The political impact of the European Capital of Culture: ‘Maribor 2012 gave us the power to change the regime’

The European Capital of Culture (ECoC) is a cultural political initiative of the European Union and is perceived as one of the most prestigious events in the community. Existing studies have neglected the political effects of hosting ECoC in terms of engendering regime change in host cities. The present study therefore tries to fill this gap and demonstrates how the cultural policy of Maribor 2012, including its implementation, impacted on local citizens’ communication and political activities and contributed to regime change in the city at the end of the cultural year. The paper employed document analysis, participant observation of all the main processes of ECoC Maribor 2012 and in-depth interviews with management, programme organisers, cultural operators and participants. It shows that through the empowerment of local citizens by means of bottom-up initiatives in the effective planning and implementation of ECoC, they challenged the regime and neoliberal system of Maribor.     

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.     

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.     

Towards ‘Embedded Non-creative Work’? Administration,digitisation and the recorded music industry

Abstract

For contemporary cultural policy, ‘non-creative’ work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of ‘embedded creativity’ with a more situated view of work’s cultural and institutional embedding. It first interrogates this ‘embeddedness’, taking a ‘cultural economy’ approach to intermediation and administrative support. Drawing on observations from an in-depth qualitative study of employees in major record labels, the second part articulates the heightened importance of ‘admin’ to recorded music industries, after ‘digital disruption’. Routine bureaucratic labour presents an atypical example, revealing much about the hidden relational and identity work that goes into constructing ‘creative industries’ as such. The intention is not to show that ‘embedded non-creative workers’ are in fact ‘creative’ but, on the contrary, to articulate the distinct contributions and value of support work in this context, questioning a persistent reliance on creative/non-creative dualisms. Policy research would benefit from enriched understanding of culture's assembly in marketable objects, reorienting understandings of ‘cultural’ labour markets and careers, and reimagining the role of traditional cultural ‘administration’ in the contemporary ‘creative economy’.     

Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.     

The dynamics of global visual effects and games development industries: lessons for Australia’s creative industries development policy

The paper critiques the focus of creative industries policy on capability development of small and medium sized firms and the provision of regional incentives. It analyses factors affecting the competitiveness and sustainability of the games development industry and visual effects suppliers to feature films. Interviews with participants in these industries highlight the need for policy instruments to take into consideration the structure and organization of global markets and the power of lead multinational corporations. We show that although forms of economic governance in these industries may allow sustainable value capture, they are interrupted by bottlenecks in which ferocious competition among suppliers is confronted by comparatively little competition among the lead firms. We argue that current approaches to creative industries policy aimed at building self-sustaining creative industries are unlikely to be sufficient because of the globalized nature of the industries. Rather, we argue that a more profitable approach is likely to require supporting diversification of the industries as ‘feeders’ into other areas of the economy.     

Culture for competitiveness: valuing diversity in EU-Europe and the ‘creative city’ of Berlin

The European Union (EU) has in recent years propagated an approach to ‘culture’ that pulls together support for the creative and cultural industries with diversity-sensitive immigration and integration strategies, drawing on popular policy visions of the ‘creative’ and ‘intercultural’ city. This approach emphasizes the role that the diversity of culture, as personal resource, can play in enhancing economic competitiveness. The article examines its logic and possible effects through an analysis of EU documents and policy in Berlin. Berlin intersects with the EU’s agenda, using EU structural funds and participating in the European program ‘Intercultural Cities’. It is shown that the attempt to use ‘culture for competitiveness’ equates support-worthy ‘diversity’ with forms of culture that conform to (neo)liberal values and priorities. The attempt to shape a cosmopolitan place attractive for investment and the high-skilled feeds into gentrification processes that create ‘diverse’ neighborhoods where ‘difference’ has no place.     

The UNESCO Convention on the Diversity of Cultural Expressions as a coordination framework to promote regulatory coherence in the creative economy

The present article aims to inquire about business convergence in creative industries from the perspective of cultural diversity. It is based on the premise that the recognition of the creative and innovative component of the so-called ‘creative industries’ or the ‘creative economy’ confirms the need for non-economic factors and particularly cultural concerns to be taken into account in regulatory efforts addressing those industries. It examines the way new technologies and business convergence may affect the ‘trade and culture debate’ vis-à-vis the World Trade Organization (WTO), and how the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (CDCE) may respond in a relevant manner to challenges brought therefrom. Despite its weakly binding language, the CDCE contains principles, objectives and rules that set a comprehensive framework for policy ‘related to the protection and promotion of the diversity of cultural expressions’ at the national, regional and international levels. A fundamental piece in such an approach is the explicit integration of cultural concerns into the concept of sustainable development. This article argues that the material and economic perspective adopted in the CDCE, based on the production and consumption of cultural goods and services, remains relevant and pertinent in the creative economy, despite business convergence. By prioritizing policy and regulatory coordination, it maintains that the main elements enshrined in the CDCE should be employed to contribute to greater coherence in view of the objective of promoting cultural diversity, including vis-à-vis the WTO and other international organizations, and puts forward potential paths for such coordination.     

