Exploring the clustering of creative industries

During the last decades, a large body of literature has been published on the clustering of creative industries, but it has not been reviewed in a systematic way. In this review paper, we fill this gap. The review leads to the identification of several deficiencies of current research. Based on that, we distil avenues for future empirical research on the drivers of the clustering of creative industries, which are embedded in a comprehensive analytical framework.     

Four models of the creative industries

What is the dynamic value of the creative industries from the economic perspective? This paper seeks to answer this question by proposing four models of the relationship between the creative industries and the whole economy, then examining the evidence for each. We find that growth models fit the data well, but not everywhere. We discuss the methodological and empirical basis for this finding and its implications for economic and cultural policy.     

Cultural governance and creative industries in Singapore

Singapore, a leading country in the Asia‐Pacific region, is currently attempting to transform its cultural industry into creative economy. Creative economies capitalise on how knowledge can be marketed by merging arts, technology and business. They ensure a nation's competitiveness within an integrated global economy. This paper critically examines Singapore's recent cultural policy developments in tourism, broadcasting and new media. It argues that new creative industries have produced new consumption patterns and identities that harness the place‐branding of “New Asia” as a form of cultural capital and a strategy of regional dominance. Cybernetics is proposed as an approach to frame creative cultural governance and consumption in Singapore.     

Artists and policy: a case study of the creative industries in north-eastern Australia

Artists play a major role in the cultural fabric of society. They operate within the creative industries, a sector of activity widely accepted as significant to developed and developing economies. While there is a substantive body of literature relevant to the nature of policy-making as applied to the arts, research that explores the views of practitioners at the grass roots level is limited, and particularly so in regional north-eastern Australia, an area with significant challenges caused by isolation and distance. This article contextualises the issues of relevance in relation to artists’ engagement with policy, after which it presents survey and interview data obtained from those working in the field. The findings reveal the influence of isolation in north-eastern Australia, not only in a geographic sense, but in terms of the number of artists who see themselves as disconnected from policy, arts and cultural strategy.     

The international transfer of creative industries as a policy idea

This article examines the transfer of creative industries as a policy idea to Lithuania. Tracing the stages of the transfer and analysing its consequences in the local cultural policy field, this paper argues for the importance of studying cultural policy process. The findings reveal that the process of the international transfer of creative industries mattered, because it generated wider transformations in cultural policy field by having ambiguous effects on local power relations. The policy idea of creative industries opened the cultural policy field to new actors. As a result, competition for scarce state funding increased, but cultural organisations gained access to the European Union structural funds. In all, creative industries as a policy idea significantly transformed Lithuanian state cultural policy, in that it led to a reassessment of both the practices and identities of cultural organisations.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

Knowledge bases and regional development: collaborations between higher education and cultural creative industries

This paper builds on the assumption that cooperation between higher education institutions (HEIs) and creative and cultural industries (CCIs) stimulates innovation and economic growth at the regional level. It further assumes that HEIs and CCIs hold different perspectives on their intention to cooperate with external actors and, thus, there is a need for joint arenas to develop and integrate knowledge and practices among stakeholders across academia and industry. With this rationale in mind, the paper’s main objective is to discuss how universities’ roles in the establishment and development of locally embedded CCIs change or evolve over time. Taking a process economics perspective and building on a case study from the South of Norway, two questions are addressed: (1) What are the barriers – structural and cognitive-cultural – hindering cooperation between HEIs and CCIs in Southern Norway? and (2) How can long-term win-win cooperative arrangements between HEIs and CCIs be enhanced? Different knowledge bases, combined with lack of knowledge and understanding of the other sector’s expertise or knowledge content, and thus the lack of common language, were found to be the biggest barriers that must be overcome to stimulate strategic cooperation between HEIs and CCIs in Southern Norway. The findings support the need for a diverse and flexible policy where target initiatives are adjusted to CCIs’ needs and academic departments’ fields of knowledge to decrease barriers to cooperation, with the ultimate aim of moving from a situation of ‘lock-in’ towards the creation of new innovative and valuable relationships.     

