Creative Cities, Creative Economies
Venue: Shanghai Academy of Social Sciences
Dates: 16-18 October 2006
Supported by Asia-Europe Foundation, British Academy and Shanghai
Academy of Social Sciences
Organised by
Prof. Li Wu Wei (Shanghai Academy of Social Sciences)
Prof. Lily Kong (National University of Singapore)
Prof. Justin O’Connor (University of Leeds).
INTRODUCTION…….………………………………………….2
LIST OF PARTICIPANTS……………………………………….5
LIST OF INVITED GUESTS…………………………………….8
PROGRAMME…………………………………………………...9
ABSTRACTS....…………………………………………………11
1
Introduction
The cultural and creative industries have become increasingly prominent in many policy
agendas in recent years. Not only have governments identified the growing consumer
potential for cultural/ creative industry products in the home market, they have also seen the
creative industry agenda as central to the growth of external markets. This creative industry
agenda stresses creativity, innovation, small business growth, and access to global markets –
all central to a wider agenda of moving from cheap manufacture towards high value-added
products and services.
Cultural and creative industries are increasingly central to national and city policy agendas in
East Asia. Aspiring global cities such as Hong Kong, Singapore, Taipei, Seoul, Beijing,
Shanghai and Guangzhou etc. have all adopted some form of this creative industry agenda.
Other more regional cities are following this trend. These new agendas build upon more
established notions of the creative city – where cultural assets have been seen as crucial to
both the competitiveness and wider identity of the city. This second trend includes major
centres of cultural production who may not have adopted the creative industries agenda.
Indeed, one of the themes of this conference is to explore the real divergences, the different
rhythms and inflections given to the ideas of creative cities, creative economy in the East
Asian region.
Policy debate in Europe and North America has been marked by ambiguities and tensions
around the connections between cultural and economic policy which the creative industry
agenda posits. These become more marked when it is recognized that the key drivers of the
creative economy are the larger metropolitan areas; as such cultural and economic policy
become key factors in a new approach to urban planning and governance. Sometimes labelled
under ‘The creative city’ this new approach emphasized the urbanistic context and
infrastructure within which creative industry innovation and growth take place. If the
internationalization of the creative industry policy discourse, and its ‘export’ to many parts of
the East Asian region have given rise to significant debating issues regarding the different
national contexts for cultural and economic development policies, then its localization within
the urban context only exacerbates these issues.
In short, though the promise of the ‘creative industry, creative city’ agenda has very real
appeal, its implementation in the distinct context of outside of European and North American
cities in general is fraught with ambiguities, tensions and ‘mistranslations’. An example of
this last would be the application of Richard Florida’s concept and methodology of ‘the
creative class’ in the very different context of Chinese cities – which has been attempted with
confusing results, to say the least.
This proposed workshop seeks to address many of the issues surrounding the “ecosystem” of
a creative city with a creative economy. The workshop will comprise seven sections,
addressing the following dimensions:
1
Creative Cities, Creative Industries
This opening session will examine the different claims being made about the creative
or cultural economy (and related concepts) and its relation to the idea of the ‘creative
city’. How are these different claims being used in cities across Europe and Asia?
2
2
Culture, Economics and Public Policy
The term ‘creative industries’ implies a new connection between ‘culture’ and
‘economics’. In addition the notion of ‘creativity’ is being used in both Asia and the
West as a central organising vision for economic and urban development; it is
strongly implicated in scenarios of innovation, new forms of work, new codes or
organisational and individual practice – all the way to a wider restructuring of social
identity and cultural values.
What do these claims involve and how do they suggest new models of public
intervention and governance?
3
Creative Industries in policy and practice
How are creative industries conceived? What constitutes creative industries? Do
Asian cities follow European models? If not, why not and what distinct paths can we
see? What policies have been introduced, and how have they been helpful or not to
the development of creative industries? In practice, what enabling conditions
contribute to the development of creative industries? What are the challenges to the
development of creative industries?
4
Creative clusters and creative spaces in policy and practice
In theory and policy as well as through natural evolution, creative clusters and spaces
have emerged in a number of cities, with varying degrees of importance and success.
This session will examine some cases in the context of both Europe and Asia, and
discuss their development, the conditions of their success or lack thereof, the
contradictions and confluences in policy and practice. The differences and
similarities between state-vaunted spaces and those that evolve through natural
clustering will be given attention.
5
Creative class in policy and practice
The global success of Richard Florida’s notion of ‘creative class’ has been seen as
indicative of the prominence of ‘creativity’ and ‘culture’ in local economic and urban
strategies.
What exactly does it mean? How rigorous is it theoretically? How helpful is it in
theory and practice for cities seeking to develop their creative economies? How have
different cities adopted this idea and used it to their advantage?
