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2014 eu cultural policy, entrepreneurial activities cultural and creative industries
1. 17-6-2014 1
CULTURAL AND CREATIVE INDUSTRIES
THE EUROPEAN CONTEXT
UNITED IN
DIVERSITY
HKU University of the Arts
Rene KOOYMAN
HKU
June 2014
2. 17-6-2014 2
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
Netherlands
Luxembourg
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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 MaastrichtTreaty 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 Slovenia
Europe has 25 Member States
2007: Bulgaria and Romania join
Europe has 27 Member States
2013: Croatia joins
Europe now has 28 Member States
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The European Union:
More then 500 million people – 28 countries
Member states of the European
Union
Candidate 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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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 MaastrichtTreaty
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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
activities
Main 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 thatTurkey 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 ??
17. 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.’
22. CCIs : EU
Top
Regions
LQ is an indicator of CCI
employment relative to
the total employment of
the region, where LQ>1
indicates
an over-representation of
CCI employment
Source: European Cluster
Observatory
See EDCCI Page 102
23. Staff headcount - turnover
o Very small (< 2 milj EUR)
o SMEs (2 – 10 m EUR)
o Large enterprises:
Cultural Industries BRD
o 763.000 taxable employees
Fesel/Söndermann BRD 2009
97% of headcount 27 % turnover
3 % headcount 32 % turnover
< 1 % nr headcount 40 % turnover
o 210.000 Free-lance workers
not registered
Creative industries: headcount / turnover
24. 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
25. 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
28. 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
29. EU Policy
Small and medium-sized enterprises
(SMEs) of strategic value
' Old School ' no longer valid:
innovation = needed
The economic power
of the cultural and creative
industries
30. Size of Enterprises
EDCCI: Page 64
2010 HKU Entrepreneurial Dimension of
Cultural and Creative Industries
31. Talking about cities
• Demographics: aging population
• Mobility: multicultural societies
• Changing consumer patterns
• The networks: a connected society
Abandoned
Industrial
area's
Revitalisation
33. 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)
34. 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)
35. 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.
39. 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
40.
41.
42. 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
43.
44. 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
45. Creative Zone 22
Hagen
Underprivileged
neighbourhood
Top-down initiative
Slowing down shrinking
population
Multi-cultural advantages
Co-working space
Creatve Value Chain
46.
47. 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
48.
49. 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
50. ICE ICE Store: Creative Outlet
Store
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!
52. 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
55. How is it done?
1. Identify your fundamentals: basic
dimensions (learning lab, creative
value chain, flow of diversity,
business modeling
2. Define the Core Values
3. Identify and select Sub-values
4. Specify and select Indicators
56. 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......
57. 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: