Cultural and creative clusters – a systematic literature review and a renewed research agenda

Chapain, Caroline; Sagot-Duvauroux, Dominique

doi:10.1080/17535069.2018.1545141

Cited by 53 publications

(30 citation statements)

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“…However, many authors have provided a critical definition of the sector, and recently Gross (2020) has also offered a history of the birth of the term "creative industries" starting from the 1998 DCMS definition. A notable exception has been the work of Chapain and Sagot-Duvauroux (2018), who undertook a SLR of the concept of cultural and creative clusters.…”

Section: Methodsmentioning

confidence: 99%

“…In the review of the Scopus database, we then sought to identify only material which included both references to the creative field and the social field. Taking into account the varied vocabulary in the creative research fields (Chapain and Sagot-Duvauroux, 2018;Gross, 2020), we decided to specify creative to "creative industr*" and "creative econom*" and due to their interchangeable use in our search chose to combine the two to one search item, thus "Creative industr*" OR "creative econom*". We then searched the references for any combination of this combined search term with the established terms "social enterpri*" or "social entrepreneu*" or "social innovation" or "social economy" in the abstract, title and/ or the full body of all relevant publications.…”

Section: Methodsmentioning

confidence: 99%

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Guest editorial

Comunian

Rickmers

Нанетти

2020

SEJ

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The creative economy is deadlong live the creative-social economies Introduction: defining the field In this paper, we discuss the possible evolution from the creative industries (CIs) and creative economy (CE) towards creative-social economies (CSE). However, before explaining why we believe there is an increasing overlap between these two areas of research and policy intervention, it is crucial to define the two areas separately and consider the definition and critical aspects of each field of research.Creative industries and creative economies. In the past 20 years, we have read widely around the role of the CE and CIs in economic development discourses and agendas for growth globally (UNESCO and UNDP, 2013;De Beukelaer, 2014;Sternberg, 2017). Directing attention towards CIs for the specific role they might play in economic development started to build up from the first Australian Creative Nation report (Radbourne, 1997) and the globally acclaimed and replicated definition provided by the Department of Culture, Media and Sport (DCMS) in 1998. Gross (2020) has undertaken an historical review of how the term CIs firstly developed in the UK within the newly elected Labour government in 1997. In the new definition the emphasis was put from the very start on the potential for these industries to create wealth: [. . .] those activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property" (DCMS, 1998).The definitionand associated measures of the economic contribution of these sectors towards national GDP, employment and exportspushed towards their complete separation from the arts and cultural field, supposedly to be more socially and communityoriented. This separation has caused a rift in the understanding how creativity works favouring two different business models (CIs as private/for-profit industries and arts and culture as made up by not for profit/public companies) rather than an ecological complexity perspective (Comunian, 2011(Comunian, , 2019. Even if within those initial discussions and in the words of the then Minister of Culture Chris Smith the two were profoundly intertwined and connected:Five principal reasons for the state subsidy of the arts in the modern world: to ensure excellence; to protect innovation; to assist access for as many people as possible, both to create and The special issue builds on the discussion and papers that were presented during an event entitled "SE, SI and the CE: current knowledge and shared research" which was hosted in the framework of the three-day workshop on "Dancing over Ideas of Research for a Responsible Innovation" (19-21 November 2018) co-organised and co-funded by King's College London (UK), Nanyang Technological University Singapore (NTU-King's College London M0600H0013, NTU-NISTH, NTU School of Art, Design and media and NTU-ADM Centre for Asian Art and Design) and the University of Applied Arts (Vienna). For information and up...

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Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Guest editorial

Comunian

Rickmers

Нанетти

2020

SEJ

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“…Because of the expansion of the cultural economy in countries that are witnessing major rises in per capita income, it can be predicted that a more diverse set of cities will develop sizable CI clusters: an increasingly polycentric urban geography of cultural production is unfolding. Nonetheless, most of the existing literature focuses on major cities in Europe and Northern America (Chapain & Sagot‐Duvauroux, 2018; Kloosterman & Koetsenruijter, 2018). As Kloosterman (2010) argues, given different national institutional contexts and socioeconomical environments, we may expect different path‐dependent, postindustrial trajectories of cities in the cultural economy.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