What is the relationship of the ‘creative class’ to the cultural and creative industries –
is the creative class simply another way of talking about consumption and
gentrification, re-circulating and feeding on what has been produced locally. Is the
attraction of such a ‘creative class’ really the best way of stimulating innovation, or
does this consumption based approach simply drive out the spaces of difficult and
3
‘unpopular’ local culture in which conflict and argumentation, ideas and innovation
thrive?
6
Urban Interventions in the creative city
The idea of creative city brings with it the sense that new forms of planning,
consultation, intervention and regeneration are needed. This session examines some of
the theoretical and practical bases for such interventions.
7
Creative economy and sustainable urban development
To what extent do the creative industries hold out possibilities for the sustainable
development? First, policy makers in Europe and North America make claims for the
role of creative industries in promoting social cohesion – how far can this be justified
and what are the tensions within it. Second, the creative industries agenda in Asia is
being driven by the large cities – how far might the agenda alleviate or exacerbate
social tensions and inequalities within the cities but also between cities and the rural
hinterland?
4
LIST OF PARTICIPANTS
1.
Justin O’Connor (University of Leeds, UK) has recently been appointed Professor in
the School of Performance and Cultural Industries. His previous research as Director of
the Manchester Institute for Popular Culture has spanned popular music, contemporary
urban cultures, cultural industries and innovative clusters. In particular, he has worked
on the historical, theoretical and policy dimensions of the creative industries since 1989,
conducting research and policy development in Manchester, the UK, cities across the
European Community, St Petersburg and Moscow.
2.
Calvin Taylor (University of Leeds, UK) specialises in the teaching and research of the
ways by which culture and the creative industries contribute to regeneration in the local
and regional contexts. He is also a member of the Forum on Creative industries and a
Board member of the Creative Industries Development Agency (CIDA).
3.
Andy Pratt (London School of Economics, UK) is a geographer who has written widely
on creative industries, and particularly new media. His work on cultural industries
production systems is well read and his frameworks adopted for study elsewhere, for
example, in Japan and Hong Kong.
4.
Mirko Petric (University of Zadar) is teaching in a sociology department and
researching topics spanning the fields of communication and culture. He is currently
coordinating two research and policy projects on creative industries and creative
economy in the South East European context.
5.
Veronika Ratzenböck (Kulturdokumentation, Vienna, Austria) is the Director of
Kulturdokumentation.Internatiales Archiv für Kulturanalysen, an extra-university
institute for applied cultural research that researches/publishes on the cultural policies,
cultural labour market and creative industries in Europe and specifically, Austria.
6.
Hans Mommaas (Tilburg University, Netherlands) is a professor in Leisure Studies at
the Department of Socio-Cultural Sciences and Director of Telos, Brabant Centre for
Sustainable Development. His general teaching and research interests concern issues of
globalization, regional development and the role of cultural production/consumption. In
recent times he has in particular published work on the leisure industries and the
network economy, on the dynamics of cultural clusters, and on the role of culture in
spatial development.
7.
Kate Oakley is a writer and policy analyst based in London, specialising in the
knowledge economy, the creative industries and regional development.
In addition to being a long time Associate of Demos, Kate is a Fellow of the Royal
Society of Arts and an associate of Burns Owens Partnership (BOP) a leading
consultancy on cultural and creative industries. She is a member of the Advisory Group
for IPPR’s Intellectual Property and the Public Sphere Project and a member of FOCI
(Forum on Creative Industries). She is on the editorial board of Games and Culture, a
journal about interactive media, published by Sage.
5
She is also Adjunct Professor in the Faculty of Creative Industries, Queensland
University of Technology, where she is involved in a variety of research projects,
currently including a study of arts and education. She is also an international member of
the Institute for Creative Industries and Innovation, (www.ici.qut.edu.au) at the same
faculty.
8.
Eric Corijn is professor of Social and Cultural Geography at Vrije Universiteit Brussel
(VUB, the Free University of Brussels). He is also Director of COSMOPOLIS,City,
Culture & Society the centre for urban research at VUB. His research and publications
are directed to the field of leisure studies, urban cultural policies, European unification
processes and citizenship. He recently co-authored: The Century of the City. City
republics and grid cities. White paper, (2005) Project Stedenbeleid, Vlaamse
Gemeenschap, Brussel
9.
Panu Lehtovouri was trained as an architect and co-founded Livady Architects. He
taught the MA course in Spatial and Environmental Design in the University of Art and
Design Helsinki from 1995 – 1998. Presently, he is doing project research in the Centre
for Urban and Regional Studies in Helsinki University of Technology, specialising on
‘public space’. His most recent articles include: Sumea kaupunki (Fuzzy City) in ARK
(1996), Managing Urban Change (1996) and The Creative City (1998).
10.
Anna Ptak (Warsaw University, Poland) is a member of the Section for Film and
Audiovisual Culture, Institute of Polish Culture. The Section's focus on the critique of
the social and cultural contexts of the products of various media, the anthropology and
theory of the image, the role of images and the audiovisual in Polish culture. She
collaborates with research and practice-oriented Section for Culture Animation
designed to create an international network for exchange of skills, information, methods
and partners in socio-cultural work.
11.
Masayuki Sasaki is a professor of Urban & Cultural Economics at Osaka City
University and the Graduate School for Creative Cities, Japan. He specializes in urban
economics, regional economics and the role of culture in urban regeneration. His
publications include Economics of Creative Cities and Autonomous Development of
Urban and Rural Areas. He is also a member of National Land Council Hokuriku
Regional Development Committee, Ishikawa Prefecture Urban Planning Council.
12.
Ted Tschang has a PhD from Carnegie Mellon, and is currently an Assistant Professor
of Economics and Technology at the Singapore Management University. He has
written about information technology industries and researched the video game
industry. He has worked at the Asian Development Bank Institute (Tokyo), the United
Nations University/Institute of Advanced Studies in Tokyo, and for the U.S.
Governemnt. At ADBI and UNU, he coordinated projects on the software industries in
India and China, virtual universities, the digital economy, and knowledge management.
13.
Lily Kong, National University of Singapore, is a professor of Geography, whose work
in social and cultural geography spans a range of issues, from religion and identity
constructions to cultural economy and cultural policy. Her main expertise is on
Singapore, but she is developing comparative research on Chinese cities in East Asia,
particularly, Hong Kong, Beijing, Shanghai and Taipei.
6
14.
Patrick Mok Kin Wai is a consultant with the Cheung Kong Centre for Creative
Industries, Beijing. He was the consultant for A Study on Creativity Index published by
Hong Kong’s Home Affairs Bureau in Nov 2005. He was also a speaker at the
International Creative Industries Conference held in Beijing on 7 - 9 Jul 2005.
15.
Jeon Yong-Seok, an artist from Seoul, Korea is the current member of the Urbanism
Research Group Flyingcity, with Jang Jong-Kwan. The artists of Flyingcity explore the
themes of the modernization drive of South Korea, the continuing transformation of
Seoul’s urban landscape and the relationship between art and the urban environment,
with the realization that attempts to shed light on the actual problems of the city could
be futile, given the fact that only those who are in power decide on its future.
16.
Ahmad Rida (Tata) Soemardi teaches architecture and urban design at Institute of
Technology Bandung in Indonesia. Educated at ITB, University of Pennsylvania and
University of New South Wales, he received training at Doxiadis Associates in Greece
and was visiting research fellow at the Technical University of Darmstadt, under
auspices of the EU-ASEAN professional exchange program during 1995-1996.
Currently Associate Director of the Center for Urban Design Studies in Bandung, he
was convenor of the international seminar ‘Arte-Polis: Creative Culture and the Making
of Place’ in 2006. Research interests include the link between theory and practice in
urban design, and the creative culture of cities, with a focus on Asia
17.
Li Wu Wei is Professor at Donghua University, Director of the Institute of National
Economy, Shanghai Academy of Social Sciences, Director of the Shanghai Creative
Industries Association and Vice – Chairman of the Standing Committee of the Shanghai
Municipal People’s Congress. His publications include his book Creative Industry: A
New Engine of Urban Development (2005); Creative Industry and Shanghai’s
International Competitiveness , Journal of Social Sciences, (Shanghai), No. 1, 2005;
and Problems and Perspectives: Development of Creative Industry in Shanghai,
Journal of Shanghai Economy, Oct. 2005.
18.
He Shou Chang is Professor of Shanghai Theatre Academy and Chief Secretary of
Committee of the CPC at Shanghai Theatre Academy
19.
Hua Jian, is researcher in SASS, and a decision-advisor and consultant expert for
Shanghai municipal government. His research covers many fields, for example, cultural
Industry, cultural development and cultural strategy. He has participated in dozens of
key research projects with a nationwide and provincial scope, and comparative research
on cultural investment systems in America, the European Union, Japan, Korea and
China.
7
List of Invited Guests
Li Yihai
Yang Jianwen
Yan Chengzhong
Ge Weimin
Wang Xiuzhi
He Zengqiang
Zhao Yong
Tang Su
Gu xin
Michael Keane
Liao Pei Ling
Seng Su TSANG
Centre for Creative Industries Research at SASS:
Wang Yumei
Wang Huimin
Wang Ruzhong
Yu Xuemei
Miao Yong
Wang Zeguang
Sun Jie
8
Creative Cities, Creative Economies
Shanghai Academy of Social Sciences ,
16-18 October 2006
Programme
16 October, Monday
8:30 a.m.
Depart Donghu Hotel
9.00 - 9.15
9.15 – 10-45.
Introduction and welcome
Creative Cities, Creative Industries
Andy Pratt (London School of Economics, UK): ‘Creative Cities and
Creative Industries: the European Experience’
Masayuki Sasaki (Osaka, Japan): ‘Creative Cities and Creative Industries in
the Asian Context’
He Shou chang (Shanghai Theatre Academy): ‘Research on Theories of
Creative Industries and Shanghai’s Practice’
10.45- 11.00 a.m.
