Transcript Slide 1 - Staffordshire University

Creative Industries and Creative Communities:
Policy Futures?
Creative Industries and Creative Communities
Institute for Environment, Sustainability and Regeneration
Staffordshire University, 11th November 2009
Calvin Taylor
Chair in Cultural Industries
[email protected]
Calvin Taylor
• Academic
– Huddersfield Creative Town
Initiative (1998-2000)
– Creative Yorkshire (2000-2002)
– 40+ strategic and practical
projects in UK and abroad
(RDAs, DCMS, British Council,
UNESCO, WIPO)
• Director, Creative Industries
Development Agency (2000present).
– From Huddersfield to the world
- Design and deliver programs of
mentoring, network development,
skills and leadership
development to business,
community, citizens and artists
– New focus – creativity and
innovation in service delivery
CRECE, Manizales, Colombia 2005
The Creative Industries: Are we becoming sceptical?
1. Questions about the availability of robust and appropriate evidence
2. Questions about the instrumentalisation of culture
3. Questions about the social value of creative industries employment
Are we in danger of throwing out the baby with
the bath-water?
Do we need a new stand-point?
Where might one come from?
Four propositions:
1. Whether we like it or not, mobilising culture and creativity for
regeneration or development is an inherently political process
– and the politics have gone awry
2. There is a lot to be learned from the UK experience, despite
valid critiques of some of the arguments
3. The arguments about the value of culture and creativity are
not dependent on data – reality moves faster than data
4. The future of creative industries, creative communities
depends on: knowledge, experience, some data but most
important of all - getting the right mix of intervention at the right
level
Lessons
So, where have we come from?
A growing global industry….late 1990s-early
noughties
Country
% GDP/GVA
% Employment
% GDP Growth pa
Australia
3.3
3.8
5.7
Canada
5.4
-
6.5
Great Britain
7.9
8.0
9.0
Hungary
4.5
1.25
-
Latvia
4.0
4.4
-
New Zealand
3.1
3.6
-
Taiwan
5.9
3.6
10.1
USA
7.8
5.9
7.0
Sources: DCMS, WIPO, NZ Institute of Economic Research, Stephen Siwek, Allen Consulting Group, Taiwan Institute
of Economic Research.
Until……..
………..A reminder of where we came from?
Municipal socialism
Greater London Council
Greater London Enterprise Board
Promotion of co-operative enterprise
Application to arts and culture
1. Social democratic
cultural policy
2. Connecting culture to
enterprise
3. Community
development objectives
1.
2.
3.
4.
Infra-structure strategies
Attention to working environments
Basic clustering model
Culture intrinsic to urban development
Local cultural production strategies: Sheffield, Red
Tape Studios and the Cultural Industries Quarter
“This cultural policy is also an economic policy. Culture creates wealth.
Broadly defined, our cultural industries generate 13 billion dollars a year.
Culture employs. Around 336,000 Australians are employed in culture-related
industries. Culture adds value, it makes an essential contribution to
innovation, marketing and design. It is a badge of our industry. The level of
our creativity substantially determines our ability to adapt to new economic
imperatives. It is a valuable export in itself and an essential accompaniment to
the export of other commodities. It attracts tourists and students. It is essential
to our economic success”
Creative Nation: A Commonwealth Cultural Policy, Australia, 1994
Available at: http://www.nla.gov.au/creative.nation/contents.html
1. Don’t need to be shy about
connecting culture to wealth
creation
Creative entrepreneurship: Richard
Caves:
7 economic properties
1.The nobody knows anything principle
2.The art for art sake principle (craft, skill, virtuosity)
3.The motley crew principle (project orientated with flexible,
inter-changeable staff (Film industry one of the earliest,
advertising, but also now more traditional art-forms)
4.Product infinite variety – the ‘batch’ principle, short production
runs, customisation, personalisation – ‘flexible-specialisation’
(Piore and Sabel)
5.A List/B List principle – personalised branding, small
differences in skill mean big differences in economic return
6.The time flies principle – time does literally mean money
7.The ars longa principle – some works achieve/maintain value
long after their production – allowing economic rents to be
derived from them.
See Richard Caves (2000) Contracts between art and commerce.
Also see Henry, C (2007) Entrepreneurship in the creative industries:
international perspectives (especially Chapters 4 and 7)
1. Encouraged focused
attention on need for
intelligence and
knowledge
1. Importance of
definitions and data
The creative industries…
……..er, or is it creative economy…..?
