Creative industry development: where is it going and are we following?

In: http://hdl.handle.net/1885/14348

Abstract

The following research report centres upon the notion of creative industry development. Chapter 1 serves as an introduction to the theme of creative industry development and poses two questions: what are creative industries and what is creative industry development? It is stated that creative industries are not traditionally viewed as key tools for achieving economic prosperity. Thus, they have not been at the forefront of political and economic agendas. The importance of creative industry development is demonstrated from the economic opportunities that are realised from embracing creative industry growth, which is increasingly being realised. Globalisation provides exciting challenges and opportunities that bring tremendous pressure from international competitors. Building a creative economy can potentially protect a countries competitive power and furthermore build an international future in the process. Chapter 2 introduces the American academic who is responsible for the international debate on the increased role of creative industries, Richard Florida. In Florida's publication The Rise of the Creative Class, the author states that creative industries are of increasing significance all over the world. Particular emphasis is placed on the economic value that can be realised by facilitating creative industry development within organisations, cities and nations as a whole. Newspaper articles such as a World run by right brainers by Elizabeth Farrelly illustrate the increased media attention to the rise of the creative class and the economic prosperity they have to offer. Additionally, academic leaders such as Charles Leadbeater and Kate Oakley are also in support of Florida's notion about the rise of the creative class. Whilst Florida and his colleagues have their supporters, equally sceptics have voiced concern that Florida is going "overboard" in his statements and they are more speculative, rather than substantiated in nature. However, the cult following of the Florida school of thought does pose an interesting point of debate, which has undoubtedly reached an international audience. The creative city of Hong Kong provides additional insight and inspiration for effectively tapping into creative industry development, building a kaleidoscope of culture within the city. Furthermore, the city of Brisbane is an Australian example of a city that has built creative strength and reaped the benefits. In Creative City, Brisbane City Council's Cultural Strategy for 2003 - 2008, the state government has developed various policies and goals for building the creative strength of the city. At the state level in Queensland, the creative industry sector adds approximately $1.96 billion to the value of the services and manufacturing sectors annually. In regards to formulating policy documents, the Creativity is Big Business -A framework for the future is a leading state-wide economic development strategy for developing creative industry within Queensland. The state of Victoria has similarly developed the policy Creative Capacity -Arts for All Victorians. The Victorian Premier Steve Bracks, has stated that Victoria has an economy driven by innovation. Furthermore, the national capital of Australia, Canberra has also tapped into this idea of creative industry development at the annual Innovation and Ideas Festival (ICAN). At this festival, the city developed a program on how Canberra can use its intelligence and citizens to facilitate creative industry development within the city. Internationally, the economic relationship between Australia and China has also extended to the creative industries by initiates such as working with government departments such as Austrade. In 2005 a three day symposium was held in Beijing called From Made in China, to created in China, hosted by Austrade. This is an effective way to build stronger relationships with the world ' s largest emerging economic superpower, China. Chapter 3 provides an overview of the cultural policies of the . When the Blair Government came to power, it was acclaimed as rebranding Britain as "Cool Britannia", a modem government that was very much in touch with the creative sector. Advised by cultural gurus such as film producer Lord David Puttnam, the Blair administration is believed to have made a very strong contribution to creative industry development within Britain. Although Government expenditure on the arts is still proportionally lower than other areas of government spending, it is undisputed that cultural development has moved from the periphery, to a core role in public debate in Britain. In New Zealand creative sector development and growth is identified as a key tool in improving New Zealand's economic power and innovation. New Zealand has become known as a creative industry development centre by establishing a three-tired policy of connecting, commercialising and enabling. Through various reports conducted by the DEMOS think tank, such as Capturing Cultural Value and Cultural Value and the Crisis of Legitimacy, the role of the creative industries in Britain are further analysed and discussed. Chapter 4 discusses the changing face of funding Australian arts organisations. The Australian Chamber Orchestra (ACO) and the Australian Ballet are significant examples of how Australian arts organisations can embrace market opportunities and build national creative industry, without heavy reliance on government funding. The ACO has developed strong relationships with corporate heavyweights to subsidise operations. The Australian Ballet also has a comparatively low amount of Government assistance as they are largely financed by an endowment fund. Conversely, the Sydney Symphony Orchestra relies on approximately 40% government funding, and in 2004, the Queensland Orchestra faced significant pressure to improve its financial bottom line or face bankruptcy. In 2006, the Macquarie Trio announced it would fold after funding for 2007 had been refused by Macquarie University. In 2005, a report commissioned by the federal government was written on the economic sustainability of orchestras in Australia. Entitled A New Era -Orchestras Review Report 2005, this controversial report outlined the financial importance that contemporary Australian orchestras have in building monetary independence. Government initiates such as Playing the World and Visions Australia are welcomed contributions to the area of arts funding in Australia, nonetheless a greater level of funding across the entire arts sector will be needed to build the strength and success of creative industries within the country. Chapter 5 presents a series of recommendations, suggested as a result of the primary findings of this report. Creative industry development is not an abstract concept, but a method of achieving economic prosperity for governments, communities and individuals. These recommendations propose ways to increase the theme of creative industry development within Australia and to furthermore build the strength of Australian arts organisations in the process. This report contends to provide insight into creative industry development in an accessible manner to all Australians.