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CULTURAL AND CREATIVE INDUSTRIES THE EUROPEAN CONTEXT

UNITED INDIVERSITY

HKU University of the Arts

Rene KOOYMANHKUJune 2014

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History of European Integration

The Signature of the Treaty of Paris, April 18, 1951

The Signature of the Treaty of Rome, March 27, 1957

1945: End of World War II

1946: Churchill calls for “a kind of United States of Europe”

1950: Schuman Declaration

1951: Treaty of Paris: European Coal and Steel Community

1954: European Defense Community fails

1957: Treaty of Rome: European Economic Community and Euratom (EEC)

1963: France blocks entry of UK

1972: The UK, along with Ireland and the Denmark, joins the European Communities

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Europe of coal and steel

Founding Six:

France Germany Italy Belgium Netherlan

ds Luxembou

rg

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1973-1993

1973 United Kingdom, Denmark and the Republic of Ireland granted membership

1981 Greece join

1986 Spain and Portugal allowed in

1992 Maastricht Treaty Signed

1993 European Union formed out of the old EEC

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First decade of the 21st century: the Euro and the biggest enlargement

1 January 2002: 12 countries introduce the euro

2004: enlargement to Central and Eastern European countries - 10 new Member States join: Cyprus, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, the Czech Republic, Slovakia and SloveniaEurope has 25 Member States

2007: Bulgaria and Romania join Europe has 27 Member States

2013: Croatia joinsEurope now has 28 Member States

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The European Union: More then 500 million people – 28 countries

Member states of the European UnionCandidate countries

Members:

Austria,Belgium, Bulgaria, Croatia, Cyprus, the Czech Republic Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, the Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia,Spain, Sweden, the United Kingdom

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EU Member States by Population 1 Germany

81,305,856 2 France

65,630,692 3 United Kingdom

63,047,162 4 Italy 61,261,254 5 Spain 47,042,984 6 Poland

38,415,284 7 Romania

21,848,504 8 Netherlands

16,730,632 9 Greece

10,767,827 10 Portugal

10,781,459 11 Belgium

10,438,353 12 Czech Republic

10,177,300 13 Hungary

9,958,453 14 Sweden

9,103,788

15 Austria 8,219,743 16 Bulgaria 7,037,935 17 Denmark 5,543,453 18 Slovakia 5,483,088 19 Finland 5,262,930 20 Ireland 4,722,028 21 Lithuania 3,525,761 22 Latvia 2,191,580 23 Slovenia 1,996,617 24 Estonia 1,274,709 25 Cyprus 1,138,071 26 Luxembourg 509,074 27 Malta 409,836

adapted from https://www.cia.gov/library/publications/the-world-factbook/fields/2119.html#ee

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A fair system for all EU regions(eligibility simulation)

3 categoriesof regions

< 75 % of EU averageGDP/capita*

*index EU27=100

75-90 % > 90 %

CanariasGuyaneRéunion Guadeloupe/MartiniqueMadeiraAçoresMalta

Less developed regions

Transition regions

More developed regions

Regional GDP figures: 2006-07-08© EuroGeographics Association for the administrative boundaries

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The EU is run by five institutions

1. European Parliament - elected by the peoples of the Member States

2. Council of the Union - composed of the governments of the Member States

3. European Commission - driving force and executive body

4. Court of Justice - compliance with the law

5. Court of Auditors - sound and lawful management of the EU budget

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Policies and activities

EU member countries have transferred some of their law-making authority to the EU, in certain areas such as agriculture and fisheries

In culture policy-making is shared between the EU and the member governments

principle of subsidiarity

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History of cultural policy

The Council of Europe, which is distinct from the European Union (EU), first formalized cultural cooperation policy in Europe with its European Cultural Convention (since 1954 : signature is one of the conditions for becoming a participating state in the Bologna Process and its European Higher Education Area (EHEA). Now 47 Members

However, specific EU policy on cultural cooperation began between member states since its inclusion in the 1992 Maastricht Treaty

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Culture occupies a special place in politics

Cultural activities are not considered the same as commercial goods and services, excluded from competition laws, free traffic, etc.

They play an important role in conveying European identity and values

Cultural diversity is strengthened by the free flow of ideas and nurtured by constant exchanges and interaction among Europeans

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EU Programs

MEDIA Programme European Capital of Culture European Cultural Route European Cultural Month Erasmus+ Programme European Heritage Days Modul-dance , Video Active Protected areas of the European Union Europeana.eu : digital access > six

million objects European Library

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Economic layer:

the visual matrix of cultural activitiesMain choices are

justified by:

i) focusing on creation

ii) production of data

Compared with the FCS2009 of UNESCO: coherency but more restricted boundaries

(exclusion of software, telecoms, recreation, sports, natural heritage, supporting materials)

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The Future

It is possible that Turkey will be next to join - as they have tried to become a member since 1987, but: 70 million inhabitants; second largest

after DE 99.7 % muslim; against EU multi-

culturalism efforts 23% under age of 15 / increasingly

aging EU Middle-East pride

EU Sceptics ??

The Entrepreneurial Dimensionof Cultural and Creative Industries in

Europe

Cultural and creative industries

‘Cultural industries’: goods or services that embody cultural expressions,irrespective commercial value: film, DVD, video, television and radio, video games, new media, music, books and press, performing arts, visual arts.‘Creative industries’ : use culture as an input , whose outputs are mainly functional: architecture, advertising, gaming, design and fashion.’

Delineation of the Cultural&Creative sector(KEA 2005)

Contribution Cultural/Creative sector

• UNCTAD: Creative Economy Report 2010• EU: See EDCCI Page 102

The new SME definition

Three criteria:

• Staff headcount• Annual turnover

or:• Balance sheet

turnover• ????

Size of EnterprisesBy sector across CCIs

eurokleis 2009

EDCCI: Page 64

CCIs : EU Top

Regions

LQ is an indicator of CCI employment relative to the total employment of the region, where LQ>1 indicatesan over-representation of CCI employment

Source: European Cluster Observatory

See EDCCI Page 102

Staff headcount - turnover

o Very small (< 2 milj EUR)o SMEs (2 – 10 m EUR)o Large enterprises:

Cultural Industries BRDo 763.000 taxable employees

Fesel/Söndermann BRD 2009

97% of headcount 27 % turnover3 % headcount 32 % turnover

< 1 % nr headcount 40 % turnover

o 210.000 Free-lance workersnot registered

Creative industries: headcount / turnover

Labour Market Characteristics• Labour market of the CCIs is complex• Thrives on numerous small initiatives• Careerwise a high degree of uncertainty • Non-conventional forms of employment; part-time,

temporary contracts, self-employment , free-lancers• Multiple job-holdings; combined other sources• New type of employer; the ‘entrepreneurial individual’

or ‘entrepreneurial cultural worker’• Does not fit into typical patterns of full-time pro’s• Heterogeneity of human resources categories; higher

professional training, vernacular backgrounds, craft industry, any other category

Product characteristics

• Creative inputs and products are abundant • Hypercompetitive environment• Succes is uncertain: ‘nobody knows’• Knowledge-based and labour-intensive input• Not ‘simply merchandise’, but express cultural

uniqueness and identities• Experience goods; production and

consumption ‘on the spot’• Product life-cycles are often short

Entrepreneurship indicators

OECD, Measuring entrepreneurship, 2010

Rene Kooyman3 June 2014

The Urban Quest

What’s going on?

Urbanisation From industrial production to a

knowledge society Growth falters; is absent Small and medium-sized enterprises

(SMEs) of strategic value

EU Policy

Small and medium-sized enterprises (SMEs) of strategic value

' Old School ' no longer valid: innovation = needed

The economic powerof the cultural and creativeindustries

Size of Enterprises

EDCCI: Page 64

2010 HKU Entrepreneurial Dimension of Cultural and Creative Industries

Talking about cities

• Demographics: aging population• Mobility: multicultural societies• Changing consumer patterns• The networks: a connected society

Abandoned Industrial area's

Revitalisation

Spatial components: metropolis and decay

Changing perspectives:Long-term /top-downBottom-up cooperative initiatives Jacobs Bourdieu Florida

The CURE Partners

CURE-WEB.EU

cre8te, Edinburgh

Colchester Borough Council

Grundstücksgesellsch Kettwig

Stadt Hagen (Lead Partner)

Stadt Dinslaken

Stad Brugge

Lille Métropole

Dublin: Temple Bar (observer)

Utrecht University of the Arts (academic partner)

Creative Urban Renewal (CURE)

Aims to facilitate triggered growth of the creative economy in decayed urban areas in medium-sized cities in Northwest-Europe

Very different situations:Tourism/heritage (Edinburgh, Brugge)Abandoned industrial sites: Essen Kettwig

(scheidshce Hallen), coal-mining areas Dinslaken, former textile industry Elbershallen, social-economical problem areas (Hagen, Lille)

Do we need a theoretical framework?