“…Cunningham and Potts (2015), Flew and Cunningham (2010), Gibson and Kong (2005), O'Connor (2010) and Pratt (2015), for example, have provided overviews of CIs from different perspectives, but without paying systematic attention to the geographical distribution of CIs and the underlying processes producing that geographical distribution. The reviews of urban cultural policies in Kong (2014) and Markusen (2014), the discussion of CIs' trajectories by Berg and Hassink (2014), and the detailed discussion of the dynamics of spatial clustering of CIs in Branzanti (2015), Chapain and Sagot‐Duvauroux (2018) and Gong and Hassink (2017) collectively provide insight into the geographical distribution of CIs across the global urban system, but do not provide a comprehensive overview of the main patterns and processes driving this. Wu's (2017) synthesis of the intersections between the creative class thesis, spatial clustering, and global production network approaches comes perhaps closest to this paper's objective, but does not systematically consider the position of smaller and/or peripheral cities within a larger framework.…”

Section: Introductionmentioning

confidence: 99%

Geographies of cultural industries across the global urban system

Yin

Derudder

2021

Geography Compass

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This paper reviews the research literature analysing the uneven geographical distribution of cultural industries across the global urban system. We begin by discussing the two major conceptual links between cultural industries and urban economies: (1) production processes becoming more flexible and specialised, and (2) the symbolic‐oriented and place‐rooted identities of cultural products. This has provided the backcloth for a wide‐ranging urban‐geographical research agenda exploring cultural industries, and here the focus is on how these industries are unevenly distributed, implemented and shaped across the global urban system. Cultural industries' dependence on a large pool of creative labour, extensive local networks of suppliers, access to tacit knowledge, and synergies based on spatial proximity all strengthen their agglomeration in a limited number of major metropolitan areas. However, the cultural economy also increasingly thrives in a range of smaller and remote cities as these have succeeded integrating into global cultural production networks and/or carved out a niche in increasingly differentiated consumer markets. In addition, because the economic importance of cultural production is expanding rapidly across the globe, we are seeing an increasingly polycentric urban geography with new global cultural centres emerging on the map.

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“…The dynamics between place, economy and culture are the subject of the book on Hollywood by Scott (2005). A very recent systematic literature review and a renewed research agenda on cultural districts, cultural and creative clusters, and cultural quarters can be found in Chapain and Sagot-Duvauroux (2018). A more general review and research agenda on the intersections between culture and urban planning is offered by Markusen and Gadwa (2010).…”

Section: Further Readingmentioning

confidence: 99%

Cultural districts

Lavanga¹

2020

Handbook of Cultural Economics, Third Edition

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The development of cultural districts has become a standard practice in policy-making worldwide at different scales -local, regional and national (Braun and Lavanga 2007). Government bodies have used cultural district policies to regenerate and rebrand urban areas, sometimes focusing on increasing cultural consumption, as in the case of museum districts, other times fostering innovation and entrepreneurship, as in the case of cultural production districts.In parallel with the development of cultural districts, academic literature on this topic has skyrocketed. In an article by Lazzeretti et al. (2013), the authors review over 1586 academic articles on cluster or industrial districts published in the period between 1989 and 2010. The number of articles published per year has grown from just a few to over 200. Similarly, the number of journals publishing cluster-related articles has also increased exponentially. The authors discovered a long-tail distribution, with a few journals dominating the debate, mostly in economic geography, and a long list of journals representing a variety of disciplines. The analysis identifies three main features behind the power and rise of cluster research: multidisciplinary, cross-disciplinary and global dimension. Among the top-cited scholars, two in particular have dedicated their analysis to deepening our understanding of cultural districts and clusters: Ann Markusen, professor emerita of urban and regional planning and public policy at the University of Minnesota, and Allen J. Scott, professor emeritus of economic geography at the University of California Los Angeles (UCLA). Markusen engaged with the role of proximity for artists' communities and arts institutions, and the role of public policy, while Scott focused on the emergence and development of cultural-production districts, such as the movie industry in Los Angeles. Both have been fervent critics and opponents of Richard Florida's creative-class theory which has preached a single locational behaviour for a very large group of occupations, a formula for successful creative cities (for example, investment in talent, technology and tolerance) and thus a copy-and-paste recipe for cities worldwide (Florida 2002).In the ground-breaking Cities in Civilization, Peter Hall discusses the role of cultural and artistic creativity in the development of cities such as ancient Athens, Renaissance Florence or Paris between 1870 and 1910(Hall 1998. Certain features seem repeating themselves: (1) rapid economic and social transformation, that is, they were trading places and the global cities of their time, (2) wealth, that is, financial centres, (3) high culture, which meant presence of elite, and (4) in-migration, increasing intercultural urban population. They were cities in transition, troubled cities, uncomfortable and unstable. However, Hall concludes that 'time and chance happens to cities too' (Hall 2000, p. 648) and that there is no formula for success. In the past few decades, testing district and cluster theories in the cultura...

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Cultural and creative clusters – a systematic literature review and a renewed research agenda

Cited by 53 publications

References 77 publications

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Geographies of cultural industries across the global urban system

Cultural districts

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