The challenge of a creative
society
how to make 'joined-up' government
work
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You can’t use up creativity.
The more you use, the
more you have.
Maya Angelou
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There is increasingly a consensus at local, national
and supra-national levels of the important
contribution of cultural policies to improving
the images of places, attracting tourists and
investors, fostering social inclusion and cohesion,
and, more generally, enhancing the quality of life.
• Developing sustainable creative industries is
central to the above agenda.
Franco Bianchini – from Cultural Policy to cultural planning
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Government strategy
Collaborative networks , not companies are
fast becoming the basic units of innovation
and production in the new economy.
Living on thin air. Charles Leadbeater
Maybe government engaged in collaborative networks
across ministries is the future for new economies?
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Education, culture and industry working
in partnership
Where do the core creative fields develop
their creativity?
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Education, culture and industry
working in partnership
It starts with Education
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Education, culture and industry
working in partnership
• Sir Ken Robinson identified 4 challenges for education in the
21st Century[ All our Futures]
• The economic challenge
• The social challenge
• The personal challenge
• The technological challenge
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The economic challenge
• The economic challenge is to develop in
young people the skills, knowledge and
personal qualities they need for a world where
work is undergoing rapid and long-term
change.
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The economic challenge
• The nature of work is being radically
transformed. The balance of employment is
shifting from traditional industrial and manual
work to jobs based on:
• Information and communication technology
(ICT) and the provision of services.
• Economies increasingly depend on the ability
of individuals and organisations to generate
new ideas.
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The economic challenge
• This is true in traditional manufacturing.
• But it is the expanding creative industries —
advertising, architecture, arts and antiques,
crafts, design, designer fashion, film, leisure
software, music, performing arts, publishing,
software and computer services, television
and radio — which offer rapidly growing
opportunities for young people.
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The social challenge
• The social challenge is to provide forms of
education that enable young people to engage
positively and confidently with far-reaching
processes of social and cultural change.
• The Education provided in most countries
does not do this.
• Korea has an creative education programme in
all schools with a 15 year strategic plan to
develop a creative workforce
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The social challenge
• The combined effects of economic and
technological change are transforming the
social landscape.
• Communities must cope with the decline in
traditional types and patterns of work, and
the growth of new employment opportunities.
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The personal challenge
• The personal challenge is to develop the
unique capacities of all young people, and to
provide a basis on which they can build lives
that are purposeful and fulfilling.
• Young people spend their most formative
years at school.
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The personal challenge
• The conventional academic curriculum is not designed
to do this.
• The majority of young people have positive attitudes
towards school.
• But a growing number question the value of education.
• Truancy and disaffection are acute among those who
underachieve, and whose cultural values and identities
conflict with those of the schools they attend or the
areas where they live.
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The personal challenge
One effective solution to this is to develop
active forms of learning which engage young
people’s creative energies
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The personal challenge
• The pattern of work is changing too, with young
people likely to switch occupations and locations
several times in their working lives
•
• The trend is to freelance work, short contracts,
self-employment, and entrepreneurial ability
• The impact of these changes is global and cuts
across national boundaries.
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The technological challenge
• The technological challenge is to enable
young people to make their way with
confidence in a world that is being shaped by
technologies which are evolving more quickly
than at any time in history.
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The technological challenge
• New technologies are having profound
consequences in all areas of our lives.
• They offer young people unprecedented
opportunities to broaden their horizons; find
new modes of creativity; and deepen their
understanding of the world around them.
• They offer schools the chance to transform
their methods of teaching and learning.
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Government strategy
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A potential central Government strategy is the
identification and development of six key skills:
communication
application of numbers
use of information technology
working with others
problem-solving
improving one’s own learning and performance.
Recommended by Robinson – All our Futures
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The Role of Higher Education
• Entrepreneurial thinking applied across all
subjects [SYNAPSE]
• Opportunities for Entrepreneurial education
and incubation as part of all creative subject
education, Music , Theatre, Design, Art,
Computing, Fashion
MA Creative and Cultural Entrepreneurship
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Figure 2: A taxonomy of graduate attributes
Values (core beliefs or motives)
Liberalism
Altruism
Tolerance
Integrity
Learning
Style (dispositions, orientation, reputation)
Individual,
flexible
Creative,
artistic
Outgoing,
confident
Independent,
radical
Passionate,
engaged
Skills (competencies)
Problem
Business
People
Self
Communication
(thinking)
(entrepreneurial)
(interpersonal)
(intrapersonal)
(presentation)
Critical and
Analytical skills
Adaptability
Flexibility
Numeracy
Literacy
Creativity
Commercial
awareness
Computer literacy
Networking
Initiative
Negotiation
Team-work
Leadership
Diplomacy
Social skills
Empathy
Planning and
organisation
Time management
Reflection
Self-motivation
Insight
Articulacy
Communication
Networking
Self-marketing
Persuasiveness
Emotional
intelligence
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Social
Aesthetic
Economic
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Creative Clusters
It has long been recognised that industrial
clustering benefits businesses bygiving them
access to skilled staff and share services, and the
opportunityto capture valuable knowledge
spillovers.