Tea/ Coffee
11 – 12.30
Culture, Economics and Public Policy
Justin O’Connor (University of Leeds, UK): ‘Creativity as Modernisation:
Thoughts on Cultural and Creative Industries”
Ted Tschang (Singapore Management University): ‘China’s New Media
Sectors: Domestic Culture as Competitive Advantage’
Discussant: Mirko Petric, (University of Zadar, Croatia)
12.30 – 2.00 p.m.
Lunch (Donghu Hotel)
1:45 p.m.
Depart Donghu Hotel
2.00 – 3.30
Creative Industries in Policy and Practice
Veronika Ratzenböck, (Kulturdokumentation, Vienna, Austria): ‘Creating
a Counterbalance between Public and Private Sector: A Viennese Case Study
Li Wu Wei (Shanghai Academy of Social Sciences): ‘Status and Outlook for
Shanghai’s Creative Industries’
Discussant: Calvin Taylor (University of Leeds, UK)
3.30-3.45 p.m.
Tea/ Coffee
3.45 - 5.15
Creative Clusters, Creative Spaces in Policy and Practice
Hans Mommaas (University of Tilburg, Netherlands): ‘Creative Clusters:
European experiences’
Lily Kong (National University, Singapore): ‘Creative Clusters: Comparative
Perspectives from Three Asian Cities’
Hua jian (Shanghai Academy of Social Science): ‘China's Creative
Industries: the Diversity of Exploration Models of a Large Country’
9
5:30 p.m.
Supper at SASS
17 October, Tuesday
8:30 a.m.
Depart Donghu Hotel
9.00 -10.30
Creative Class in Policy and Practice
Kate Oakley (Consultant and Researcher, London): ‘Getting Out of Place:
the Mobile Creative Class Takes on the Local’
Patrick Mok (Cheung Kong Centre for Creative Industries, Hong Kong):
‘The Riddle of 'Creative Class': Creativity, Knowledge-driven Economy and
Urban Cities’
Discussant: Justin O‘Connor
10.30 – 11 a.m.
Tea/ Coffee
11.00 – 12.30
Urban Interventions in the creative city
Eric Corijn, (Cosmopolis, Free University Brussels): ‘Urban Interventions
and the European city’
Jeon Yong-Seok, (Artist, Seoul, Korea): ‘Artistic intervention in the city: the
experience of Asian cities’
Discussant: Panu Lehtovouri, (Helsinki University of Technology, Finland)
12.30 p.m. – 2 p.m.
Lunch (Dongu Hotel)
1:45 p.m.
Depart Donghu Hotel
2 – 3.30 p.m.
Creative economy and sustainable development
AR Tata Soemardi (Center for Urban Design Studies, Department of
Architecture, Institute Technology Bandung): ‘Creative Culture and the
Sustainable Making of Place: Insights from Indonesia”
Calvin Taylor/Mirko Petric (Universities of Leeds and Zadar): ‘Creative
Economy and Sustainable Development in Europe’
Discussant: Anna Ptak. University of Warsaw, Poland
3.30-3.45p.m.
Tea/Coffee
3.45 – 4.45 p.m. Closing session: summing up and next steps
4.45 – 5.15 p.m. Final remarks and thanks
6.00 p.m.
Supper at Donghu Hotel
18 October, Wednesday
8:45 a.m.
9.30 a.m. – 12 noon
Depart Donghu Hotel
Visit to cultural sites
Lunch Donghu Hotel
10
Abstracts
Dr Andy C Pratt, Reader in Urban Cultural Economy, LSE
Creative cities and the creative /cultural economy: the European perspective
The paper points to the fact that ‘creative economy’ policy, whilst it is a clear political
success, has yet to grasp the dynamics of the processes that it seeks to influence.
This paper examines the relationships between, and processes underlying, creativity and
cities. Cities are neither necessary nor sufficient for creativity to flourish. Moreover,
creativity is not a simple ‘magic bullet’ that can be added to the mix of cities to deliver
competitive advantage. Creativity is a process; they are ways of doing that are always
present. However, for some activities creativity is the ‘core business’; for others they are less
so. Creativity is most intense where there are a flow, and proximity, of challenging ideas and
practices. Under such conditions ideas or practices can ‘arc’ from one area to another in a
productive fashion. However, this usually requires close interaction of cognate activities.
Critically, the means of transfer is through embodied practice: people moving, talking and
doing, learning and mis-understanding. These environments are more often than not found
in cities.
The notion of the creative industries, as commonly used, is poorly defined and understood.
This paper argues for a more robust notion based upon the idea of a production chain. We
should not see an artificial separation between production and consumption; there is a
constant two-way flow. Cities, especially the more avant-garde, fashionable, areas as well as
the bars and restaurants are important spaces where such leaning to take place. An idea is
insufficient on its own; the real challenge is to consolidate and to develop an idea and
convert it into a product or practice: rules and institutions are vital here. Finally, ideas need
audiences or markets as a ‘sounding board’. Audiences are the fire in which products or
practices are destroyed or annealed: cities provide immediate access to audiences.
