The title of ‘creative economy’ is much sought after by cities around the world. This new soubriquet in the vocabulary of urban esteem captures at a glance the zeitgeistian coupling of culture with economic value. With a renewed emphasis on place and the qualities of locality as the locus of development, there is a strong interest from policy-makers in the role of culture in economic development, particularly in the guise of the so-called ‘untraded inter-dependencies’ (Storper 1995) of shared values, trust and social capital. Similarly, once seriously neglected in studies of economic development, culture as both the context for and possible source of economic growth also now appears at the heart of new ways of thinking and practising economic development (Radcliffe 2006; Clammer 2005).
Whilst different conceptualisations of the creative economy abound, the most common approaches reference the idea of the creative industries as a potential driver of industrial and economic development. Since 1997, there has been in the United Kingdom an upsurge of government, private and third sector interest in the contribution of the creative industries to the UK economy and society (DCMS 1998, 2001, 2007; The Work Foundation 2007), a contribution which a number of commentators have posited as a key source of future competitive advantage (NESTA 2006; Cox 2005). With annual growth rates at twice the average for the economy as a whole (DCMS 2007), the attraction of the creative industries for policy-makers is clear. With a combination of above-average growth statistics and something of the zeitgeist, the creative industries feature in virtually every regional and local economic strategy in the UK. However, it is this widespread adoption that needs to be scrutinised.
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Taylor, C. (2009). The Creative Industries, Governance and Economic Development: A UK Perspective. In: Kong, L., O'Connor, J. (eds) Creative Economies, Creative Cities. The GeoJournal Library, vol 98. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-9949-6_10
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