Creative Economies in Peripheral Regions

Collins, Patrick; Cunningham, James A.

doi:10.1007/978-3-319-52165-7

Cited by 25 publications

(16 citation statements)

References 45 publications

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“…Much of the aforementioned debate has focused on the urban context (Collins and Cunningham 2017), and especially on the first tier cities and prominent metropolitan or creative cities (White 2010) such as Amsterdam (Kloosterman 2004;Peck 2012), Beijing and Shanghai (Liu 2009), London (Lee and Drever 2013), Vancouver (Hutton 2004), New York (Currid 2007), San Francisco (Pratt 2002), Paris (Aubry, Blein, and Vivant 2015) and Berlin (Heebels and van Aalst 2010;Lange 2009). These global cities are believed to inhabit the diversity and tolerance pursued by creative workers (Florida 2002;Jacobs 1962;Lawton, Murphy, and Redmond 2013), as well as the creative milieu (Hall 2000), the 'cool jobs' (David and Rosenbloom 1990;Neff, Wissinger, and Zukin 2005;Scott 2005;Storper and Scott 2009), the neo-bohemic vibrancy (Lloyd 2002), and the relevant networks, clusters, infrastructures and embedded knowledge (Banks et al 2000) that allegedly would foster creative and professional success.…”

Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

“…At the same time, however, there is a growing interest in the amenities and pullfactors of the rural based creative industries, on rural cultural production and on fairs and festivals. Often trying to escape the fast-paced urban life, many creatives are attracted by the beautiful and inspirational landscapes, the (relative) remoteness, quietness (White 2010), quality of life and a strong, close-knit community (Collins and Cunningham 2017). In such places, nature is 'right on your doorstep' (Gibson, Luckman, and Willoughby-Smith 2010, 31) and serves as a driver of creativity and authenticity.…”

Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

“…The area 'in between' the metropolitan and rural worlds, conversely, has received little attention so far, and much less is known about how reputation works in second tier cities, and how these 'ordinary' cities attract and retain their creative workers (Collins and Cunningham 2017). Noticeably, many creatives work outside of the world's metropolises, and many of these places are competing to attract creatives (Brown 2015).…”

Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

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Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’

Wijngaarden

Hitters

Bhansing

2019

Creative Industries Journal

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Creative workers have a tendency to co-locate in creative places, and their locational decision-making processes have been the topic of numerous studies. Yet, the vast majority of research has traditionally focused on the quintessential creative cities and metropolises. Much less is known about locational decision-making practices of creative workers in the 'ordinary' second and third tier cities. This paper aims to explore the mechanisms behind colocation in these smaller cities by looking at the influence and importance of place reputation on the attraction and retention of creative workers. Based upon 43 interviews with co-located Dutch creative entrepreneurs in such cities, we argue that in the absence of the metropolitan appeal, place reputation serves a multifaceted, yet essential role. First, tapping into the global creative city narrative provided creative and/or professional legitimation, as well as personal inspiration. Second, respondents commodified this reputation in their branding practices, which subsequently functioned as a pull-factor for other creative workers. Therefore, even though we observed many creatives do not utilise their local networks in their daily professional or creative work, place reputation afforded the development and sustainability of local buzz and knowledge exchange in cities where these networks did not organically occur. ARTICLE HISTORY

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Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

Section: Reputation and The Creative Industries Beyond The Metropolisesmentioning

confidence: 99%

See 1 more Smart Citation

Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’

Wijngaarden

Hitters

Bhansing

2019

Creative Industries Journal

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“…The most recent bibliometric analysis distinguishes between three main streams of the creative economy research evolving around the concepts of 1) cultural and creative industries, 2) the creative class, and 3) the creative city (Lazzeretti, L. et al 2018). It is quite commonly accepted that cultural and creative industries lay at the heart of the creative economy (for a review see Collins, P. and Cunningham, J.A. 2017).…”

Section: Conceptualizing Creative Economy and Innovationmentioning

confidence: 99%

The The impact of territorial policies on the distribution of the creative economy: tracking spatial patterns of innovation in Slovenia

Kozina

Bole

2018

HunGeoBull

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The creative economy as an alternative pathway for industrial decline was first introduced into practice in metropolitan regions of the Global North. Since then, it has gradually spread out to other highly urbanized areas of the Global South and transitional areas such as post-socialist European countries. Numerous studies tried to explain structural conditions and suggested policies to attract, retain and release creative potentials. However, the focus on promotion of the creative economy is still on large cities and sectoral policies by emphasizing economic, social and legislative issues of the creative labour. There is little evidence about how territorial policies shape the development of the creative economy, especially in medium-sized and small towns outside the reach of the agglomeration areas. The aim of this paper is to study the impact of territorial policies on the distribution of the creative economy in Slovenia as an example of the post-socialist country. By analysing spatial-temporal trends of patents, we track patterns of innovation between 1975 and 2014 in the urban system. A central focus is given to examine changes in urban hierarchy, i.e. relationships between Ljubljana as the capital and the only large city in the country, regional centres and small towns. The spatial-temporal analysis of patents granted in Slovenia confirmed the linkages between territorial innovation systems and policies. The main findings show that innovation has become more evenly distributed across space, which can be attributed to long tradition of polycentric spatial development in times of Yugoslavia and more recent territorial policies favouring further dispersion of the local self-government system in Slovenia.

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“…Creative tourism thus provides an avenue for artisan entrepreneurs to become more profitable without compromising their values, and may help to reduce the traditional conflict between the production of art and commercial demands, a particularity that defines the creative economy (Collins & Cunningham, 2017).…”

Section: Background To Creative Tourismmentioning

confidence: 99%

A model of sustainable rural development through creative tourism: CREATOUR project

Bakas¹,

Duxbury²

2019

ABET

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Addressing the theme of how sustainable rural futures can be realized by considering 21st century realities, this paper presents a unique project on the future of rural economic development and social cohesion through the initiation of creative tourism products in rural areas and small cities. The promotion of crafts to fuel rural socio-economic development is gaining momentum and simultaneously a change towards what is known as ‘transformative tourism’ (Pritchard, Morgan, & Ateljevic, 2011) is observed, as tourists demand more immersive experiences. Craft movements in the urban space which also act as vehicles for social cohesion within cities where isolation is common, have been gaining in popularity for the last 10 years. Creative tourism, which differs from cultural tourism in terms of being an active transfer of the past into the present via local-visitor interaction, rather than a passive observation of the past (Richards & Marques, 2012), offers a novel rural development tool that this paper investigates. This paper focus on the CREATOUR project which investigates how rural organizations, tourists and rural communities interact and forge new alliances in the Portuguese context. This three-year project started in 2016 and now has 40 pilot projects, which are entrepreneurs or organizations who are incentivized to offer innovative creative tourism products within rural areas and small cities. In this article, the ways in which the CREATOUR project can act as a sustainable rural development tool are analysed in terms of the evolving creative tourism offers and the development frameworks that creative tourism offers can be placed within, suggesting that this research and application project can be a model for other countries and provides advice on how to practically achieve this. Whilst at a preliminary stage, this project will have a large amount of data from tourists (through questionnaires handed out by pilot projects), IdeaLabs (meetings of pilots and researchers for knowledge exchange), e-portfolios, a documentary and researcher site visits, which partly inform this paper and will come to inform future research.

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Creative Economies in Peripheral Regions

Cited by 25 publications

References 45 publications

Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’

Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’

The The impact of territorial policies on the distribution of the creative economy: tracking spatial patterns of innovation in Slovenia

A model of sustainable rural development through creative tourism: CREATOUR project

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