Creative Helsingborg Report
Research Team
Daria Zvereva
Lucrezia De Biase
Abbas Sbeity
Produced by
Creative Insights Studio www.creativeinsights.studio
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Abbas Sbeity abbas@creativeinsights.studio
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Cultural and Creative Industries (CCIs), often referred to as a variety of sub-sectors involved in the production and distribution of creative products and services, have been acknowledged worldwide as a powerful source of economic, social, and urban innovation and development. In 1998, the UK Department for Culture, Media and Sport (DCMS) published the Creative Industries Mapping Document, the first comprehensive report to examine the impact of CCIs on the UK economy (Creative Industries Mapping Documents, 1998). Since then, many countries around the world have recognised the potential of the sector and have begun to research and develop it. In the post-COVID era, CCIs face new challenges and opportunities. Rapid digitisation, AI integration, and ongoing crises are reshaping the usual landscape and pushing CCIs and people in the sector to be adaptable, at the same time approaching the issues of inclusion, equality, and precarious working conditions (Bakhshi, 2023). However, these challenges can also highlight new growth areas in sustainability, digital creativity, and innovative business models, which are essential for the sector’s resilience.
The definitions of what consists of cultural and creative industries are nationally dependent and vary in different countries and regions. In Sweden, the CCIs encompass activities rooted in cultural values, artistic expression, and creativity, relying primarily on individuals with expertise in creative fields and cultural competence. These industries include architecture, visual arts, video games, film, form and design, arts and crafts, cultural heritage, cultural tourism, literature, media, fashion, music, performing arts and various digital artistic expressions (Regeringen och Regeringskansliet, 2024). The CCI projects and companies are recognised in Sweden as drivers of sustainable development in society, enhancing cultural and social values and promoting economic growth, employment and increased Swedish competitiveness (Nielsén et al., 2022).
In 2024, the Swedish government presented a new 10-year strategy for cultural and creative industries, emphasising Sweden’s role as a leading nation in this sector. The strategy aims to foster growth within these industries, contributing to the Swedish economy, a dynamic domestic business environment, increased exports, and a positive international image of Sweden (Regeringen och Regeringskansliet, 2024). The strategy also emphasises the potential contribution to a diverse cultural expression and sets out six priority areas, consisting of national statistics; knowledge of copyright; advice, support, funding, and regulatory costs; skills
provision and social security systems; living environments and businesses throughout the country; and the international impact of the cultural and creative industries. All of these areas are the subject of policy attention and decisionmaking at national, regional, and local levels, with the aim of balancing the global and local perspectives, recognising ongoing change and maintaining a long-term focus (Nielsén et al., 2022).
The CCI business comprises about 130,000 enterprises in Sweden, employing about 190,000 people. The importance of CCI enterprises and entrepreneurs extends to the arts and culture sector in Sweden as a whole, which is largely dominated by such enterprises (Nielsén et al., 2022). However, employment forms, business models and financial structures vary across the sector: the actors in the CCI sector in Sweden span the private, public, and civil sectors and include a wide range of organisational structures — from large enterprises to one-person businesses and non-profit projects. This diversity influences the scope of policy work and intertwines cultural, enterprise, industrial, regional development, foreign, and trade policies (Nielsén et al., 2022).
Helsingborg, a coastal city in the Skåne region in Southern Sweden, pays significant attention to innovation, entrepreneurship, and urban development (Helsingborgs Stad, 2024). The Helsingborg Municipality actively promotes entrepreneurship, presenting the city as a prime business environment characterised by continuous innovation, steady growth, and supportive municipal policies. The favourable attitude of local politicians and civil servants towards business, along with the high quality of life and well-developed infrastructure, also contribute to its appeal (Test Beds - Business Helsingborg, n.d.). The city’s strategic document – Vision 2035 – states that by the year 2035, Helsingborg will become a creative, united, global, and balanced city for both citizens and businesses, “a magnet for creativity and competence.” This shared vision highlights the values of future Helsingborg, namely the combined effort of research, business, culture, and education, as well as unity, diversity, equality, innovation, and sustainability (Helsingborg, n.d.).