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Creative Clusters
• This is equally true of creativebusinesses, as
exemplified by Hollywood, or by a host of
thriving UK clusters, from:
• Film Post-production in Soho, London
• Video games in Dundee, Scotland,
• Television in Cardiff Wales
• Or in over 500 festivals which provide a
temporary cluster often in remote rural unindustrialised settings .
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Creative Clusters
But also as reactive anti-establishment action
(avant garde, artists’ squats); and as a
defensive necessity, resisting control from
licensing authorities, global firms, guilds and
dominant cultures – artistic and political.
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Creative Clusters
• These processes have come together in the
regeneration of former industrial districts and
buildings that served old crafts production
(e.g. textiles, ceramics, jewellery/metalcrafts),
and which, following manufacturing decline
accelerated by offshore production, are being
redeveloped for new creative economy and
innovation quarters.
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Creative Clusters
Stage of Evolution of Clusters - Definitions
Mature
Led by established large scale creative
enterprises in specific industries with
established subcontracting linkages and highly
developed national and international markets.
Business to business consumption.
Arms length public intervention.
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Creative Clusters
• Mature Examples
Film/TV – Los Angeles
• Fashion and furniture design/production –
Milan
• Fashion – New York
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Creative Clusters
• Stage of Evolution of Clusters - Definitions
Dependent Creative enterprises developed as
a direct result of public sector intervention
through business support, infrastructure
development for cultural consumption and
finance to SME and micro creative enterprises.
• Public subsidy required to sustain the cluster.
• Limited and underdeveloped local markets.
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Creative Clusters
Stage of Evolution of Clusters - Definitions
Dependent Examples
• UK creative industry quarters, e.g. Sheffield CIQ, arts venues
• St Petersburg Creative Industries Development Centre;
• Regional film centres (FiW, Filmpool Nord, Film I Skane) –
Sweden
• Digital Media City, Seoul;
• Tokyo’s multimedia, video games and IT sectors;
• Taipei creative industries development
• Developing country regions – Pacific Asia, South America;
European (ERDF/ESF) programmes
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Creative Clusters
Stage of Evolution of Clusters - Definitions
Aspirational
• Some independent creative enterprises and/or
privatised former public sector cultural enterprises in
place but limited in scale and scope.
• Underdeveloped local markets and limited
consumption infrastructure.
• High levels of public and institutional promotional
activity.
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Creative Clusters
Aspirational Examples
• Creative Precinct, Brisbane; The Digital Hub, MediaLab – Dublin
• Mixed cultural industries – Westergasfabriek, Amsterdam
• Popular Music – The Veemarktkwartier, Tilburg; Media cluster –
Leipzig
• Digital media – Singapore
• West Kowloon Cultural Centre Development – Hong Kong
• Creative Gateway, King’s Cross; and City Fringe – London
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Creative Clusters
Stage of Evolution of Clusters - Definitions
Emergent
• Initiated by growing number and scale of creative
enterprises with infrastructural investment from
the public sector.
• Developing local and regional markets.
• Visible cultural consumption, internationalisation
of market reach
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Creative Clusters
• Emergent Examples
• Product design, architecture, digital media –
Barcelona
• Film/TV – Glasgow and Cardiff UK
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Arabianranta Helsinki
Arabianranta Helsinki
Finland is a home for
10,000 people, a
workplace for 5,000
and a campus for 6,000
students and 1500
know-how
professionals.
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Arabianranta Helsinki
• As a hub for creative industries Arabianranta is
a home to 300 enterprises and 4,000
employees.
• In the field of creative industries the
businesses are normally small or medium
sized enterprises. After the educational
institutes the biggest private sector employers
are Littala Group and Digia Oyj.
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Arabianranta Helsinki
• The objective in future is to attract more and
more businesses in the field of creative
industries to join the Arabianranta community
and operate and develop together with the
local educational institutes.
• The enterprises also find new business
partners and customers via their web site
and they are able to update their own web
site through arabianranta.fi portal
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Arabianranta Helsinki
• The unified campus area of Arabianranta
consists of 6 educational institutes, 6,000
students and about 1,500 know-how
professionals.
• The universities are The University of Art and
Design, Arcada University of Applied Sciences and
Helsinki Metropolia University of Applied Sciences.
The upper secondary vocational institutions are
Swedish Prakticum and Finnish Heltech and in the
Helsinki Pop & jazz Conservatory almost 1,000
students study music.
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Arabianranta Helsinki
• Educational institutions and students can use
and benefit from this platform in their own
research projects, one example of this is Helsinki
Living Lab project sponsored by TEKES
•
Every year, TEKES finances some 1,500
business research and development projects, and
almost 600 public research projects at
universities, research institutes and polytechnics.
