THE DIFFERENCE PRINCIPLE? SHAPING COMPETITIVE ADVANTAGE IN THE CULTURAL PRODUCT INDUSTRIES

This article argues that due to the endless substitution possibilities open to consumers of cultural products, firms’ competitive advantage rests as much upon positionality and differentiation as upon traditional forms of intellectual property such as copyrights and trademarks. However, the construction of positionality and differentiation may entail geographies and milieus other than associated with product origination and creation. The article suggests that existing models of regional growth and innovation systems must, and can, be adapted to fit firms and sectors where competitiveness is not only based on traditional types of intellectual property (such as copyrights or patents) but also differential property (such as marketplace positionality). The idea of regional systems supportive of differentiation (and market positionality) means we must reappraise some of our notions of what constitute supportive regional conditions. To this end a revised version of the cluster model of regional competitive advantage is presented: one which attempts to be more tailored to industries where intellectual property and differentiation are the core products.     

‘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.     

The ‘creative township’ in the post-apartheid: globalisation,nation building or gentrification?

ABSTRACT

This paper analyses the ambiguities of post-Apartheid public cultural policies in South Africa by focusing on the case of the Red Location Museum and Cultural precinct (RLMCP), a multisectoral project for socio-economic development, based on tourism, art, culture, heritagisation and urban regeneration, implemented in Red Location, one of the oldest townships of Port Elizabeth. In the post-Apartheid period, cultural policies have been employed as catch-all policies that could lead to urban renewal, desegregation and development. The case of the RLMCP drives home how efforts to use art and culture as leverages to transform townships into the core of the creative city and into the prototype of a new form of neighbourhood led to exclusionary representations and patterns; moreover, it is an example of how cultural policies enforce gentrification dynamics at the local level, in the name of restructuring urban governance and rescaling the city to the global dimension.     

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’.     

USER INNOVATION AND CREATIVE CONSUMPTION IN JAPANESE CULTURE INDUSTRIES: THE CASE OF AKIHABARA,TOKYO

The consumption and export of material and immaterial commodities based upon Japanese popular culture is rapidly growing and continually finds new fans all around the world. In this article, it is suggested that some of the competitiveness of these unique cultural phenomena can be traced to the very dense and vivid area of Akihabara in Tokyo. Its long history as an electronic retail district and a more recent influx of firms and shops focused on popular culture has created a strong place brand that continues to mark Akihabara as the capital of Japanese cultural industries. It is a space where different consumers, specialist subcultures and firms and their products can interact. The area functions as a hub were ideas and values are exchanged, tested and promoted. The article argues that research on innovation milieus must take account of the role of users and their relation to place.     

The costs of putting Valencia on the map: the hidden side of regional entrepreneurialism, ‘creative city’ and strategic projects

ABSTRACT

Strategic projects based on culture and sports have been one of the vectors of regional development since the 1990s. Accordingly, local and regional governments have drawn up entrepreneurial strategies to project their image internationally and foster investment and tourism. These developments have been described in Spain as ‘The Calatrava Model’ for putting a city/region on the map and for boosting tourism. However, from the study of the case of Valencia and four strategic projects (The Fifth World Meeting of Families, The America's Cup, Formula 1 and The City of Arts and Sciences), we will show how there is a hidden side to this paradigm, which boils down to an unsustainable, top-down system whose sole purpose is to gain and maintain political hegemony. We will also assess the medium and long term impacts of these projects in terms of: opportunity costs, snowballing debt, corruption, and an utter breakdown of democratic controls as a result of Valencia’s poor regional governance.     

At the limits of critical geography: Creative interventions into the exclusionary spaces of U.S. geography

Abstract

In recent years, geographers have increasingly called for and enacted more sustained engagements between geography and the arts. This creative (re)turn represents both a renewed interest in recovering interdisciplinary practices within the history of the discipline and a desire to create space for new methods and creative approaches. This article develops in response to two areas requiring further critical engagement and development within the creative (re)turn: questions about the place of identity in creative geographies and the potential for creative geographies to perform critical interventions into disciplinary spaces and identities. I explore and develop these areas of concern alongside a discussion of a critical-creative geographies exhibit, The Critical Futures Visual Archive. Through a presentation of select works in this collection and a candid discussion of the institutional obstacles encountered in curating it, I elaborate upon the challenges and critical potentials of integrating creative practices into geography as a form of feminist praxis.