Creativity in the ‘Torrid’ zone: policy,creative industries and the vision for Northern Australia

Creative industries are recognised as a key driver of economic growth in both developed and developing nations. In addition to recognising the importance of creative industries, the Australian government has recently renewed a focus on the vast northern tropical area of this island nation as key to future economic and population growth, via the release of a white paper focussed on development options for the north. However, the white paper contains virtually no references to creative industries. In addition, Australia’s most recent national cultural policy, Creative Australia, has after only a few years slipped into obscurity and despite major resources being invested towards its development. Drawing on the almost 100 years of policy documentation relevant to Northern Australia, this paper highlights the limited attention paid to arts, culture and creative industries, and considers this relative policy vacuum in the context of global developments in creative industries.     

‘Innovation is a dirty word’: contesting innovation in the creative industries

Innovation is a term that is used and defined in many different ways. This holds for innovation in general, but particularly for innovation in the creative industries. In cultural policy and in academic literature, the creative industries are often addressed in the relation to their innovative capacities, yet a shared conceptualisation of innovation in this sector is lacking. This paper seeks to develop a conceptualisation of innovation in the creative industries based on 43 interviews with creative workers about their views and practices. Results indicate that creative workers articulate numerous views on innovation, with three main approaches: innovation as something completely new, innovation as a contribution to society and innovation as a continuous recombination of new and existing elements, with the latter being most prevalent in the creative industries and considered a central (by-product of the) process of creative production that is highly contextual to specific localities and fields.     

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.     

Why are artists getting poorer? About the reproduction of low income among artists

In the period 2006 to 2013, Norway has experienced a substantial increase in public subsidies to culture as well as a substantial increase in real income growth in general. This paper discusses different explanations for why Norwegian artists’ real artistic income has declined between 2006 and 2013, despite the positive economic development in Norway. We have based the study in particular on two comparable studies on the income and work situation of Norwegian artists in 2006 and 2013. We analyse and discuss why the artists’ real artistic income has declined during this period. We do not find a single, general, explanation for this, but the income decline does not primarily seem to be due to either an increasing number of artists or a decline in public scholarships to artists. Our two most striking findings are: (i) A substantial decline in most artists’ artistic working hours and a corresponding increase in artistically related and non-artistic working hours, and (ii) a tendency for artists to derive less of their income from the market, together with an apparent decrease in cultural consumption (spending) among Norwegians. These two factors – especially the latter – seem to be the major factors behind the decline in artistic income.     

Multi‐level order,friction and contradiction: the evolution of Australian film industry policy

Cultural policy studies have previously highlighted the importance of multiple logics, friction and contradiction in cultural policy. Recent developments in institutional theory provide a framework for analysing change in cultural policy which explores movement between these multiple and sometimes contradictory logics. This paper analyses the role of friction in the evolution of Australian film industry policy and in particular the tension between competing logics regarding nationalism, commercialism and the state. The paper is suggestive of the relevance of institutional theory as a framework for understanding cultural policy evolution.     

South Africa’s trade in cultural goods and services with a focus on cultural trade with BRICS partners

ABSTRACT

As the potential for cultural and creative industries to drive growth and job creation is increasingly recognised, developing countries like South Africa are examining their cultural goods and services trade in a new light. This article investigates the pattern of South Africa’s cultural trade, with a focus on the strategically important BRICS trading bloc. Results show that, like many small, open developing countries, South Africa has a significant cultural goods trade imbalance, especially with China and India. While cultural trade policy is still somewhat fragmented, there are indications that where policies have been put in place, such as in the crafts and audio-visual sectors, progress in reducing significant deficits has been made. At the same time, the pattern of CCI trade preferences currently favours SADC, the EU and EFTA over BRICS partners. Finally, South Africa performs well in a number of services sectors for which cultural trade is important.     

Sustaining artistic practices post George Brandis’s controversial Australia Council arts funding changes: cultural policy and visual artists’ careers in Australia

This article analyses how public funding enables artistic practices from the perspectives of both national cultural policy decision makers, and our three interviewed subjects in the visual arts. Funding from the Australia Council for the Arts is examined in terms of the extent to which it is perceived to dis/enable ongoing artistic practice. This examination is timely given Australia’s former Minister for the Arts George Brandis’s 2015 shock annexation of Australia Council funding: $104.7 million was originally to be transferred from the Australia Council to the newly established National Programme for Excellence in the Arts (NPEA). This body represented a move away from the ‘arms-length’, independent peer-reviewed funding decisions with the arts minister having the ultimate authority with regard to the NPEA. The NPEA has now been renamed Catalyst – Australian Arts and Culture Fund (Catalyst) as a result of consultations and feedback relating to the NPEA.     

The creative industries: conflict or collaboration? An analysis of the perspectives from which policymakers,art organizations and creative organizations in the creative industries are acting

This paper compares and contrasts the instruments and values formulated in the creative industries policies of three peripheral municipalities of between 150,000 and 220,000 inhabitants in the Netherlands (Groningen, Arnhem and Eindhoven) with the needs of the creative industries itself. The needs of the creative industries have been empirically researched by conducting an online survey (n = 556) and twelve in-depth interviews with professionals from different types of organizations in the creative industries. In this study, the theoretical framework of Boltanski, Thévenot and Chiapello is used in the analysis of policy documents, the outcomes of the online survey, and the in-depth interviews in order to uncover differences and similarities in perspectives from which art organizations, creative organizations and policymakers are acting in the creative industries.