‘Shit is hard,yo’: young people making a living in the creative industries

ABSTRACT

Contemporary social science research on the creative industries demonstrates inequities in accessing good work in this field. Nonetheless, youth still increasingly are seeking to create careers in these fields. However, economic indicators that register growing employment in the creative industries may not fully register the participation of youth. The Young People Making a Living in the Creative Industries research project sought to document the multiple income streams that youth draw on while attempting to make a living in creative fields, mapping the areas of challenge and success in the entry years to creative work. Respondents in the research project articulated an informed knowingness and resistance to the norms of unpaid work in the creative industries and forwarded gender and race as structural categories that impact the experience of entry-level creative work. Respondents also articulated forming communities of care to respond to these challenges, including collectives, support groups, and other forms of networks, while highlighting the challenge of balancing community-based and economic motivations for creative industries work. The study highlights the role of community youth arts programmes on creative industries career incubation for youth, and the need to hear from youth themselves to better map youth participation in the creative industries.     

Making creative industries policy in the real world: differing configurations of the culture-market-state nexus in the UK and South Korea

ABSTRACT

This paper compares creative (content) industries policies in the UK and South Korea, highlighting the coevality in their development. Seeing them as ‘industrial policies’, it focuses on how state intervention is justified and why a certain set of policy options have been chosen. The UK policy-makers prefer passive and decentralised roles of the state that addresses market failures via generic and horizontal policies. Meanwhile, Koreans have consistently believed in the strong, resourceful and ambitious state in developing centralised, sector-specific policies for cultural industries. While demonstrating two contrasting approaches to the nation state’s management of cultural turn in the economy, both cases seem to present a ‘paradox’. Despite its neoliberal undertone, the horizontal and fused approach taken by the UK’s creative industries policy engenders some space for ‘cultural’ policy. On the contrary, the non-liberal and state-driven content industries policy in Korea has shown a stronger tendency of cultural commodification.     

Policy development and engagement: perspectives and insights from key stakeholders involved in the creative industries in north Queensland,Australia

Like many western nations, the Australian government invests significant resources in creative industries at federal, state and local levels. While the majority of investment exists in the southern part of Australia, the current federal government has drawn attention to the need to develop the vast northern area of the country. North Queensland is the most populated area of northern Australia, hence key to this broader vision for the country. This case study therefore presents findings from interviews with key stakeholders involved in the development and/or promotion of cultural policy in north Queensland, including participants working at national, state and local levels. The findings are significant and point to four issues of ongoing relevance: the impact of policy and associated engagement issues, reductions in government funding, the fragmented nature of the creative industries, and the particular challenges facing north Queensland in terms of the northern Australia vision.     

From fashion product industries to fashion: upgrading trends in traditional industry in Taiwan

In the 1990s, China opened its economic markets and replaced the New Institutional Economics (NIEs) of East Asia as the global centre for sourcing labour. This event changed the spatial and economic structure in Asia, especially in Taiwan. Based on the historical evolution of the textile and clothing industry in Taiwan, this study examined how traditional textile and apparel manufacturing was upgraded in Taipei, the capital of Taiwan, and in Tainan, the most historical city of Taiwan, under varying resource availability and under different city policies. While referring to both second-hand information and the literature, the results of interviews with fashion industry professionals were also considered. This study revealed that the potential to upgrade the fashion industry was highly associated with regional background characteristics. Additionally, lack of talent and the limited market for domestic brands create the largest bottleneck in the current fashion industry in Taiwan. Accordingly, the optimal solution for the fashion industry in Taiwan is to promote affordable Taiwanese brands and to use e-commerce. Such integration may enhance the position of the Taiwanese fashion industry in global networks.     

In search of a Mediterranean creativity. Cultural and creative industries in Italy,Spain and Turkey

The Mediterranean region has been increasingly receiving attention in recent years. This is due to the heterogeneity of the countries composing it, which raises several problems in business collaborations, but also unfolds several cross-national economic opportunities among Mediterranean countries. The analysis of cultural and creative industries can be useful to show that this area has many similarities, making intercultural exchange and cross-national economic development possible. This research starts from the comparison of three main Mediterranean countries situated both in Europe and outside, Italy, Spain and Turkey, and aims at highlighting the most striking similarities and differences of their features. The creativity specialization found in this region is alike, which allows us to begin to discuss the idea of a Mediterranean creativity.     

