INTRODUCTION TO CRITICAL THEORIES AND CONCEPTS IN THE CREATIVE AND CULTURAL INDUSTRIES (CCI)

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Creative Cities, Creative Classes and Creative Industries

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Richard Florida and the ‘Creative Class’ The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life (2002)

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Creative Class ‘The economic need for creativity has registered itself in the rise of a new class, which I call the Creative Class. Some 38 million Americans, 30 per cent of all employed people belong to this new class (….) whose economic function is to create new ideas, new technology and/or new creative content’ (Florida 2002, p. 8)

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Creative Class Group

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Florida on the Creative Class Creative and the non-creative…a happy union? https://www.youtube.com/watch?v=FctgkylRF9M

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Creative Class Structure

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A new style of life… The creative class ‘represent a new mainstream setting the norms and pace for much of society’ Post-traditional subjects? Radially individualized? ….or just hipsters?

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City Makers?

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Creative Industries/Creative Class UK Creative Industries policy Florida’s Creative Class Central role of ‘creativity’ in economic life Central role of ‘creativity’ in economic life Focus on individual entrepreneurship Focus on individual entrepreneurship Culture as mainly an economic investment Culture as mainly an economic investment Workers as self-managing and autonomous Workers as self-managing and autonomous Includes arts, culture and IT and software Includes all kinds of ‘thinking’ or creative professions – not just art, IT and software Ignores politics and radical aspects of ‘culture’ Promotes a politics of consumption and lifestyle Makes no claims about class composition Argues for the existence of a new and dominant (creative) class Focus on ‘individual talent’ – with only a nod towards cities and urban policy Place creative individuals and cities at the heart of the economy

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Creative Cities: According to Charles Landry For cities, especially global cities to thrive in the 21 st century there is a need for a culture of creativity - the capacity to think afresh when your world seems to be undergoing a paradigm shift, high ambition, entrepreneurship and opportunity, beauty and acute sensitivity to high quality urban design all of which shape their physical and social environment.

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Creative Cities: According to Charles Landry

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Creative Cities: According to Charles Landry

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Creative Cities: According to Charles Landry Creative City Index

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Gentrification A complex process involving new flows of investment and people into old neighbourhoods. Gentrification has people-led (or ‘bottom-up’) and institutional (or ‘top-down’) causes. It usually results in the (re)creation of wealthier neighbourhoods but is also associated with rising inequality, both between and within places.

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What is gentrification? When affluent people and new investment flow into a place, a process called gentrification occurs. Geographers became interested in gentrification during the 1980s when the UK government made it easier for private developers to buy up land in old and neglected inner-city neighbourhoods. These were often places that were fashionable with artists and musicians but remained affordable neighbourhoods for people on lower incomes. But by the 1990s, rising demand sent land prices spiralling upwards in fashionable gentrified districts like London’s Notting Hill and Hoxton. Rural places can become gentrified too. House prices in some Oxfordshire villages and towns have ballooned. In 2017, a four-bedroom house in the small town of Thame cost around £500,000.

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Vacant properties in the early stages of being renovated and re-sold The vacant property shown in the first photograph eventually became a fashionable juice bar This ‘for sale’ sign is representing Balham as a fashionable ‘lifestyle’ destination Chain stores and MNCs may try to gain a foothold in gentrifying places Evidence of gentrification The gentrification of Balham (London SW12)

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Positive feedback Gentrification operates as a series of positive feedback loops. Each new flow of migration and investment leads in turn to further inflows of money and people.

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Social tension and conflict Sometimes gentrification can cause social problems. There is a spectrum of tension. Occasionally, tension can build into more serious conflict and crime.

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Countering Gentrification

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The UNESCO Creative Cities Network The UNESCO Creative Cities Network (UCCN) was created in 2004 to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The 246 cities which currently make up this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level. https://www.youtube.com/watch?v=HhVMYNPWG88&feature=youtu.be

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Cultural/Creative Quarters Shoreditch, Hoxton, Old Street, South Bank – London Eastside/Jewellery Quarter – Birmingham The Northern Quarter – Manchester Bold Street/Ropewalks – Liverpool Lace Market- Nottingham Cultural Quarter – Sheffield Cardiff Bay - Cardiff Baltic/Quayside - Newcastle Cathedral Quarter - Belfast Cultural Quarter - Leicester

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A Brief History of Cultural Industries in Sheffield

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Sheffield: The City Of Steel https://www.youtube.com/watch?v=yf9ucX2vOto

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The Decline of the City of Steel Between 1960 to 1980 the industrial workforce fell by 187,000 (60%). The old style “24 hour city” culture of shift work throughout the day and night, serviced by cafes, pubs and transport operating round the clock vanished, leaving the city centre deserted after 5p.m. Large parts of the city and its former factories were deserted.

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A Brief History of Cultural Industries in Sheffield

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Walking as Method

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Walking As Method

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Walking As Method: How To Apply?

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Walking As Method: How To Apply?

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Walking As Method: How To Apply?

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Walking As Method: How To Apply?

