Advertisement

From Edge to Engine

The Creative Sector’s Cultural and Entrepreneurial Power and Promise
  • Shoshanah B. D. Goldberg-Miller
  • Rene Kooyman
Chapter
Part of the FGF Studies in Small Business and Entrepreneurship book series (FGFS)

Abstract

This article addresses the societal repositioning of the creative sector by the international policy community from an exclusively cultural resource to an economic engine. We analyze the relationship between the increased production and use of data and reports and the change in positioning regarding the power and effectiveness of the creative sector by policymakers from 2008 to 2015.

We investigate the shift towards viewing the creative economy as an entrepreneurial engine. As a proxy, we use two pivotal policy actors: the United Nations Education, Scientific and Culture Organization (UNESCO), and the United Nations Conference on Trade and Development (UNCTAD). While this repositioning has not reached a saturation point, the findings show that the creative sector has moved from a fringe position towards a more empowered place in global policy discourse.

Keywords

Creative economy Strategic analysis Policy development Creative entrepreneurship Economic development 

References

  1. Amsterdam Economic Board. (2014). Counterstrategy creative industry 2014–2020. Amsterdam: AEB.Google Scholar
  2. Andrew, J., & Spoehr, J. (2011). Beyond the creative quick fix conceptualising creativity’s role. In K. Kourtit, P. Nijkamp, & R. R. Stough (Eds.), Drivers of innovation, entrepreneurship and regional dynamics (pp. 366–386). Heidelberg: Springer.Google Scholar
  3. DCASE (Chicago Department of Cultural Affairs and Special Events). (2012, December 14). Arts + creative industries division. http://www.cityofchicago.org/city/en/depts/dca/supp_info/cultural_plan.html
  4. Dos Santos Duisenberg, E. (2008). Creative economy report 2008. Geneva: UNCTAD.Google Scholar
  5. Dos Santos Duisenberg, E. (2010). Creative economy report 2010. Geneva: UNCTAD.Google Scholar
  6. Ettlinger, N. (2009). Surmounting city silences: Knowledge creation and the design of urban democracy in the everyday economy. International Journal of Urban and Regional Research, 33, 17–230.CrossRefGoogle Scholar
  7. EY. (2014). Creating growth: Measuring cultural and creative markets in the EU. London: EYGM Limited.Google Scholar
  8. Flew, T., & Cunningham, S. D. (2010). Creative industries after the first decade of debate. The Information Society, 26(2), 113–123.CrossRefGoogle Scholar
  9. Florida, R. (2003). The rise of the creative class: And how it’s transforming work, leisure, community and everyday life. New York: Basic Books.Google Scholar
  10. Garnham, N. (2005). From cultural to creative industries; An analysis of the implications of the “creative industries” approach to arts and media policy making in the United Kingdom. International Journal of Cultural Policy, 12(1).Google Scholar
  11. Gibson, C., & Kong, L. (2005). Cultural economy: A critical review. Progress in Human Geography, 29, 541–561.CrossRefGoogle Scholar
  12. Goldberg-Miller, S. B. D. (2017). Planning for a city of culture: Creative urbanism in Toronto and New York. New York: Routledge.Google Scholar
  13. Goldberg-Miller, S. B., & Fregetto, E. F. (2016). Urban creativity: An entrepreneurial focus. Journal of Enterprising Culture, 24(01), 79–99.CrossRefGoogle Scholar
  14. Howkins, J. (2001). The creative economy: How people make money from ideas (2nd ed. 2013). New York: Penguin.Google Scholar
  15. Howkins, J. (2002). The creative economy: How people make money from ideas. UK: Penguin.Google Scholar
  16. KEA. (2006). The economy of culture in Europe. Brussels: KEA European Affairs.Google Scholar
  17. Kooyman, R. (2009). The entrepreneurial dimension of cultural and creative industries. Brussels/Utrecht: EU EACEA/HKU.Google Scholar
  18. Landry, C. (2008). The creative city: A toolkit for urban innovators. London: Earthscan.Google Scholar
  19. Landry, C., Caust, M., & Brecknoc R. (2014). Taking the creative pulse of Adelaide. Final Report, Adelaide.Google Scholar
  20. Myerscough, J. (1988). The economic importance of the arts in Britain. Policy Studies Institute.Google Scholar
  21. Pol, H. (2007). Key role of cultural and creative industries in the economy. Montreal: UNESCO.Google Scholar
  22. Scottish Government. (2009). Creative industries key sector report. Edenborough: Scottish Government.Google Scholar
  23. UNCTAD. (2008). Creative economy report 2008. Geneva: UNCTAD.Google Scholar
  24. UNCTAD. (2015a). CABO Verde’s creative economy: Leveraging culture and creativity for sustainable development. Geneva: UNCTAD.Google Scholar
  25. UNCTAD. (2015b). Creative economy outlook and country profiles: Trends in international trade in creative industries. Geneva: United Nations.Google Scholar
  26. UNESCO. (2001). UNESCO universal declaration on cultural diversity. Paris: UNESCO.Google Scholar
  27. UNESCO. (2009). UNESCO Framework for Cultural Statistics (FCS) 2009. Paris: UNESCO.Google Scholar
  28. UNESCO. (2013a). Creative economy report 2013 (Special ed.). Paris: UNESCO.Google Scholar
  29. UNESCO. (2013b). Global commitment to culture in the post 2015 development agenda. Creative Economy Report 2013. http://www.creativeeconomyreport2013.com/
  30. Uyarra, E., & Ramlogan, R. (2012). The effects of cluster policy on innovation. Manchester: NESTA.CrossRefGoogle Scholar
  31. WIPO. (2003). Guide on surveying the economic contribution of the copyright-based industries. Geneva: World Intellectual Property Organization.Google Scholar
  32. Wyszomirski, M. J. (2007). The local creative economy in the United States of America. In H. K. Anheier (Ed.), Cultures and globalization: The cultural economy (pp. 199–240). London: Sage.Google Scholar
  33. Wyszomirski, M. J., & Goldberg-Miller, S. (2014). Adapting the Promethean fire of business for arts and cultural entrepreneurship. In A. Schramme, O. Kuhlke, & R. Kooyman (Eds.), Creating cultural capital (pp. 80–89). Delft: Eburon.Google Scholar

Copyright information

© Springer International Publishing AG 2018

Authors and Affiliations

  • Shoshanah B. D. Goldberg-Miller
    • 1
  • Rene Kooyman
    • 2
  1. 1.Department of Arts Administration, Education, and PolicyThe Ohio State UniversityColumbusUSA
  2. 2.Department of Arts Administration, Education, and PolicyCollege of Arts and SciencesColumbusUSA

Personalised recommendations