The Swedish national strategy for CCIs influences the municipal development vector: in Helsingborg, the City Cultural Committee and the Cultural Administration have recently published a Plan for Cultural and Creative Industries, which outlines the city’s efforts to attract more CCI businesses and projects to Helsingborg. Currently, about 500 companies in Helsingborg operate in the cultural and creative sector, which employ around 2000 people (Kulturnämnden, 2024). The city recognises that CCI sector businesses may need policy support in terms of funding, skills development, coaching, networking, joint activities, matchmaking, etc. Moreover, action areas for the development of the CCI sector in Helsingborg have been identified and formulated, including support and advice, skills development, networked entrepreneurship, mentoring and talent development, space and location development, innovation, strategic partnerships, and profile/ visibility (Kulturnämnden, 2024).
Given the ongoing discussions surrounding CCIs in Helsingborg, this study aims to explore the current landscape of the sector, focusing on its present state, recurring practices, challenges, and areas for potential growth. To achieve this, the following research questions will be addressed:
RQ1: What are the key needs, challenges, and tensions faced by CCI projects in Helsingborg?
RQ2:
What strategies can be implemented to foster further development of the CCI sector in Helsingborg?
This study will contribute to a better understanding of the current situation of the CCI sector in Helsingborg. A key practical outcome will be a set of areas of interventions, in which actions should be undertaken by both CCI practitioners and policy makers. The areas of interventions are outlined in the final section of the report.
The aim of this study is to explore the current landscape of the cultural and creative industries in Helsingborg, focusing on their current state, recurring practices, challenges, and areas of potential growth. Recognising the exploratory nature of this research, we have adopted an abductive approach: the starting point for this study was the voices of Helsingborg’s creative practitioners; however, the existing academic literature on the subject and local policy documents were also important in outlining the state of the creative landscape in Helsingborg.
We used mixed methods for data collection, where a quantitative survey research design complemented the qualitative part of semi-structured interviews. The first data collection stage was semi-structured qualitative interviews, which took place in October-November 2024. As the main aim of the interviews was to gather insights from the field, a purposive sampling technique was used (Flick, 2018). The research team selected and directly contacted fifteen people involved in the cultural and creative industries in Helsingborg in different roles, of whom eight agreed to be interviewed. A total of eight interviews were conducted, both faceto-face and online, ranging in duration from 40 minutes to 1 hour and 15 minutes. An interview guide was developed beforehand, based on relevant academic and policy sources. It contained questions on different topics including background, the establishment of creative practice in Helsingborg, skills and business development, relationships and support from the City of Helsingborg, networking and collaboration opportunities, challenges of inclusivity, and the CCI’s impact on society. The interview guide was used flexibly, allowing for additional questions, comments, and elaborations to collect the rich data.
The second data collection stage involved a survey-based questionnaire designed to capture broader insights into the current state, challenges, and opportunities faced by cultural and creative practitioners in Helsingborg. The primary aim of the survey was to gather descriptive statistical data about creative practices in Helsingborg and to find out the prevalence of the challenges and needs currently experienced by creative practitioners. Therefore, the survey questions were partly influenced by the findings from the semi-structured interviews collected during the first stage of data collection. The survey, organised as a self-administered questionnaire on the Google Forms platform, consisted of closed-ended, openended, and multiple-choice questions. These were divided into the following thematic sections: background, practice and business, challenges and needs,
skills and career development, inclusivity and community, and future opportunities in Helsingborg. The survey was published on the Creative Insights Studio website and social media with an invitation to participate and a disclaimer regarding the target group of respondents, i.e., creative practitioners working in Helsingborg. In addition, we used a non-probability convenience sampling technique (Bryman, 2016) and sent the survey directly to people working in the creative field in Helsingborg.
Another method used in this study was document analysis. In the first phase of the research project, we analysed the publicly available policy documents on the Swedish cultural and creative industries from the national and municipal levels. Later, during the analysis phase, a critical media article on the creative scene in Helsingborg was published in the Helsingborgs Dagblad newspaper and cited in the analysis chapter, as it provided valuable insights into the challenges faced by creative practitioners working in Helsingborg.
