[Bcma-l] Culture and the Creative Economy: Arts Research Monitor
bcma-l@museumsassn.bc.ca
bcma-l@museumsassn.bc.ca
Tue, 23 Jun 2009 15:35:40 -0700
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From:           =
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Subject:           =
          <b>Culture and=
the Creative Economy: Arts Research Monitor 8.1</b></span></font>
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Date sent:          =
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ARTS RESEARCH MONITOR</span></font>
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ISSN 1708-170X</span></font>
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VOLUME 8, NO 1</span></font>
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Culture and the Creative Economy</span></font>
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In this issue: A number of reports on the creative economy, including the
role of arts and culture in stimulating innovation and creativity. An
international forum examines the creative economy around the globe, while
other reports highlight the prospects for the creative economy in two
Canadian provinces.</span></font>
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Compendium of Research Papers: The International Forum on the Creative
Economy Conference Board of Canada, August 2008</span></font>
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http://www.conferenceboard.ca/documents.aspx?did=3D2701</span></font>
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(free registration required)</span></font>
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The International Forum on the Creative Economy, a two-day forum in
Gatineau, Quebec in March 2008, provides “evidence on the current an=
d
future economic forces and trends impacting the innovation, creative, and
knowledge-based economies”. Presentations at the Forum delved into
various facets of the creative economy in many countries around the globe,=
not just Canada. </span></font>
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A Compendium of Research Papers presents the detailed findings from the
Forum, while “e-Proceedings” provide the conference sessions i=
n media
formats (available at
</span></font>
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http://webcast.conferenceboard.ca/EPRO_2566/index.asp </span></font>
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). </span></font>
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The Compendium includes 29 workshop research papers and a report on
the economic impacts of the cultural sector (see our review of “Valu=
ing
Culture” in Arts Research Monitor vol. 7 no. 5)</span></font>
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Research themes include valuing culture, the geography of culture,
innovation and collaboration, drivers of and transitions in the creative
economy, intellectual property, copyright, cultural consumption, and film
production practices.</span></font>
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A number of research papers examine the nature of the creative economy in<=
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Canada, including reports on artist careers in Montreal, diversity and
economic development, as well as the situation of artists in the creative
economy. The report on artists in the creative economy proposes “liv=
elihood
systems models” as a valuable tool in helping to establish “an=
evidence base
for understanding the economic and social contributions and challenges of
artists’ working lives”.</span></font>
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As an example, the paper argues that “communities and organizations =
that
are struggling to find ways to create an enabling environment for artistic=
practice and creative lives can work with artists themselves as partners, =
to
generate the kind of evidence-based data on which good policy and effectiv=
e
plans and programs are made”.</span></font>
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The paper on diversity and economic development examines the economic
roles of knowledge, innovation, social interaction, and “places as l=
earning</span></font>
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opportunities”. Using statistical models, the paper finds that &ldqu=
o;there is a</span></font>
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stronger relationship between local diversity and local economic structure=
than between local diversity and overall local economic performance”=
. The
paper stresses the importance of taking local conditions into account when=
pursuing creative city economic development.</span></font>
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The exploratory research on artist careers in Montreal finds that the city=
is</span></font>
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attractive to artists for its relatively low rents and possibilities for</=
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experimentation. On the other hand, during interviews conducted for the
project, many interviewees indicated that Montreal “is lacking in in=
stitutions,</span></font>
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structures and networks for pursuing a true artistic career, without havin=
g to</span></font>
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perform other jobs in order to survive”.</span></font>
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An interesting research paper from Australia examines the work of creative=
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professionals throughout the economy, not just in creative industries. The=
paper examines three elements of the creative workforce: “specialist=
mode”,
i.e., those in creative occupations working in the creative industries; &l=
dquo;support</span></font>
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mode”, i.e., those outside of creative occupations but working in th=
e creative</span></font>
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industries; and “embedded mode”, i.e., those in creative occup=
ations outside
of the creative industries. In Australia, the growth rate of “embedd=
ed”
creative workers has been much higher since 2001 than other types of
workers.</span></font>
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Resources from the United Kingdom include a detailed benchmarking of
London’s cultural and creative industries as well as a paper on &ldq=
uo;the creative
suburb”.</span></font>
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The paper on London argues that the creative sector accounts for about
“one in eight London jobs and a sixth of its output”, that &ld=
quo;the creative sector
was a driver of growth” in London, and that creative industries are
“exceptionally concentrated in London”. An interesting note in=
the study
indicates that “business expenditure on creative products had, by 20=
04,