Dr Masayuki Sasaki
Professor, Osaka City University
Creative Cities and Creative Industries from an Asian Perspective
At first I would like to talk about creative cities from a comparative standpoint of West and
Asia, then focus on creative industries, especially Japanese pop culture industries, from an
Asian perspective. Since the bursting of the economic bubble in 90s’, there has been a
growing interest in creative cities and the urban regeneration through cultural policy and
creative industries. Typical cities that have moved in this direction are Kanazawa and
Yokohama, Seoul and Busan etc. I will mention a characteristic of creative cities in Japan
through comparison analysis of Kanazawa and Yokohama. Then I will measure the market
size of Japanese creative industries and clarify the characteristic of them. Particularly I focus
on a characteristic of Japanese pop cultural industries like animated cartoon. In conclusion, I
will mention a problem of creative industries and their international exchange in Asia.
11
Professor He Shouchang，Shanghai Theatre Academy
Research on Theories of Creative Industries and Shanghai’s Practice
With the development of creative industries, scholars and researches in Shanghai have
conducted a large amount of studies on the basic theories of creative industries. Some of the
important theories and viewpoints will be introduced in this article. On the basis of theory
research, I apply systematic methodology on the study of value increase mechanism of
creative industries, and bring forward the open ring model and close ring model for value
increase in the creative industries. In this presentation I will give focus on the models.
The theoretical research on creative industries has also promoted the development of
practice in the field, and has formed the “Shanghai model of development”, which has been
recognized by the United Nations as applicable to developing countries. Besides, the
presentation will also make analysis on the cultiviation of creative talents by the School of
Creative Studies in the “Shanghai model”. A brief introduction will be made on the
cooperation between Shanghai creative industires and related UN agencies.
Professor Justin O’Connor
University of Leeds, UK
Creativity as Modernisation: Thoughts on Cultural and Creative industries
This paper will look at some of the issues arising out of the cultural or creative industries
agenda, in particular the question of ‘creativity’ set against the background of a changing
relation between notions of ‘culture’ and ‘economy’. It will look at some of the problems
posed by this for public policy in this area. I will focus my East Asian examples in terms of
China. After looking at some of the baggae contained in the ‘creativity’ agenda in the West I
look at how this has been dealt with in its transposition to the East Asian region, and in
particular China. The paper suggests that after some initial problems with the term ‘creative’
as opposed to ‘cultural’ industries many Chinese cities and, it appears the Chinese central
government are adopting this. We suggest that this might not be the ‘Trojan horse’ for
liberalisation sometimes suggested in Western commentaries. It further suggest that ts
renegotiation of what is ‘cultural’ and what is ‘creative’ (and thus open to more private
commercial investment) hides some key issues for both cultural policy and for creative
innovation as such. The paper concludes with some thoughts on Shanghai as a creative city
in this context.
TedTschang，Singapore Management University
China’s New Media Sectors: Domestic Culture as Competitive Advantage
This paper takes case studies from the Chinese new media sector and looks at the role of
local cultures rather than international investment as a source of competitive advantage
Veronika Ratzenböck, Kulturdokumentation, Vienna, Austria
Creating a Counterbalance between Public and Private Sector: A Viennese Case Study
Do the Creative Industries really bring the expected economic growth? To what extent do
they contribute to the attractiveness of cities and regions as locations and to what extent are
they responsible for their wealth? Is it true that cities and regions have already become an
12
economic factor on the basis of their creative potential, because as a result companies in
creative industries and trades, which as a rule have above average growth and employment
intensity, are attracted to them?
Vienna – a city with an international reputation as a cultural capital – has many creative
workers within the art, culture and entertainment sector; a high level of artistic creative
potential and talent, and a well-established infrastructure of cultural institutions and
cultural flagships (museums, theatres, etc.). In comparison to most European cities, Vienna
has a relatively high cultural budget, a very distinct urban artistic cultural environment, a
lively cultural and creative scene, a high density of educational facilities, a well-established
research landscape within universities and research institutions, and is attractive for
international cultural tourism.
And: since 2004 Vienna has had an ambitious and comprehensive municipal programme to
promote the creative industries as one of the main focal points of the city’s economy policy.
The characteristic structural feature of Vienna is the economic interdependence between
parts of the creative industries and public funding of art and culture. Using the example of
Vienna – where Culture stands for lifestyle and the Creative Industries for efficiency – the
structures and measures that have been developed to exploit its creative potential are to be
highlighted.
Only: are monetary subsidies for creative products and services and their marketing
sufficient for the development of the Creative Industries on a sustainable economic basis?