This study adhered strictly to ethical research standards, with particular care given to addressing potentially sensitive issues. Prior to conducting interviews, participants were informed of the research objectives, the principle of voluntary participation, their right to withdraw at any time, and the measures taken to ensure the confidentiality of their personal data. Verbal consent was obtained before proceeding with the interviews. For the survey component, the purpose of the study and other key disclaimers were clearly stated at the beginning of the questionnaire. Additionally, the wording of all questions was carefully reviewed and refined to ensure clarity and to avoid any potentially offensive or insensitive language. To further protect participants’ anonymity, we deliberately chose not to collect email addresses or identifying information. While this study provides valuable insights into the CCI landscape in Helsingborg, several limitations should be acknowledged. Given the specifics of this study, the findings are not intended to be generalisable but rather to provide an in-depth understanding of local trends, challenges, and opportunities. The use of purposive and convenience sampling techniques may introduce bias, as participants and survey respondents may not fully represent the diversity of perspectives within Helsingborg’s broader creative community.
Additionally, the relatively small sample size for interviews limits the extent to which findings can capture the full spectrum of experiences in the field. Moreover, the reliance on self-reported data in both the interviews and the survey may lead to potential biases, including social desirability bias, where participants may present themselves or their practices in a more favourable light. The online format of some interviews and the survey may also have influenced the quality of responses, particularly for more nuanced or sensitive topics that could benefit from faceto-face interaction. Another challenge we faced, which can be considered a limitation, was the lack of clear channels to disseminate the survey among creative practitioners in Helsingborg. To this end, Creative Insights Studio’s website and social media and targeted outreach to participants through the research team’s personal networks were used.
Cultural and creative industries have been a focal point for researchers and policymakers at different levels, one of which involves discussions surrounding the types and sizes of companies operating within the CCI field in private, public, and civil sectors. The diversity of cultural, creative, and artistic projects, which span different forms of employment, financing structures, and business models (Nielsén et al., 2022), underscores the need to account for the wide range of organisations.
Analysing the CCI landscape, therefore, requires careful consideration of this variety, encompassing large corporations, small and medium-sized enterprises (SMEs), one-person entrepreneurial ventures, and self-employed individuals such as artists, freelancers, and independent creators.
The approach to categorising companies within the cultural and creative industries (CCI) field involves distinguishing between private businesses and other operators (Nielsén et al., 2022). Private businesses encompass a range of entities, including very large companies, SMEs, and one-person businesses, which may include self-employed individuals. In contrast, the other operators category comprises publicly funded cultural institutions (e.g., museums, libraries, theatres), nonprofit cultural organisations and associations, and educational institutions. This diversity is summarised in Table 1, illustrating the broad spectrum of stakeholders in the CCI sector.
In the Swedish context, all of these business types are represented, and this variety accounts for the different logic and policy areas applied to the functioning of different businesses, such as cultural, enterprise, industrial, regional development, foreign, and trade policies (Nielsén et al., 2022). In line with the European statistics (Schmerber, 2024), in the Swedish CCIs there is a prevalence of SMEs, employing around 75 000 people, and one-person businesses, which number about 100 000 people (Nielsén et al., 2022). Small to medium enterprises comprise diverse companies such as publishers, agents, galleries, and digital distribution services, often acting as creative drivers, producing high-quality cultural products and connecting smaller creative entities like authors or artists with broader markets. Their operations typically blend creation with distribution and sales, often involving collaborative or subcontracted work. Most aim to grow, with 8 in 10 seeking to expand production, turnover, and employment — a higher growth ambition compared to the broader business sector (Nielsén et al., 2022).
Very Large Companies
Media Houses, companies providing major digital platforms for streamed cultural content, large fashion houses
Micro to medium-sized businesses
Publishers, agents and management, galleries, film or music production, video games. Consultancies in architecture, design, advertising, cultural heritage. Digital distribution services.
One-person Business
Small and medium-size
Businesses with 3-9 employees
Two-person businesses
Creatives, artists, journalists, technicians, digital designers, many of whom are freelancers
Other Operators
Publicly Funded cultural companies, institutions, etc.
Performing arts companies, art galleries, museums, libraries
Non-profit cultural associations which sometimes trade commercially. Organisers of performing arts, cultural heritage conservation, cinemas
Education Actors
Cultural schools and education specialising in culture at higher vocational education, higher education institutions and universities
One-person companies, defined as sole traders without employees, comprise approximately the largest proportion of people working in the CCIs, including freelancers, creators, and artists across different creative production and distribution areas. One-person companies and self-employed creative professionals are frequently conceptualised in research as arts, cultural, or creative entrepreneurs (Chang & Wyszomirski, 2015). Academic discussions have highlighted diverse entrepreneurial characteristics within the arts and cultural and creative industries. The entrepreneurs in this field, often self-employed or managing micro-enterprises, tend to identify more strongly with their skills and professional roles than with traditional entrepreneurial identities (Nielsén et al., 2022). They are distinguished by their independence, creativity, and ability to juggle multiple roles (Leadbeater & Oakley, 1999; Naudin, 2018). The multi-roled nature of this activity is highlighted by local studies as well: according to the report “Skapande kärnan i kulturella och kreativa näringar”, solo entrepreneurs in the arts and culture sector often “wear many hats,” taking on roles beyond their creative work, such as sales, administration, and project management. This creates challenges, as managing administrative tasks detracts from focusing on their core business of creating and developing unique quality (Svensson et al., 2021). According to a 2021 Västra Götaland survey (Artifex, 2021 as cited in Svensson et al., 2021), many entrepreneurs struggle with these additional demands, leading to less favourable conditions for artistic growth. Furthermore, extensive behind-the-scenes efforts — such as research, training, and equipment investment — are often invisible and undervalued, with work assessed only by the final product, disregarding the full creative process (Svensson et al., 2021).
CCIs entrepreneurs often operate within informal networks, collaborate with peers, and manage risks innovatively while embracing technology and new work approaches. They work on a project basis rather than running traditional businesses and maintain a strong alignment between personal identity and their enterprise’s brand. However, they face challenges like precarity, self-exploitation, and balancing sustainability with passion (Oakley, 2014). Their success relies on high social capital, adaptability to rapid industry changes, and close engagement with niche markets and customers. As noted by several researchers, the entrepreneurs within the CCIs prioritise autonomy, intrinsic values, and personal fulfillment over financial growth, balancing artistic and managerial rationales (Poettschacher, 2005; Essig, 2022). When operating their companies, they often navigate a “money-meaning polarity” (Poettschacher, 2005), balancing extrinsic financial rewards with intrinsic values and personal fulfilment. This reflects the core challenge of aligning creative passion with economic viability in resource-constrained settings (Lindqvist, 2010; Essig, 2022).
While some entrepreneurs in the cultural and creative industries are described as ‘lifestyle,’ ‘involuntary,’ or ‘reluctant’ entrepreneurs (Nielsén et al., 2022), 76% express a desire to grow, significantly higher than the broader sector average of 58%. Of these, 20% aim to expand both turnover and staff. Despite this ambition,
many prioritise maintaining their independence, often balancing self-employment with other work, though the majority focus on professional business ventures rather than “side hustles.” Growth aspirations frequently lean toward collaboration rather than hiring employees. However, 28% of cultural and creative enterprises cite a lack of time for core activities and strategic issues, compared to 21% across all Swedish businesses (Svensson et al., 2021). This time constraint limits their ability to focus on creation, crucial for refining their craft and developing distinctive offerings. Moreover, insufficient attention to strategic concerns like copyright, compensation, and long-term investments often results in unstable contracts, undermining growth and long-term sustainability.
When exploring the labour market and job titles within culture and creativity, research typically includes professions such as (1) artists, artisans, cultural creators, and craftspeople for the core of CCIs, but also (2) architects, (3) filmmakers, (4) video game producers and developers, (5) designers, (6) marketers and media specialists, and (7) advertising experts (Svensson et al., 2021). Despite the significant differences of the numerous forms of creative work, identifying the roles of creative workers and entrepreneurs provides valuable groundwork for understanding their working conditions and the most common characteristics of their working life (Svensson et al., 2021).