Concepts are an abstraction of reality We cannot communicate without

using concepts about the reality Creates a certain unity in objects

described and definitions Offers a self-audit facility to ensure

cohesion and appropriate conceptualisation for conclusions.

Creative Zone Innovator (CZI)

Sub-values and Indi-cators

Scheidt’sche Hallen Kettwig

Former Spinning Mill Closed in 1974 Public planning completed 2011 Housing area sold to an investor Partial demolition, reconstruction

and restauration 10.000 m2 for Creative Industries Flow of Diversity / Business

Modelling

Kreativ Quartier Lohberg Dinslaken

Coal mine closed in 2005 Total 40 ha with 11 heritage buildings City Council and Investment Company

develop a partner-based concept Principles of sustainability and economic

feasibility Combine renewable energy and Creative

Industries “Idea meets Market”: Learning Lab,

Creative Value Chain

Cultural Factory Elbershallen Hagen

Former Textile Industry redeveloped since 2000

Public private partnership: City of Hagen

4.5 ha : first businesses commercially driven; now diversified; daycare centre, bowling alley, supermarket; and Creative Industries (music school, dance studio, Theater an der Volme)

Diversity, Business Modelling

Creative Zone 22 Hagen

Underprivileged neighbourhood

Top-down initiative Slowing down shrinking

population Multi-cultural

advantages Co-working space Creatve Value Chain

Lille Metropole

Textile crisis 1970; regional unemployment, poverty

Trans-national initiative; concentrating on ‘the image’

Requalification of derelict areas into AV Cultural and Creative Incubator

4 dimensions: LL, CVC, FOD, CBM

Creative Value Chain: Screenworks Film Collective

Creative desks program: incubator (CBM), Non-profit coworking and learning space (LL) for

independent workers, freelancers, start-ups, and the local community

Collaboration with private sector and academia

Creative Edinburgh

CURE-WEB.EU

ICE ICE Store: Creative OutletStore

CURE-WEB.EU

ICE Store:ICE Store is a new way of doing business. It is a not for profit social enterprise consisting of a retail store selling the work of independent artists and designers from Scotland. Everything in ICE Store is handmade giving special meaning to all of our products.

ICE Store for Creatives:Picture this: a city centre location to showcase your work, a place where you will have an audience of thousands and the support to take your talents to the wider world. A dream? ICE Store makes this a reality!

ICE Store for Customers:Don’t you hate it when you can’t get that unique dress or necklace that suits you and the occasion perfectly? Or when finding the perfect gift for a friend becomes an impossible task? ICE Store makes it easy!

Brugge: cultural heritage

Empty shopping street not viable

Now: • pop-up shop• courses • vernacular design

Brugge – „design met wortels“Design with roots

CURE-WEB.EU

Contemporary design meets old handcraft techniques

Run workshops on knitting, making jewels with wax, old fabrics

Colchester UK

Hidden Kiosk

This One Wall

First site

How is it done?

1. Identify your fundamentals: basic dimensions (learning lab, creative value chain, flow of diversity, business modeling

2. Define the Core Values3. Identify and select Sub-values4. Specify and select Indicators

The Toolkit

Take Time: Urban Area Development is not done on a short-term strategy

Persist: hold on to your perspective Spread the word: communications

is key-factor Build alliances: define, discuss and

re-define your projects Learn when you move along......

Re-thinking uban policy

• comprehend the economic benefits (market and non-market) of the arts and culture

• recognise the fundamental importance of cultural value as a component of the urban value created by the cultural sector

• foster a positive climate for private sector engagement with the arts

• promote cultural policy as a core government function involving a wide range of departments including culture, heritage, education, urban / regional development, etc.

An effective urban policy will:

rkooyman@rkooyman.com

That’sthe way it’s

done!

Rene Kooyman

http://cure-web.eu rene.kooyman@hku.nl