Having an impact? Academics,the music industries and the problem of knowledge

This article reflects upon recent interest in knowledge transfer from higher education to the creative industries, using the UK music industries as a case study. It suggests that traditional academic values of impartiality and concern with research methodology can come in to conflict with instrumentalist agendas that see research as valuable only insofar as it fits with pre‐existing worldviews and policy ends. In this setting, knowledge resistance is often more significant than knowledge transfer and may be expected to frustrate any attempts to have an ‘impact’.     

From Coombs to Crean: popular music and cultural policy in Australia

The many bodies administering Australian arts activity were incorporated within the Australia Council, established in 1973 by the Whitlam Labor Government to oversee Commonwealth arts policy under the direction of H.C. ‘Nugget’ Coombs. This article takes the establishment of the Australia Council as a starting point in tracing changing attitudes towards the practices and funding of popular music in Australia and accompanying policy discourses. This includes consideration of how funding models reinforce understandings of ‘high’ and ‘low’ art forms, the ‘cultural’/‘creative’ industries debates, and their effects upon local popular music policy. This article discusses the history of local music content debates as a central instrument of popular music policy and examines the implications for cultural nationalism in light of a recent series of media and cultural reports into industries and funding bodies. In documenting a broad shift from cultural to industrial policy narratives, the article examines a central question: What does the ‘national’ now mean in contemporary music and the rapid evolution of digital media technologies?     

Ambition and temporal sovereignty in recent Scottish cultural policy

ABSTRACT

This paper is a study of the figure of ‘ambition’ in Scottish cultural policy since about 2010. The argument of the paper is established through the development of the concept of ‘temporal sovereignty’. Through ‘ambition’ cultural policy attempts to subject culture and cultural agents to the formation of the Scottish government’s temporal regime, and in particular the relation between creative industries and the effects of economic temporality. The study examines the temporal properties of ‘partnerships’ as a key strategic mechanism in that project. The focus of the study is an analysis of authoritative Scottish cultural policy texts which show that the subject of culture becomes the organisation of temporal sovereignty. The paper explains the conditions for the emergence of the problem of ‘temporal sovereignty’ and discusses its consequences for structures of rule and logics of cultural policy formation. It concludes by indicating the location of culture in a politics of temporalities.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.     

Measuring the impact of the European Capital of Culture programme on overnight stays: evidence for the last two decades

This study explores the effects of the European Capital of Culture (ECoC) on tourism demand, measured as overnight stays, for the years 1998–2014. The analysis includes 34 ECoC hosts and makes use of data on approximately 800 European cities. A difference-in-differences propensity score matching estimator shows that hosting the ECoC leads to an increase in overnight stays of 8% on average during the year of the event but does not stimulate tourism demand in subsequent years. To account for deviations in the distribution of tourism inflows between ECoC and other cities, the quantile difference-in-differences estimator is used. This leads to similar but somewhat stronger results, especially for the year of the event and for the year after. Separate estimations of ECoC hosts reveal that there is a certain degree of heterogeneity in the effect. Long-term impacts can only be observed for a small group of cities (Essen, Guimarães, Salamanca and Tallinn).     

Shifting meanings in changing contexts: the role of the creative city in Shanghai,Hong Kong and Taipei

Abstract

This paper probes the underlying motives behind the adoption of the ‘creative city’ policies in Shanghai, Hong Kong and Taipei. It argues that while the global appeal of the creative city is commonly attributed to urban entrepreneurialism, this reason alone is insufficient in explaining the so-called ‘cultural turn’ in these three cities, because none of them ascribe to the conventional format of the post-industrial ‘entrepreneurial’ city. In order to identify other major forces driving the adoption of creative city initiatives in Shanghai, Hong Kong and Taipei, this work delves into the ways in which the idea of the creative city is reworked within the context of global city making. The study found that in addition to urban entrepreneurialism, the inherited cultural policy agenda, which largely stems from national interests, also plays a significant role in directing (and changing) the ‘global cultural city’ making process. By looking into different roles attached to the ‘imported’ policy discourse of the creative city in Shanghai, Hong Kong and Taipei, this study not only contributes to the understanding of urban cultural policies within the Chinese-speaking world and East Asia more generally, but also lends some insights to the developing field of cultural policy mobility.     

Assessing the local embeddedness dynamics of the Baumwollspinnerei cultural quarter in Leipzig: introducing the POSES Star Framework

This paper argues that it is important for urban scholars and practitioners to comparatively appraise the differential forms of local embeddedness of cultural quarters. Such appraisals can help to realize more sustainable practices of cultural quarter anchoring within neighbourhoods. The case study of Leipzig, Germany – a city that deploys both ‘creative city’ and ‘cultural industries’ models of urban development within a context of post-industrial, post-socialist transformation – is used to examine the adaptive re-use of a former cotton-spinning mill, the Baumwollspinnerei, into an internationally renowned cultural quarter. The POSES Star Framework is developed as an analytical tool to systematically outline multiple local embeddedness dynamics (political, organizational, social, ephemeral, and spatial) of a cultural quarter within a neighbourhood and within a specific urban planning and policy context. The application of the POSES Star Framework to the Baumwollspinnerei reveals that internal organizational concerns for site development and marketing are prioritized over external engagements with Leipzig's urban planning and cultural policy discourses.     