In recent years, important changes within CCIs have deeply affected how creative workers secure their income and gain profits from their activities. The line that separates flexible freelancing and entrepreneurialism from uncertainty and projectbased employment is extremely blurred (Wing-Fai et al., 2015). Today, artists and many other creative practitioners are predominantly self-employed and selfsufficient freelancers responsible for choosing their business opportunities and interesting projects (Essig, 2017; Schulte-Holthaus, 2018). They benefit from flexible and autonomous working modes. However, while this flexibility is often celebrated, it also brings inherent job instability. Many individuals work on a project-by-project basis, with short-term or freelance contracts that prevent access to corporate benefits such as sick leave, insurance, and retirement pensions. This precarious employment also threatens artists’ financial security, often forcing them to accept part-time contracts and reduced wages (Andersson Cederholm et al., 2024; Bain & McLean, 2013). Despite being generally more highly educated than the average population, creative workers in Sweden earn significantly less (approximately 15% less than professionals in other fields). The income disparity has worsened with time, as recent statistics reveal a fall in average income compared to the beginning of the 2000s (Svensson et al., 2021).
With time, this phenomenon has led to the precarisation of many professions within CCIs (Wing-Fai et al., 2015). Precarity is now a standard experience in the industry and an extensive characteristic of this employment system - partly as a consequence of intense capitalistic economies - where labour-related security in several areas is taken away from creative workers, especially for those with more generic skillsets or with knowledge oversupplied in the labor market (Bain & McLean, 2013; Arvidsson et al., 2010). Indeed, artistic or creative precariat lacks “(1) income-earning opportunities, (2) protection against arbitrary dismissal, (3) opportunities for advancement, (4) protection against accidents and illness, (5) chance to build skills, (6) assurance of a stable wage, (7) collective voice” (Bain & McLean, 2013, p. 97).
Thus, CCIs have become part of the gig economy, with workers compelled to take temporary jobs rather than securing long-term, stable positions. The term “gig economy” originates from the creative sector, specifically the music industry, where musicians have long been hired and paid per gig. This highlights how job
instability and precariousness are deeply rooted in this field (Svensson et al., 2021). Systematic instability and uncertainty sometimes leave creators and entrepreneurs with no choice but to accept project-based jobs and informal work, which rely on social connections and personal relationships to secure job opportunities. In some cases, informal work opportunities are paid and constitute a form of profit-making activities, although they remain unregistered by social and labour institutions. In others, creative workers are even forced to accept unpaid requests just to avoid giving up their creative practices entirely (Alacovska, 2018).
Creative workers in Sweden and elsewhere are still willing to put up with instability and other challenges of the cultural and creative world because they find value in self-realisation and fulfilment through creative outputs more than in financial remuneration. Jobs and creative activities are often evaluated in non-monetary parameters. Thus, feelings of satisfaction and contentment for these professionals come from being able to create continuously, which also becomes a significant element of their own personal identities. Artistic expressions and creative projects feel deeply personal in this industry as people invest significantly, both practically and emotionally, in their development. Creative workers have a strong connection with their works because of long creative processes infused with individual experience and vision (Saintilan & Schreiber, 2023). In addition, practising creativity is a means for them to experience a sense of belonging to a community of like-minded people and to create a lifestyle that suits their expectations. (Arvidsson et al., 2010). This, however, does not imply that they are uninterested in fair remuneration for their work: artists and creative entrepreneurs have gradually found reasonable parameters to get paid for their time and know-how poured into their offering, recognising that in today’s economy, they are service providers more than object producers. From this perspective, monetary compensation is perceived not as an ultimate goal per se but as an indicator of their work’s sense of worth and relevance (Gerber & Childress, 2017).
Regardless of the passion and dedication of creative professionals in their crafts and activities, elements such as instability and creative precariat take a significant toll on their psychological state and overall well-being, often leading to workrelated insecurities, anxiety, and even illness. The long-term impact of COVID-19 has exacerbated this situation, with some researchers referring to this as a mental health crisis (Saintilan & Schreiber, 2023). Various factors, termed “vulnerability factors” (Andersson Cederholm et al., 2024, p. 289), are identified as sources of risk for mental health in the context of CCIs, mainly stemming from the sector’s inherent instability and the prevalence of precarious, low-paying employment (Andersson Cederholm et al., 2024). Symptoms of anxiety and depression are often caused by long working hours, excessive workload, and the challenges of navigating identity issues and rejection (Saintilan & Schreiber, 2023). Additionally, the struggle to differentiate between work and free time, common in self-employment, sometimes leads to severe disruptions in personal life. Solitary work and delayed feedback contribute to feelings of isolation and frustration. Moreover, the pressure to meet excessive work demands and the anxiety related to performance and audience reception are likely to intensify mental health issues (Saintilan & Schreiber, 2023).