Supporting and developing Creative Industries is a labour-intensive process consisting of
many small and very few large steps. For this one needs the right strategies, policies and
programmes. Have we got them?
Professor Li Wu Wei, Shanghai Academy of Social Sciences
Status and Outlook for the Creative Industries in Shanghai
I.
Background
1.
To propel the development of Shanghai’s creative industries is essential for
Shanghai’s industrial restructuring program.
It is essential to make an effort to increase the manufacturing sector’s value-added
and competitive edge.
It is essential for the functional re-engineering and distribution adjustment of the
city.
The World Expo would be a valuable opportunity for the development of Shanghai’s
Creative Industries.
2.
3.
4.
II.
1.
2.
3.
4.
III.
Status
Thanks to its rapid development over the years, Shanghai’s Creative Industries now
contribute more than 7% to the city’s GDP.
Shanghai’s Creative Industries are taking a path of clustered development.
The development of the Creative industries has got the attention of many
communities of the society.
IT-related content service sector has been on the rise.
Outlook
13
1.
Guidelines: The “11th Five Year Plan” of the Shanghai Municipal Government
requests proactive efforts to promote the development of the Creative Industries.
1)
Integrate with the upgrading of the industry
2)
Integrate with the development and restructuring program
3)
Integrate with 2010 World Expo activities
4)
Integrate with advanced culture
2.
3.
Strategic objective
Key strategies: Focus on key industries, Industry-focused strategy, Brand-focused
strategy
IV.
1.
2.
3.
4.
Proposals
Make an overall plan for the development of Shanghai’s genius sector;
Increase policy support in terms of funds, tax, investment and financing services;
Strengthen IPR protection; establish Shanghai Copyright Centre.
Make proactive efforts to cultivate the market, expand domestic demands and
promote exports.
Increase efforts to develop and introduce genius professional and cultural
agents/intermediary organizations to convert creation results into operation
resources.
Develop SMEs; build and improve the public service platform for the genius sector.
5.
6.
Professor Hans Mommaas, Tilburg University / University of Utrecht (Nl)
Creative clusters: European experiences
Throughout Europe, cultural/creative clusters signal a transformation in the triangular
relation between culture, economy and space. Whereas in former times, cultural was
predominantly seen as an extra-economic activity and economic policy as of a primary
national concern, today, with more and more urban regions more and more directly
competing on globally liberalised markets, cultural and economic policies have become
intertwined key policies in urban development. One of the results is a growing popularity of
cultural/creative cluster policies. When grouped together, cultural/creative production and
consumption functions are thought to have a higher creative-economic spin-off and because
of that a greater stake in a globally intensifying, deterritorialising flow of ideas.
However, under labels of cultural/creative clusters, a common and appealing conceptual
agenda is hiding a confusing and ambiguous complexity. Cultural/creative clusters come
with a great variety of forms, models and programmes, with different relations to the
surrounding urban landscape, both cultural and economic, and often lead by very different
if not contradictory agenda's. This not only involves varieties of economic, cultural and
spatial goals, it also involves different perspectives on how clusters could/should be
developed, and what the role therein should be of the state versus the private sector.
The problem here is not so much the variety itself, the problem is the unreflective use of
concepts of cultural/creative clusters, without stakeholders investing proper time in trying
to understand what it is they are aiming for. This is understandable given the early stage in
which cultural/creative cluster development policies find themselves. On the other hand, an
ongoing understanding of the dynamics of different models of creative/cultural clusters is
needed to prevent them from becoming the victim of unproductive evaluations.
14
In this paper an attempt is made to try and disentangle the complexity. Based on an analysis
of European discourses on and cases of cultural/creative clusters, the paper delivers an
argument for a certain differentiation of types of creative/cultural clusters, also implying a
differentiation of agenda's, of criteria of success and failure and of policies able to facilitate
these clusters.
Lily Kong，Department of Geography，National University of Singapore
Creative clusters: Arts and cultural activities in Singapore
Much of the literature on creative clusters has tended to adopt the concept of clusters
without much question from the context of industrial concentrations (see Gordon and
McCann, 2000), and are thus subjected to the same economic analysis and policy response as
other industries. This is inappropriate as many creative clusters are “de facto cultural
quarters with assorted cultural consumption and not for profit activities” (Evans et al.
2005:26), thus meriting evaluation through a different lens. While there are active debates
surrounding the explanatory value and promise and potential of creative clusters, my
intention in this paper is not to critique the existing literature. Rather, I wish to take a very
grounded approach by examining a particular context (Singapore, a small city-state),
identifying examples of concentrations of creative activity there, and then developing a
conceptual typology of creative clusters. I examine three types of clusters, with a focus on
arts and cultural activities. These are: organic clusters, adaptive re-use arts belts, and
cultural districts. Based on the unique characteristics observed of these clusters, I make a
case for expanded research agendas on creative clusters which go beyond interrogating the
economic dimensions of creative clusters, and seek to question the social/community,
cultural and environmental dimensions as well. Further, as other studies have highlighted,
the interactions and relationships within clusters and the grounding in local mores and
production chains must be explored alongside networks with others in the international
arena.