exceeded spending on business and financial services”. The report on=
culture in suburban areas indicates that “there is evidence of a shi=
ft in
employment toward more suburban and small town locations, though not to
truly rural ones”. The paper argues that these changes “are no=
t being fully
recognized in current policy debates”.</span></font>
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With 29 research papers, the Compendium contains many more resources
than can be highlighted in this brief summary of findings.</span></font>
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Ontario in the Creative Age</span></font>
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Martin Prosperity Institute, February 2009</span></font>
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http://martinprosperity.org/research-and-publications/publication/ontario-=
in-
the-creative-age-project</span></font>
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For Ontario to become a “world leader in the creative age”, th=
is report
argues that building prosperity for all Ontarians will require “draw=
ing more
broadly on the creative skills of our people and workforce, developing
stronger clustered industries, and harnessing the creative potential of
current and future generations”. </span></font>
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The report finds that service industries now dominate the economy. In</spa=
n></font>
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particular, “over the past twenty-five years, the creativity-oriente=
d</span></font>
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occupations have increased from 26 percent of the province’s work fo=
rce to
30 percent”. The report argues that, as a consequence, the economy h=
as
shifted from an emphasis on physical skills and repetitive tasks to human
intelligence, analytical skills, collaborative skills and judgment. Human
creativity is becoming “the ultimate economic resource. The ability =
to
generate new ideas and better ways of doing things is ultimately what driv=
es
innovation to raise productivity and thus living standards.”</span><=
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Currently, Ontario ranks “well behind a set of peer regions in North=
America
and slightly behind the best global peers in economic output per person&rd=
quo;,
partly because Ontarians’ “creative skills are less developed =
than those of
the world’s leading jurisdictions”.</span></font>
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According to the report, governments, businesses and individuals all have =
a
role in making the shift to a more creative economy. In order to harness t=
he
creative potential of Ontarians, the report recommends that, by 2030, the
province become “the world’s first jurisdiction where creativi=
ty-oriented
occupations account for half of all jobs”. The report also argues th=
at Ontario
should be marketed as “the creative province”. In order to bui=
ld the
province’s talent pool, Ontario should attempt to ensure that a larg=
er
proportion of young people have a college or university education. The
report argues that new social safety nets are required in the new economy,=
including early childhood development, investment in skills development an=
d
“wage insurance for longer tenure workers”. Finally, to &ldquo=
;build province-wide
geographic advantage”, Ontario should invest in the connectivity bet=
ween
regions and ensure that the “mega-region” is as strong as poss=
ible.</span></font>
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Building the Creative Economy in Nova Scotia</span></font>
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Nova Scotia Cultural Action Network, February 2009</span></font>
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http://www.novascotiacan.ca</span></font>
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This report outlines the nature of the emerging creative economy, where
“human creativity is a defining feature of contemporary life”.=
The report
identifies four “critical success factors in building a successful c=
reative
economy”: </span></font>
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(1) leadership and participation; (2) infrastructure; (3) awareness and
education; and (4) investment and policy.</span></font>
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The contribution of the arts and culture to the creative economy includes<=
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“driving innovation through core creativity and cultural industry ac=
tivities”,</span></font>
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“driving the economy through wealth creation” (rather than sim=
ply being a</span></font>
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beneficiary of wealth generation), and “positively impacting the qua=
lity of life</span></font>
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in a given region, which in turn attracts more creators and innovators&rdq=
uo;.</span></font>
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Despite the finding that “Nova Scotia’s overall economic perfo=
rmance in
recent years has been at or near the bottom of the ranking for all Canadia=
n
provinces”, the report indicates that the economic output of the pro=
vince’s
cultural sector has grown steadily. In 2003, the province’s cultural=
sector
“contributed $1.2 billion to the provincial GDP … and created=
28,000 jobs”.</span></font>
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The “five fundamental steps” for realizing the potential of No=
va Scotia’s</span></font>
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creative economy closely mirror the success factors outlined previously: (=
1)</span></font>
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leadership and participation; (2) recognition that culture is a positive</=
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contributor to the economy, not a drain on wealth generation;  (3) re=
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data and policy on the province’s creative economy; (4) additional
investment in all aspects of the creative cycle, including creation, produ=
ction,
distribution, consumption and conservation; and (5) infrastructure policie=
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and funding “that support the development of spaces for creation,
collaboration, and presentation in both urban and rural areas of the
province”.</span></font>
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------- End of forwarded message -------</span></font>
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_______________________________</span></font>
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Jim Harding, ED</span></font>
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BC Museums Association</span></font>
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(250) 356-5694</span></font>
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