Creative practitioners and entrepreneurs often rely on tools and spaces that revolve around professional and personal networking as well as collaborative practices to establish and grow their activities. Formal and informal exchanges between creative workers in predefined spaces provide several opportunities, from receiving help and advice to gaining easier access to resources,knowledge, or better visibility (Komorowski & Picone, 2020). Characterised by the typical dynamics of cluster theory, these spaces are generally “distinct, spatially limited areas that contain a high concentration of creative activities dominated by either production or consumption, but usually, to a certain degree, both” (Komorowski & Picone, 2020, p. 85); therefore, they are referred to as creative clusters. The design and flow of these spaces should encourage spontaneous meetings and small talk among the creative practitioners and entrepreneurs since it is noted that informal communication is likely to lead to new ideas, meaningful discussions, negotiations, and, eventually, to the actual development of interesting projects (Andersson Cederholm et al., 2024). This is why clusters often include many ancillary activities such as cafés, bars, and clubs - the so-called third places — to support the primary functions and increase their effectiveness even though they are more loosely related to culture and creativity (Komorowski & Picone, 2020).
Being part of such a creative setting grants creators access to physical spaces and tangible resources that may be indispensable for getting started or continuing. Furthermore, individuals often seek guidance at the beginning to learn how to do “things in the right order.” This includes practical aspects, such as understanding how the equipment works and where to find the right tool, as well as more complex tasks like marketing, pricing, or event creation (Andersson Cederholm et al., 2024, p. 117). In this context, networking and collaborative patterns are the essential components of creative colocations, as each individual’s know-how and unique experiences form a “knowledge bank” that facilitates creative production and innovation (Andersson Cederholm et al., 2024). This demonstrates that creative clustering is highly beneficial to CCIs, as it leverages two agglomerative effects: (1) high density of skilled people, resources, insights, ideas, and opportunities for creative experimentation; (2) network effect as these elements mutually influence each other, fostering cross-fertilisation and spillover effects (Komorowski & Picone, 2020).
Besides being a practical support and a significant source of guidance, clusters represent a rather essential social framework for artists and creative entrepreneurs to define their identity and present themselves to the larger public. By being in close proximity to like-minded people, they can build trust in themselves and each other, which also helps counter the flaws of a labour market characterised by precariousness and insecurity (Komorowski & Picone, 2020). Creative practitioners who frequent these spaces are determined to demonstrate their creativity, entrepreneurial spirit, and innovation.. This creates a higher perceived value of creative colocations and shared spaces because of the great impact of the psychological motivation of being part of a group on the collective attitude of those
taking part in the clustering, their passion for the work, and their determination to achieve their goals (Komorowski & Picone, 2020). Thus, alongside more explicit assets such as tools, supplies, physical space, and more, clusters are seen as opportunities to build and improve one’s identity, image, and reputation—all while assisting others in doing the same by sharing one’s own knowledge and experience (Komorowski & Picone, 2020). In addition, clusters provide members with resources such as meeting rooms, offices, technical tools, and equipment, enabling them to present a more professional image to clients, as well as a structured framework that supports and enhances the validity of their projects (Andersson Cederholm et al., 2024).
Creative clustering presents recurring patterns and features, namely (1) increased knowledge flow, (2) a high level of entrepreneurialism, (3) agility, and (4) a social approach to the workplace). Nevertheless, scholars use different approaches for cataloguing these practices within the CCIs, leading to several models:
Business incubators within CCIs focus primarily on training new entrepreneurs and establishing small businesses; however, they may occasionally engage in secondary activities to create additional products and services that benefit their main goal. Incubators support creative entrepreneurs from the early stage of their business ideas towards introducing an innovative product, service, or concept into the market. Focused on the start-up phase of firms, they typically offer (1) affordable working spaces, (2) shared office facilities and equipment, (3) internet and administrative support, (4) plenty of opportunities for internal and external relations, and (5) support programmes for skill development (Komorowski & Picone, 2020).