Teaching creative geovisualization: Imagining the creative in/of GIS

Creative geovisualization is situated at the intersection of geography, arts, and digital humanities with a particular emphasis on visualization and mapping that preserves, represents, and generates more authentic, contextual, and nuanced meanings of space and people with an artistic and humanistic perspective and approach. This is a creative expansion in critical GIS practices and a new alternative to traditionally science-rooted approaches to GIS and mapping. Reflecting the experience of teaching a “creative geovisualization” course in an interdisciplinary curriculum, I demonstrate how critical and creative scholarship with mapping and geovisualization is introduced in the classroom and is illuminated in the students' creative practices. The class encompasses key epistemological and methodological groundings of creative geovisualization—including non-representational theories; critical cartography and GIS; the convergence of geography, arts, and humanities; psychogeography; and qualitative and affective geovisualization. Empirical examples of students' works illustrate the blending of different modes of creative engagements with GIS and geovisualization and specific ways to work with various forms of embodied, relational, interpretive, and expressive geographies. GIS and mapping become creative as they continue evolving in process, and it is time that we deeply (re-)imagine “the creative” in/of GIS in critical GIS pedagogies.     

The political subjectivization of Korean creative workers: working and living as urban precariat in creative city Seoul

This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Seoul, South Korea. By locating creative workers’ experiences in Korea within the growing scholarship on the precariat, this research not only attempts to fully understand the complexity of labor subjectivities of creative workers but further explores how creative workers can actually become political subjects who can resist their given precarious working and living conditions. By using Jacques Rancière’s concept of ‘political subjectivation’, it attempts to show how creative workers can empower themselves as ‘political subjects’ who strategically disavow their given self-identities as ‘individualized creators’, and through this language they are able to recall the often neglected subjectivity of ‘solidified labor’. In doing so, this research contributes to theoretical insights so that we can better understand what leads to political formation of creative workers.     

The Chinese mosaic: Cultural diversity and creative cities

This paper identifies the extent to which cultural diversity induced by internal migration affects urban innovation in China. We measure cultural diversity by an index of “plurality” of provinces of origin. Using the 2000 and 2005 population census data, we find that innovative activities are higher in cities with a higher degree of cultural diversity. Further heterogeneity analysis shows that cultural diversity, not only of the highly skilled, but also of the low skilled, has a positive effect on innovation. Our study contributes to the scarce evidence on the effect of cultural diversity on innovation in developing countries.     

Exploring creative class mobility: Hong Kong creative workers in Shanghai and Beijing

In 2008 a controversial essay was published in Hong Kong drawing attention to the increasing number of local creative workers who have allegedly responded to the limitations the city had to wrestle with and the opportunities brought forward by the “Rise of China” – they moved northwards. Taking cues from the mainland China–Hong Kong dynamics, this inquiry zooms in on 12 Hong Kong creative workers who have relocated to Shanghai and Beijing during the last 20 years. It supplements existing scholarship on creative class mobility, which is largely configured by concerns with work situations and place attractiveness and is situated in cities in Europe, the United States, and Australia. It does so in two ways. On the one hand, the empirical evidence delivered by this inquiry aligns with studies pointing to the limitation of Florida’s creative class thesis and wonders if “cool places” are indeed attracting talents. On the other hand, it is inadequate to posit that creative workers move only because of place or only because of work. It builds on the complexities of their subjective accounts to propose to include four dimensions – the geopolitical, the intersectional, the contingent, and the circuitous – to future explorations on creative class mobility.     

The Pepsi-Jenner disaster: Translation and collaboration in global image markets

In 2017, Pepsi released a video advertisement online that became an international pop reference for ignorance regarding race relations and police brutality. This video offers a rare but theoretically productive moment to examine the errors and interpretive disjunctures that characterize the global labour market in advertising. More videos are being outsourced offshore due to decreasing budgets for video production internationally. Although the international provenance of creative advertising videos is well hidden, their nonscalability produces a trail of strange images that can provoke unexpected responses.