Professor Hua Jian, Shanghai Academy of Social Science
China's Creative Industries: the Diversity of Exploration Models of a Large Country
I Basic background
II. Multimode exploration
In the background mentioned above, the development of creative industries to explore
diversity is conducted in China.
1. The model of Shanghai's creative industries
2. The model of Impression Sanjie Liu of Guangxi province
3. The model of Hunan Radio and TV industry
4. The model of the creative industry of Hangzhou in Zhejiang province
5. The model of the printing industry in Shenzhen
III. The important enlightenments
1. As a large developing economic country, China demands to build the multimode
creative industries to promote the development of its own creative economy.
2. It is necessary to incorporate local geography, traditional and folk customary resources
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3.
4.
with the modern enterprise management system and to obtain the support of a modern
market system.
The regional developments of the creative industries need to take advantage of the local
resources to form a "comparative preponderance" and then integrated to form a
comprehensive "competitive preponderance";
In the process of developing products, it is necessary to combine the domestic market
with the international market.
Kate Oakley, Consultant and researcher, UK
Getting Out of Place: the Mobile Creative Class Takes on the Local
The discourse of creative industries in the UK has always contained contested and
contradictory notions about the role of the ‘local’ in economic development. These sectors
are often presented as rooted in and expressive of ‘place,’ while falling barriers to entry, the
growth of ICTs and the expansion of higher education seemed to open up the possibilities of
wider participation, both geographically and socially. This idea has retained much currency
over the last decade, with economic agencies at regional, urban and even local level
competing in many cases to develop capacity in these sectors. Over the same period,
geographic concentration in these sectors has increased.
While much of this activity has focussed on stimulating production, with a variety of
measures on training and education, soft loans, workspace and business advice; more
recently focus has been switching to the role of consumption, as an economic driver in its
own right. The idea that the creative milieu has a role in economic development by virtue of
its ability to attract ‘mobile knowledge workers’ has been popularised most dramatically in
the work of Richard Florida. His notion of a ‘creative class,’ owes much to new growth
theory and the importance it attaches to the role of human capital in economic growth.
Florida’s work – at least initially – attracted a good deal of flattering attention from regional
policymakers in the UK; though critiques of his work have simultaneously grown louder. In
particular, the role of labour mobility has undoubtedly been overplayed in a European
context, while the boosterist nature of much of Florida’s work had been criticised for
downplaying the polarising nature of knowledge based economic growth, particularly
within an urban context. In addition, the notion of ‘creativity’ has been decoupled from
culture, leading to confusion about growth in the cultural sectors and innovation in the
economy more generally.
This paper will look at the history of Florida’s ideas in the UK and what it reveals both about
the confusion of economic development policy in these sectors and the problems of ‘fast
policy’ making (Peck, 2005).
Drawing on the author’s own experience in policy development, it will revisit ideas about
the role of locality and the potential this holds for places facing economic challenges. What
has been the experience of local economic development in this area? Have the raft of city
and regional approaches borne fruit or simply lead to an explosion of industry networks and
publicly-funded incubators? Is there a role for a focus on cultural consumption that does not
lead down the path of Florida-style gentrification? Or does the notion of creativity currently
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being pursued drive out the spaces of difficult, marginal or radical local culture in which
conflict and argumentation, ideas and innovation thrive?
Patrick Mok, Cheung Kong Centre for Creative Industries, Hong Kong
The Riddle of the 'Creative Class': Creativity, Knowledge-driven Economy and
Urban Cities
Since its publishing in 2002, Richard Florida's The Rise of the Creative Class becomes an eyecatching and hot reference for policy makers who are looking for elixir of urban economic
growth. It coins a new phrase the 'creative class' and claims to devise a new tool for
measuring and evaluating the relationship between culture and economic growth. Equally
compelling is the debate and controversy stemming from the 'creative capital theory'
proposed by Florida. In a series of recent publications, including The Rise of the Creative
Class (Florida, 2002), The Cities and the Creative Class (Florida, 2005a) and the Flight of the
Creative Class: The New Global Competition for Talent (Florida, 2005b), Richard Florida
explains the economic growth of cities in terms of cultural diversity and openness as well as
the changing urban social and economic structure. In essence, the creative capital theory
explains why some cities grow but the others doom to failure. This paper gives a review of
Florida's theory and illuminates the limitation of the creative capital theory when it is
applied to explain urban economic growth in Asian countries. In particular, this paper
attempts to argue that there are different growth paths in Asian cities; economic prospects
come after the successful transformation of individual economy in Asian urban cities. The
process of socio-economic restructuring in Asian cities is far more dynamic and complex
than the creative capital theory can explain though, in generic terms, there is no doubt that
an open and diverse cultural environment may be conducive to economic development.