Coworking is currently a very widespread practice in the cultural and creative field. It originated in the high-technology sector but later spread to other industries due to its beneficial impact on organisations and companies. Coworking spaces provide work environments and production areas to foster project-oriented, prosocial, and collaborative work. Coworking processes are essential to the effectiveness of clustering as they promote proximity among creators and small creative businesses, achieving the high density needed to facilitate the success of ventures and individuals (Komorowski & Picone, 2020).
Similar to coworking spaces, platforms for creative and cultural work stem from experimental practices and business models typical of working fields such as high-technology and science — for instance, incubators, science parks, and accelerators -- and became popular at the end of the last century, experiencing rapid growth in recent decades. . Combining technology with the DIY movement, platforms can take the forms, among other things, of maker spaces, creative hubs, hackerspaces, tech shops, and fab labs that offer both tangible facilities and intangible assets. The unique aspect of creative platforms is that they are dynamic in nature, and their mission is destined to evolve over time - change is expected in these settings - to constantly adapt to the needs of creative professionals and relevantly represent the state of creativity over time. However, this also presents
a challenge in creating and managing platforms for creative and cultural work: when fluidity and flexibility are essential, insecurity and difficulty in anticipating the future may arise. Platform designers and managers must experiment with various activities and solutions to adapt to different - sometimes unpredictable - situations while ensuring their platforms remain appealing to participants. This is also evident in the lack of widely accepted best practices, largely due to the managerial challenges of this type of clustering structure (Andersson Cederholm et al., 2024).
In this section, we aim to analyse the experiences and insights gathered from a diverse group of creative practitioners in Helsingborg’s CCIs. Through a series of semi-structured interviews and a comprehensive survey, we explored the perspectives of creators, artists, and entrepreneurs across various sub-sectors of creativity. The participants represent a wide range of situations and work arrangements, providing a rich and varied understanding of the challenges, opportunities, and dynamics within the local creative scene. While more than onethird of our total sample is employed in visual arts, performing arts, manufacturing, and other core CCI activities, there are also notable examples of professionals from fields such as design, audiovisual production, fashion, and advertising. In most cases, they are artists or creators rather than support or managerial staff. This indicates that, regardless of the sample size of this study, Helsingborg’s cultural and creative landscape is rather heterogeneous and spans multiple practices.
More than half of our interviewees and survey respondents reported working alone as self-employed entrepreneurs or freelancers. Those who defined themselves as full-time or part-time employees predominantly work in small businesses, which in this context entails organisations with a maximum of ten employees. When it comes to academic and professional experience, on average, the participants of this study have been involved in the cultural and creative field for a long time, with most interviewees having been involved in their activities for decades and 40% of survey responders recounting ten or more years of experience. Another insightful information about the different forms of creative work in the city concerns the fact that it is not possible to identify a solid majority when asking about the primary target audience of the participants: the answers vary quite evenly from a focus on the local market segment, an interest in regional customers, an ambition to reach the audience at a national level and even an effort to reach people internationally.
The analysis of the empirical material collected through interviews and survey entries led to the definition of the following recurring themes and insights:
Results from both interview and survey participants confirm that the majority of the creative practitioners we consulted both live and work in Helsingborg. Nevertheless, few were born or raised in Helsingborg, as most moved here for reasons unrelated to work opportunities. What emerges from interviews and survey responses is that the choice did not depend on any specific characteristic of the place, but it was mostly a result of a series of unplanned circumstances that led them here. Some participants relocated to Helsingborg for personal reasons - usually to keep their families together or to follow a spouse - and later sought employment in the cultural and creative field. Although Helsingborg may not have been a strategic choice initially, a few participants noted that the city offers valuable opportunities in relation to its environment and geographical position, with strategic connections to relevant creative hotspots. Some participants also highlighted Helsingborg’s diverse natural surroundings - including the seaside, several parks, forests, and its historical urban landscape with picturesque buildings and thought-provoking museums- as one of the city’s most interesting and unique aspects, significantly influencing their work as creative practitioners. Additionally, the city is often valued for its proximity to Copenhagen, and easy access to continental Europe.