•
Tekes – the Finnish Funding Agency for Technology and Innovation
It is the main public funding organisation for research, development and
innovation in Finland.
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Creative Clusters – Education
• Education institutions will also have to help
consolidate and develop emerging
professions, which include those of the
‘cartographer’ of local cultural resources, and
of specialists in fields including cultural
industries strategies, culture and propertyled regeneration, and culture and social
action/social policy.
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Economic Sphere
Symbolic Sphere
Environment
Sphere
Educational Sphere
Political Sphere
Cultural Resources
Social Sphere
Arts & Cultural Sphere
DR WHO Television
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DR WHO Television
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DR WHO Television
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DR WHO Television
• An old brand
• A desire to commission drama from the UK’s
nations and regions
• Market research negative
• Average: 30 million viewers per series: 10.4
million New Year’s Day 2011
• BBC Wales – doubled income in 3 years to
£50million
• 1963 – 1989. 2005 >
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DR WHO Television
• Dr Who, New Series-Torchwood & Sarah Jane
Adventures
• Online and Interactive – Computer Games (
phones) create new films ( trailers) on the BBC
Dr Who Website, Quizzes , News features
• Tourism to the locations of the filming
[Cardiff tourism chiefs seized on the Doctor Who connection and have
seen visitor numbers increase more than 40% over the last 10 years, with
close to 13 million people visiting in 2008. They attribute a large part of
the rise to the popularity of the show]
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Dr Who Computer Games
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DR WHO Television
• Doctor Who and its spin-off shows, Torchwood
and the Sarah Jane Adventures, are estimated to
employ about 400 people directly. Indirectly ?
"Ten years ago there was very little drama in
Wales being made for the BBC. Now we have
completely changed the picture, People in Cardiff
feel very proud that these shows are being made
here.“
Clare Hudson, acting director of BBC Wales.
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DR WHO Television
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•
•
•
Spill-over benefits
Local businesses – costume makers, set
designers, writers, electricians, set builders.
Catering - suppliers
Sofa maker changed to prop/set designer
Locations for filming - Aviation Repair
company – hangars as sets
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DR WHO Television
• Now the streets of Cardiff and some of the
most familiar landmarks in south Wales are to
appear more frequently on the small screen as
a range of television dramas follow Doctor
Who's lead.
• [including a new adaptation of Sherlock Holmes, a remake of Upstairs,
Downstairs, and BBC1's long-running hospital drama, Casualty, which is to
relocate from Bristol]
• BBC has decided to make 50% of BBC network
TV shows outside London by 2016
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DR WHO Television
The first phase of BBC Cymru Wales' new drama production centre
The BBC agreement is for rental of the site for a fixed term of 20 years – therefore,
there is no capital investment in the building by the BBC
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NESTA
Creative clusters and innovation: Putting creativity on the map
• NESTA REPORT
Creative clusters and innovation: Putting
creativity on the map 2010
NESTA is the National Endowment for
Science, Technology and the Arts - an
independent body with a mission to make the
UK more innovative.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• The NESTA report was the most ambitious
attempt yet to map the UK’s creative clusters,
showing where they are, which sectors form
them, and what their role is in the systems of
innovation where they are embedded.
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NESTA
Creative clusters and innovation: Putting creativity on the map
NESTA Report
• It makes a case for a new approach to local
economic policy as it relates to the creative
industries: one that goes beyond ‘urban
branding’ rationales, and acknowledges their
great potential as active players in local
innovation systems.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• The research also shows that the creative
industries are more innovative than many
other high-innovation sectors, for example
professional and business services. What is
more, the creative industries provide a
disproportionate number of the innovative
businesses in most parts of the country.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• The research analyses co-location between creative sectors
and other innovative industries such as High-Tech
Manufacturing and Knowledge Intensive Business Services
(KIBS). It shows statistically robust patterns of co-location in
several cases. Advertising and Software firms are very often
found near both High-Tech Manufacturing businesses and
KIBS.
• Other creative sectors that provide content and cultural
experiences show weaker, although still significant, patterns
of co-location with KIBS.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• These findings suggest the existence of
complementarities between some creative
sectors and innovative businesses in other
parts of the economy.
• These complementarities may be brought
about by value chain linkages and shared
infrastructures.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• They could also be a consequence of
knowledge spillovers that happen when
creative businesses share new ideas with their
commercial partners, or when creative
professionals move into other sectors,
bringing useful ideas, technologies and ways
of working with them.
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NESTA
Creative clusters and innovation: Putting creativity on the map
• In other cases, the presence of creative firms
generates an‘urban buzz’ that attracts skilled
workers and encourages collaboration.
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NESTA
Creative clusters and innovation: Putting creativity on the map
.
www.nesta.org.uk/areas_of_work/creative_economy/geography_of_innovation.
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