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Super-Creative Core (scientists, engineers, artists, architects, music and entertainment professionals) Creative Professionals (e.g. business and finance professionals, health professionals, teachers) Working Class (e.g. manual labourers, manufacturing, construction, transport) Service Class (e.g. catering, care work, retail routine clerical work) Agriculture

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(scientists, engineers, artists, architects, music and entertainment professionals) Super-Creative Core (e.g. business and finance professionals, health professionals, teachers) Creative Professionals (e.g. manual labourers, manufacturing, construction, transport) Working Class (e.g. catering, care work, retail routine clerical work) Service Class Agriculture

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Florida sees the creative class at the vanguard of urban renewal – pioneers of city re-imaging… …the creative class thrive in the urban milieu…

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Florida sees the creative class at the vanguard of urban renewal – pioneers of city re-imaging… …the creative class thrive in the urban milieu…

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This implies thinking through social, political, and cultural as well as economic and technological creativity. It means power holders need to devolve power and to trade it for creative influence within a framework of guiding strategic principles within which it is possible to be tactically flexible. It thus affects a city’s organisational culture. This cultural capital represents the raw materials and scope within which the creativity of people can operate The creative city has a diversified, sophisticated and internationally oriented cultural industries structure that nurtures and supports a wealth of local and international artistic activity that both are commercial, subsidised and voluntary. People work in creative industries and the city store of talent continually replenished through domestic and foreign immigration in order to feed this machine.

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Typically creative cities have a number of characteristics: Developing a clarity of purpose and ambition Fostering visionary individuals and organizations Being open-minded and willing to take risks Being strategically principled and tactically flexible Being determined in planning rather than deterministic, thus being anticipatory Willing to recognize and work with local cultural resources and local distinctiveness Ensuring that leadership is widespread Moving from a high blame culture to a low blame one

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Rising tension over the issue of housing affordability Breakdown in relations between incomers and established residents Isolated acts of vandalism Larger-scale social disorder and disturbances

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Rising tension over the issue of housing affordability Breakdown in relations between incomers and established residents Isolated acts of vandalism Larger-scale social disorder and disturbances

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Urban Resistance and Arts Movements The UNESCO Creative Cities Network

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Urban Resistance and Arts Movements The UNESCO Creative Cities Network

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In the early 1980s the local government, being one of the first one in the UK, started to consider culture not simply a service industry, but also as a tool for social transformation. The mission was to stimulate employment in the cultural sector, but also to enhance cultural provision, tourism, employment and urban regeneration. The emphasis was on job creation in cultural production. This was partly because unemployment was the major issue. Little attention was paid to consumption. By 1996, about 400 enterprises were operating in the Quarter, employing in total approximately 2000 people. After the 2000s, several actions plans appeared to solve some of the problems and side-effects, but we also see a shift away from the Cultural Industries Quarter to newly emerging cultural quarter.

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Researchers of creative cities, particularly those employing qualitative methods, do a lot of wandering around cities. We look at buildings, chat with shopkeepers, observe rush hour dynamics, ask passers-by questions about their experience of the city, and generally try to situate ourselves in cultural atmosphere of the cities we are examining by participating in their pedestrian and vehicular flows.

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Some Definitions Observational walking can be defined as a self-conscious, reflective project of wandering around to better understand an area’s physical context, cultural context, and the spatial practices of its residents. Walking does not mean just the act of moving through the city on foot but also include related processes of standing, casual interaction, and observation.

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2. Focus on the Geography of Flows, Boundaries, and Connections For instance, start to walk to the location from the university, home or train station. Alternatively, spend some time in a local café or restaurant and start from there. Start to develop questions about contrasts with what is familiar. Is the university district tightly constrained or does it blend into surrounding neighborhoods? Do you feel comfortable is this area? Is it more of a driving or a walking district?

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1. Start from a Location of Familiarity and Comfort After wandering around the universities, I would recommend to head toward downtown with direction towards the Sheffield’s train station. While making this journey, observe the boundaries with, and connections between, other neighborhoods. You may want to consider questions, like how to buildings, people, business, traffic change? Do people walk faster or slower? Is there age, gender, ethnicity different? Is there clothing different? What are the buildings like? Is it busy with people going to work or more residential?

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3. Iterate Across Spatial and Temporal Boundaries Repeating the walk enables the researcher to understand patterns and assess the typicality of the observations. On your journey back to university or over subsequent weeks or months, try to build an internal map of neighborhoods, extending from the places already visited and becoming familiar with notable areas with multiple return trips. You may consider to consciously try to revisit neighborhoods at different times of day: Is downtown at night busy or empty? Am I comfortable or not at 10 PM? Does the composition of people on the street change after rush hour? Do people run in the morning predawn?

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4. End with Questions, Not Answers The central goal of walking is to shape questions rather than support specific conclusions, requiring you to further interrogate impressions generated from walking. In part, this is simply best practice qualitative research, emphasizing to use multiple data sources. Such other sources may include the analysis of images that you collected, secondary data, existing statistics about the area, mapping of spaces and people.

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