust in their data practices or on data management models that empower the individual user. Scholarship on trust often focuses on typologies of trust. This paper shifts the emphasis to …
Public perceptions of good data management: Findings from a UK-based survey
Low levels of public trust in data practices have led to growing calls for changes to data-driven systems, and in the EU, the General Data Protection Regulation provides a legal motivation for such changes. Data management is a vital component of data-driven systems, but what constitutes 'good' data management is not straightforward. Academic attention is turning to the question of what 'good data' might look like more generally, but public views…
Approaching public perceptions of datafication through the lens of inequality: A case study in public service media
Research on data and discrimination in particular has highlighted how already socially unequal populations are discriminated against in data-driven systems. Elsewhere, there is growing interest in public perceptions of datafication, amongst academic researchers interested in producing ‘bottom up’ understandings of the new roles of data in society and non-academic stakeholders keen to establish positive perceptions of data-driven systems. However,…
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
The work of hope: Spiritualizing, hustling and waiting in the creative industries in Ghana
This paper examines the dynamics of hope in creative industries in the city of Accra in Ghana. Building on theoretical insights from geography, anthropology and sociology that have mobilized the concept of hope as an analytical category, we examine the economic actions and entrepreneurial behaviour of creative entrepreneurs working in "precarious geographies", i.e. locations where precarity is not a deviation from the norm but a constant and long…
Hustling in the creative industries: Narratives and work practices of female filmmakers and fashion designers
This paper examines practices and narratives of hustling in the creative industries. We draw on two illustrative cases: independent female filmmakers in Nairobi, Kenya, and independent female fashion designers in Toronto, Canada, with a combined 69 interviews. Taking a comparative, intersectional approach, we explore both the practices and narratives that entrepreneurial creative workers construct. In doing so, we contribute to ongoing conceptual…
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
Creative Hustling: Women Making and Distributing Films from Nairobi
The first book-length study of Nairobi-based female filmmakers—and how their dogged pursuit of opportunities, innovation, and cultural support is defining an industry. Nairobi, the capital of Kenya, is home to something extraordinary and unlikely: in this city, the most critically acclaimed filmmakers—both directors and producers—are women. Yet, across the globe, women make up less than 10 percent of film directors. In Creative Hustling,Robin Ste…
Imaginaries of platform entrepreneurship in the creative industries: Techno-optimism and subversion in Ghanaian filmmaking
This article examines imaginaries of platform entrepreneurship in film industries in Ghana. To understand how these imaginaries are spatially shaped and locally defined, we carried out in-depth qualitative research with fifty filmmakers in four regions of Ghana. Digital and platform technologies have long been optimistically celebrated as a way for marginalized creative entrepreneurs, particularly in Africa, to break into global markets and reach…
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
Creative Hustling: Women Making and Distributing Films from Nairobi
From Africa to London to the World: Film Africa’s Leading Role in the Circulation of African Cinemas
Film Africa is currently the largest festival and meeting point in the UK celebrating the best of African cinema. This chapter probes the festival’s goals and how its practices shape the circulation of African cinema in London and beyond. We begin with an exploration of the festival’s understanding of “Africa” in dialogue with the festival location. We suggest that the festival adopts an expansive definition, encompassing the continent, diaspora,…
Squeezing money out of a rock”: Diverse economies of contemporary theatre in Ghana
Ghana has a vibrant theatre tradition, and yet making theatre in Ghana is complex and theatre artists must grapple with the challenges posed by a lack of state support, limited access to formal funding and theatre venues, and a precarious labour market. This paper employs the perspective of diverse economies to explore how theatre artists make theatre. Rather than privileging formal institutions, capitalist enterprises, and waged labour, the dive…
Sociology (14 works) · Political science (13 works) · Art (7 works) · Media studies (7 works) · Visual arts (7 works) · African history and culture studies (6 works) · Law (6 works) · Public relations (6 works) · Business (5 works) · Creative industries (5 works)