Knowledges of the creative economy: Towards a relational geography of diffusion and adaptation in Asia

Abstract

Recent dialogues in geography and the social sciences have reminded researchers of the extent to which academic and policy knowledges are socially and spatially embedded – that is, they circulate through formal and informal systems of publishing, exchange, commodification and cultural influence. Academic and policy knowledges are, in short, very much a part of the creative economy. In light of this, our paper surveys knowledges of the creative economy itself, as reflected in a geography of industry reports and government policy statements in selected Asian countries. Using a post‐positivist framework adapted from diffusion theory, we critically interpret the circulation, mutation and adaptation of knowledges of the creative economy, claims to its significance, areas of emphases and notable silences.

Creative economy policy in developing countries: The case of Indonesia

“…As 'a global phenomenon and quasi scientific policy rationales', the creative industry discourse travels to developing countries through policy transfer (Evans, 2009b(Evans, :1005. This process is accelerated by international mediators and transnational cooperation (Kong et al, 2006), as well as academia and professionals who work in consultancy fields (Ren and Sun, 2012). Nevertheless, such 'Xerox policies' (Pratt, 2009a: 15) could be inappropriate because institutional contexts are different, 'the trajectories and lived experiences may vary and, critically, causalities may be unproven or be very different from case to case' (Evans, 2009b(Evans, :1006.…”

“…Nevertheless, such 'Xerox policies' (Pratt, 2009a: 15) could be inappropriate because institutional contexts are different, 'the trajectories and lived experiences may vary and, critically, causalities may be unproven or be very different from case to case' (Evans, 2009b(Evans, :1006. This concept cannot be copy-pasted instantly to Asian and developing countries (Kong et al, 2006;Scott, 2006;Pratt, 2009a).…”

“…This is important to define since we observe how this travelling discourse becomes a development strategy in different institutional settings. In many cases this discourse is increasingly adopted as a normative panacea to urban development regardless of locational contexts (Gibson and Klocker, 2004;Kong et al, 2006;Evans, 2009b;Pratt, 2009a).…”

Construction of Service System on Enterprise Alternate Innovation in Creative Industry Park

“…The process of docking mechanism comprises a plurality of different stages: (1) the exploration stage: individual creative enterprises are more and more emphasis on the characteristics of creative resources become the one and only, division of labor is increasingly clear, service organizations showed typical standardization; (2) gradually formed stage: according to market demand, the initial formation of alternating innovation module, service standards the service system, and gradually build; different incubation acceleration module self-perfection and single docking, a small coalition in the park began to appear, some creative enterprises gradually began to grow, innovative services ecological chain formed; (3) the dynamic docking stage into the module, the combination of different modules and hatching from the chain to accelerate system transformation network, service innovation network gradually formed and perfect [5].…”

Developing a Creative Cluster in a Postindustrial City: CIDS and Manchester

“…Central to this new image have been both the subsidised arts -with major investment in infrastructure and events -and more commercial popular culture, most notably popular music (Haslam, 1999). This narrative in which arts and popular culture become emblematic of a transformative 'spirit of place' is now well established within 'celebratory' texts on the city (Manchester City Council, 2002;King, 2006) and more critical and academic literature (Peck and Emmerick, 1992;O'Connor and Wynne, 1996;Taylor et al, 1996;Wynne and O'Connor, 1998;Brown et al, 2000;Ward, 2000;Peck and Ward, 2002;Haslam, 2005;Hetherington, 2007). Since 1998, when the UK's Department of Culture, Media and Sport (DCMS) launched a new definition and set of policy directions (DCMS 1998), this culture-led regeneration narrative has also used the term 'creative industries' alongside 'arts and culture'.…”