Eric Corijn, Cosmopolis, Free University Brussels, Belgium
Urban Interventions in the European City
Yeon Yong-Seok, Artist Seoul, Korea
Artistic interventions in the City: the Experience of Asian Cities
Ahmad Rida Soemardi, Lecturer in Architecture and Urban Design - School of
Architecture, Planning and Policy Development - Institute of Technology Bandung –
Indonesia
Creative Culture and the Sustainable Making of Place: Insignts from Indonesia
Although there is greater understanding of the link between creative economy and urban
development, discourse on this nexus has primarily been derived from European and North
American contexts. What remain lacking are critical examinations of these ideas and
empirical knowledge from different cultural contexts, particularly of cities in Asia and
developing countries. This paper explores to what extent creative culture holds possibilities
for sustainable urban development. It examines Indonesian cities, focusing on the city of
Bandung. Compared to other cities in Indonesia, Bandung’s urban culture differs in the
sense that it is closely related to human creativity. Whereas Yogyakarta is best known as the
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center of traditional culture, Bali for religious-based culture and Jakarta for commercialrelated culture, Bandung can be described as a city of ‘creative culture’,
As Indonesia’s fourth largest city with a population of over 2 million, Bandung has long
historical development of creative culture, where a society involved in creative-based
activities and an abundance of educational institutions have become its greatest asset. With
the decline in textile manufacturing, Bandung began developing high-technology industries
(aircraft and microelectronics) and more recently, information technology based industries.
Home to nearly fifty universities including Institute of Technology Bandung - the country’s
most prestigious school for engineering, architecture and fine arts - it exemplifies the role of
universities in providing human resources for various creative and IT-based industries in
the region. The city also has numerous major art galleries as well as independent studios for
multimedia, animation and music recording. In essence, Bandung has the potential to play a
major role in the creative economy, towards more sustainable urban development.
Within this framework, the paper outlines Bandung's creative culture and its relation to
urban development. It maps the clusters of creative industries and explores to what extent
creative-based cultural activities promote social cohesion. Findings from this reflective study
aim to inform future policies on sustainable urban development for Bandung and other
Indonesian cities, as well as contribute to the continuing discourse on creative economy and
urban development.
Calvin F Taylor, University of Leeds, UK
Creative Economies and Sustainable Development: Observations on European Policy and
UK Experience (Abstract)
Over a 20 year period the UK has witnessed the promotion of first the cultural industries
and then in the last ten years, the creative industries, as engines of local and regional
economic development and social transformation. Since 1996, several regions of the UK,
most notably the North West, Yorkshire, the Northern region, the West Midlands and the
South West, have systematically engaged with European Regional Development policy. The
cultural and creative industries have been a high profile feature of that engagement,
benefiting from a certain degree of priority in terms of policy initiatives and from
investment drawn down from the European Structural Funds and a number of the smaller
Special Initiatives opportunities. Initially co-ordinated at the regional level, but driven at
the local level, now both co-ordinated and driven at the regional level, the UK experience
provides an interesting set of case studies in the varied approaches to developing the
cultural and creative industries on a sustainable basis.
This paper offers a set of reflections on that experience, commenting on:
a. The interaction of European policy (and its apparatus) with local practice;
b. The evolving ecology of the cultural and creative industries and the impact of
European policy;
c. The shift in policy discourse from European priorities to national priorities post 1997
and impact at the local/regional level;
d. The evolving identity of the cultural and creative industries sector and the future
post-Structural Funds.
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The author draws on examples of initiatives from a range of regions and localities in the UK,
including the North West, Yorkshire and the South West to illustrate the benefits and
challenges presented by the interaction of supra-national policy with local and regional
cultural and creative industries strategies for sustainable development.
Mirko Petrić, Department of Sociology, University of Zadar, Croatia
Creative Economy and Sustainable Development in the East of Europe
This presentation aims to discuss whether the agenda of creative economy development can
be implemented in the East of Europe, given the social, cultural and economic realities of the
post-socialist countries it is composed of. The paper departs from the premise that uniform
solutions are not applicable in this context, since Eastern Europe is in actuality a highly
diversified area. Countries that it is composed of share a number of commonalities due to
the nature of the political and economic systems in their socialist past, but the cultural
matrices of individual countries, subregions and regions within it vary to a large extent.
Likewise, the levels of economic development that one encounters in different parts of
Eastern Europe vary significantly.
The challenges that even the most developed countries in the area are facing relate
predominantly to the structures of their economies, limited access they have to the global
economic and cultural flows, and deficiencies in their governance and civil society
development. The opportunities the creative economy can create are therefore seen
primarily in the areas of improvement of the civil society and governance structures, as well
as in capacity building for global integration. In the policy context, the paper advocates a
strategic approach and emphasizes the importance of education. The strategy identified as
leading towards sustainable development can be described as a reformed Nordic one,
counting with public investment in social cohesion but also heeding the new global context
of both culture and the economy.
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