The ‘Cultural Turn’ in Australian Regional Economic Development Discourse: Neoliberalising Creativity?

Regional economic policy‐makers are increasingly interested in the contribution of creativity to the economic performance of regions and, more generally, in its power to transform the images and identities of places. This has constituted a ‘cultural turn’, of sorts, away from an emphasis on macro‐scale projects and employment schemes, towards an interest in the creative industries, entrepreneurial culture and innovation. This paper discusses how recent discourses of the role of ‘creativity’ in regions have drawn upon, and contributed to, particular forms of neoliberalisation. Its focus is the recent application of a statistical measure — Richard Florida's (2002) ‘creativity index’— to quantify spatial variations in creativity between Australia's regions. Our critique is not of the creativity index per se, but of its role in subsuming creativity within a neoliberal regional economic development discourse. In this discourse, creativity is linked to the primacy of global markets, and is a factor in place competition, attracting footloose capital and ‘creative class’ migrants to struggling regions. Creativity is positioned as a central determinant of regional ‘success’ and forms a remedy for those places, and subjects, that currently ‘lack’ innovation. Our paper critiques these interpretations, and concludes by suggesting that neoliberal discourses ignore the varied ways in which ‘alternative creativities’ might underpin other articulations of the future of Australia's regions.     

Cultural policy as mythical narrative

ABSTRACT

In this paper, we argue that policy assumptions are shaped by mythical narratives carrying underlying beliefs and values. Drawing on narrative studies, organisational theory and Gramsci’s cultural hegemony theory, we examine how sense-making narratives create consensus, how they imply causation and individual agency, and finally how narratives fragment to reveal alternatives to hegemonic ‘common sense’ assumptions. Applying this framework to cultural policy we examine the place of mythic, sense-making narratives in the historical development of foundational national cultural policies in the UK and Mexico – respectively, narratives of ‘the civilising mission’ and ‘social transformation’. We then consider narrative emplotment and individualisation underpinning assumptions about individual creativity in the UK creative industries policy. Finally, we address the postmodern turn in narrative studies, showing how fragmented, polysemous narratives fracture cultural policy into ‘personalised truths’ and give voice to other, counter-hegemonic perspectives. We conclude by proposing an agenda for narrative research in cultural policy.     

China and the “culture and trade” debate: a holistic approach

ABSTRACT

Over the past century, the ‘culture and trade’ debate has constantly evolved, particularly in the wake of rapid and still accelerating technological and scientific advances. These changes, manifest in an increasing convergence of many new technologies and industries, meant that the strict separation of culture from trade by means, for instance, of general or special exceptions in international trade agreements, such as the 1947 General Agreement on Tariffs and Trade (GATT) or the 1988 Canada–United States Free Trade Agreement (CUSFTA), can no longer be sustained. It means that in light of the emergence of oxymoronic concepts like ‘the cultural and creative industries’, the debate can no longer be framed along binary modes of thinking that oppose the liberalization of international trade and the protection and promotion of the diversity of cultures. Instead a more holistic approach seems to be needed, which appears to coincide with the approach taken by the People’s Republic of China (PRC), which joined the WTO in 2001. The present paper examines the holistic approach by the PRC, which seeks to combine rather than separate culture and trade in its domestic, regional and global law and policymaking.     

Cultural democracy: an ecological and capabilities approach

ABSTRACT

In recent years, there has been sustained critique of the conceptual and normative foundations of UK cultural policy – the paternalism of ‘excellence and access’ and the neoliberal logic of ‘creative industries’. Whilst these critiques are well established, there is little work offering alternative foundations. This paper makes a contribution to this task. It does so in three ways. Firstly, by identifying ‘cultural democracy’ as a key discourse offering a counter-formulation of what the aims of cultural policy could and should be, and analysing uses of this term, it highlights the need to more effectively conceptualize cultural opportunity. Secondly, drawing on research with one UK-based initiative, Get Creative, the paper identifies a particularly consequential aspect of cultural opportunity: its ecological nature. Thirdly, it shows that the capabilities approach to human development provides ideas with the potential to help build new conceptual and normative foundations for cultural policy. Proposing a distinctive account of cultural democracy characterized by systemic support for cultural capabilities, the paper concludes by indicating the implications this may have for research, policy and practice.     

Transformation,job creation and subsidies to creative industries: the case of South Africa’s film and television sector

Many governments have tried to stimulate economic growth via policy in the creative industries. South Africa is no different but additionally has an overarching aim of achieving social and labour market ‘transformation’ to move away from the legacy of the apartheid era. The effectiveness of incentives provided to the film and television sector in South Africa are considered in terms of their stated objectives of job creation, skills and knowledge transfer, and the attraction of foreign direct investment. Informed by empirical analysis of incentive scheme data and supplemented by elite interviews with key informants, some specific policy revisions are proposed.