Models I
Ideasgenerating
capacity
Markets
and
audiences
Platforms
for delivery
1. Understand the
value of a localities
cultural and
creative attributes
Ideas into
practice
Networking
and
circulating
Cycle of Creativity: Wood, P & Taylor, C ‘Big ideas for a small
town: the Huddersfield creative town initiative’, Local economy, Vol. 19
(4)
WEAKNESSES
STRENGTHS
Factor Conditions
Location & transport connections
Huddersfield’s built environment
(heritage & conversion uses)
Competitive property prices
Regional Sectoral
Strengths
Business Support
Environment
Well established sector-specific
agencies
Knowledge
Infrastructure
Critical mass of businesses
Physical & virtual hubs to anchor
and animate SME base
Raised profile of Kirklees in region
& nationally
Strengths in key disciplines
at HE & FE
Supply of well skilled labour
Formal & non-formal routes
to employment established
Individual sector champions
Demand Conditions
Weak overall local demand
Particularly in higher value / more
challenging segments
Grow micros into small firms
Develop non-Books & Press
segments
Encourage IP-based businesses
Improve robustness &
sustainability
Questions over political will to
engage in strategic projects
Business Support
Environment
Weaknesses of mainstream
business support compared
with other sub-regions
Factor Conditions
Industrial base relatively narrow (in
activity, source of demand, business
model)
Makes cluster vulnerable to volatility
of business cycle
Leadership & Partnership
Low level of joint working across
the sector
Lack of focal point for promoting
the sector
Perceived loss of momentum
Image
Negative image abides in some
quarters of the region (corporate
market and the media)
THREATS
OPPORTUNITIES
Diversifying Business Base
Knowledge Infrastructure
Factor Conditions
Building on Success
Sector upbeat about future
prospects
Further potential to be
unlocked
Kirklees can build on regional
comparative advantage of
Huddersfield cluster
Rising property costs
Pressure on availability of suitable
property
Potential business climate/image as a
centre for ‘lifestyle’ businesses
Competition from the Rest of
the Region
Competitive Dynamics of
UK Print & Publishing
Industries
Sector heavily dependent on
P&P for jobs & wealth creation
Local future in part contingent
on spatial restructuring
End of ESF & ERDF
Funding
Challenge from
in York
Huddersfield’s creative industries:
abusinesses
swot
analysis
(2002)
Significant
beneficiary of
Potential change of attitude in Leeds
Partnership & Leadership
Improve joint working
Provide more unified front to
potential investors & partners
towards early stage companies
European funding
End of current funding round
1. Inter-linkages
2. Embeddedness
3. Policy levers
Models II: The Creative Industries Cluster
Levels of policy leverage
Simple and
Transformational
Tactical and Practical
Complex and Invisible
Source: Anamaria Wills, Creative Industries Development Agency
Simple and transformational
Shanghai (2006)
1. Workspace expansion
programme
2. External marketing –
‘created in China’
3. Local production clusters
NB: Long-term!
Simple and transformational:
Ciclovia, Bogota, Colombia
1. The most
impressive exercise
in urban creativity
Tactical and practical:
Tanzania (2005)
1. Recognising
fragility, delicacy
Tactical and Practical:
-Workspaces
-Regeneration
-Creative skills
-Cultural expression
-Enterprise
-Economic development
-Social inclusion
-City marketing
The Storey Creative
Industries Centre
Lancaster (2009)
1. The beginnings
of a grassroots
culture of creative
production
Complex and Invisible
Factory 798, Beijing,
China, 2007
Complex and Invisible: Access-space
Free media lab
Open access learning community
From e-consumers to digital producers
Sheffield
1. Re-designing creative
economics
Creativity re-discovering culture?
Beijing, 2007
Some references
Cunningham, S. (2004) ‘The creative industries after cultural policy: a genealogy and
some possible preferred futures’. International journal of cultural studies, Vol 7(1),
105-115.
Henry, C. (ed.) (2007). Entrepreneurship in the creative industries: An international
perspective. Cheltenham: Edward Elgar.
Kong, L. & O’Connor, J. (eds.) (2009) Creative economies, creative cities: Asianeuropean perspectives. Dordrecht: Springer.
Oakley, K. (2004) ‘Not so cool britannia: the role of the creative industries in economic
development’. International journal of cultural studies, Vol7(1) 67-77.
Scott, A.J. (2005). Creative cities: conceptual issues and policy questions. Paper
presented at OECD International Conference on City Competitiveness, Santa Cruz
de Tenerife, Spain 3-4 March 2005.
Wood, P. and Taylor, C. (2004). ‘Big ideas for a small town: the Huddersfield creative
town initiative’. Local economy, Vol. 19 (4).
Thank you!