Raymond Williams proposed the concept of “ordinary” culture, as a culture created not by the arts, but in the process of everyday activities of ordinary people in the early 1960s . Half a century later, the creative dimensions of ordinary culture and its social dimension experience a revival of scholarly interest [2, 3], fuelled by technological advances and the networking potential of new media audiences across the globe. Gender scholars, in the meantime, have levelled criticism at the gendered definition of creativity too often conceived as a property of a lone male genius and at the gender bias of research on creativity that had tended to overlook activities in which women typically engaged. Feminists, in particular, emphasised the nurturing effects of creativity and its contribution to the actualisation of human potential and increasing the individual and community life’s choices .
Scholarly interest in creativity as a social and gendered phenomenon coincides with renewed interest in the body, embodiment and the material, championed by, among others, feminist new materialism, the sociology of emotions, cultural sociology, and sensory methodologies in qualitative research. The second Creative Bodies—Creative Minds conference aims to bring these strands of inquiry together with a special emphasis on the interrogation of gender. The areas of interest for conference presentations include, but are certainly not limited to:
- Gender in everyday, artisan, artistic and professional creative activities;
- Embodied creativity; the intersections of the sensory, the affective and the verbal;
- Material, processual and relational aspects of creative practices;
- Gendering of non-traditional sites of creativity;
- DIY, Maker Movement: from knitting, through home-making to Open Source;
- Gender in the new media and the creative industries;
- Creative embodiment of gender and challenging gender boundaries;
- Art and creativity in protests, social mobilizations and everyday activism;
- Gendering the economy and politics of creativity;
- The place of creative methodologies in teaching and scholarly research, art-based research;
- The gender of creativity in social and cultural theory.
We are inviting proposals for presentations from scholars, practitioners and postgraduate students from a wide range of disciplines including, but not limited to: sociology, cultural studies, anthropology, art, performance, history, literary studies, social studies of science and technology and environmental studies.
Please send a 250-word abstract and a 150-word bio note before 15th January 2020 to creative.bodies(at)uni-graz.at
Registration fee: Includes all coffee/tea breaks and lunches on Monday and Tuesday (6th and 7th April) and dinner on Monday (6th April), as well as the conference welcome pack with the printed programme and a booklet of abstracts.
Regular conference fee: 170 EUR
Reduced conference fee: (postgraduate students): 120 EUR
Nominal fee (students of Uni Graz without a paper): 10 EUR
(30 places are reserved in the category “nominal fee” and will be allocated on first come, first serve basis.)
Information on registration, accommodation, and updates on the programme will be available on the conference website:
We are currently applying for funding to offer partial support to postgraduate students.
Graz, a UNESCO World Cultural Heritage Site and Cultural Capital of Europe for 2003, is the capital of the Austrian province of Styria and the home of Austria’s second largest university.
The conference organizers took inspiration from the Talking Bodies conference held every two years since 2013 at the University of Chester and are proud to make the Creative Bodies—Creative Minds its sister conference.
Libora Oates-Indruchová, Professor of Sociology of Gender, University of Graz
Jana Mikats, Lecturer in the Sociology of Gender, University of Graz
Zorica Siročić, Lecturer in the Sociology of Gender, University of Graz
Submission of abstracts: 15th January 2020
Informing about abstract acceptance: 31st January 2020
Conference registration opens: 1st February 2020
Conference registration ends: 29st February 2020
 Raymond Williams. 1961. The Long Revolution. London: Chatto and Windus.
 David Gauntlett. 2011. Making is Connecting: The Social Meaning of Creativity, from DIY and Knitting to YouTube and Web 2.0. London: Polity Press.
 Andreas Reckwitz. 2017. The Invention of Creativity: Modern Society and the Culture of the New. Translated by Steven Black. Cambridge: Polity. Original edition, 2012.
 Riane Eisler and Alfonso Montuori. 2007. “Creativity, Society, and the Hidden Subtext of Gender: Toward a New Contextualized Approach.” World Futures (63): 479-499.