Several participants mentioned that they now feel comfortable and settled in the city, with occupations that are mostly satisfying. However, they would not have considered moving to Helsingborg as a strategic decision to start or advance their careers in the creative world. Despite overall contentment, this also indicates that, among our interviewees, moving to Helsingborg was never driven by job opportunities within the CCIs or by a vibrant creative environment that encourages the development of entrepreneurial activities.
The municipality of Helsingborg has clarified its intention to enhance the city’s creative sector and improve its attractiveness for cultural or creative enterprises,as well as individual practices, by increasing investment in this sector and implementing specific action plans to draw more interest from artists and other creative practitioners (i.e. Kristersson et al., 2024; Kulturnämnden, 2024). However, several interview participants expressed doubts about the effectiveness of the municipality’s approach to this matter and mentioned their intention to move elsewhere in search of a more supportive infrastructure for their projects, as well as a scene that offers greater inspiration and opportunities. In this context, Malmö was the most frequently mentioned alternative among interviewees. This perspective reflects broader demographic trends in Helsingborg, where an increasing number of young adults are choosing to relocate. According to Nilsson and Nilsson (2024) in a media article for HD, in the past year alone, Helsingborg lost 300 residents aged 20–40 to cities such as Malmö, Lund, and surrounding municipalities.
This suggests that the creative sector’s challenges are part of a larger issue, where a lack of public support and thriving cultural life may be contributing to the city’s struggle to retain talents within the creative and cultural scene. In particular, survey results emphasise the lack of open spaces dedicated to creative activities at affordable prices and little initiative from the municipality to generate visibility for local creators and entrepreneurs. Furthermore, a recurring theme throughout the interviews and survey responses highlights the desire for larger and easier access to funding, grants, and other forms of institutional financial support.
As mentioned in the literature review, there are different types of projects in the cultural and creative field in Sweden that are based on different logics and, therefore, require policy action from different areas (Nielsén et al., 2022). We have found that the creative field in Helsingborg operates according to this principle. For artists and projects working with traditional art forms, despite the precariousness of the profession, the process of interacting with funding bodies within the cultural administration seems quite clear – there are a number of funding opportunities to apply for, with clear descriptions of criteria and deadlines. As a result, feedback on interaction with the city tends to be positive:
I see that in Helsingborg, things have started more quickly, so I think that’s what the city wants with us artists, not just to use us and say “we have this”, or “ we have that” [...] Now they’re trying to ground us and see what we have to give and what we have to get, so the communication is much better, and it feels like they’ve put a lot more energy and effort into making Helsingborg a city where artists can live and work with their profession.
(Interviewee 3)
However, when it comes to less traditional forms of art, such as digital or sound art, or when the creative activity is more commercially oriented, such as graphic design, the relationship with the municipality is more complicated, and the assessment of the city’s efforts to develop the CCI sector becomes more critical. For example, one of the interviewees noted a slow decision-making process, especially compared to Malmö, and a general failure to recognise the talent already present in Helsingborg. Another drawback mentioned by several interviewees is that the city’s programmes and opportunities should be better communicated and promoted so that the target group of local creatives is aware of the opportunities on offer. One of the interviewees, who has been working in the creative sector in Helsingborg for more than 20 years, shared the following perception of the interaction between the city authorities and the creative community:
One major issue, I believe, and this is quite common, is that new ideas and initiatives often need to originate from within the organisation itself. If someone from outside the organisation suggests collaborations, innovations, or problem-solving ideas, these suggestions are rarely considered.
(Interviewee 6)
The case of Kulturhotellet further illustrates the challenges faced by non-traditional and commercially oriented creative initiatives in Helsingborg. In January 2025, it was announced that the project would be shut down, as mentioned in the article in Helsingborgs Dagblad newspaper (Malmberg, 2025). Despite being a highly successful independent cultural venue that engaged both the artistic community and private sector stakeholders, Kulturhotellet struggled with long-term support from the city administration. While it initially received financial backing, its model – situated between commercial and artistic spheres – did not fit neatly within the traditional funding structures of the cultural administration. According to the media article, over time, bureaucratic barriers and a lack of strategic support led to the project’s closure, reinforcing the perception that Helsingborg’s cultural policies are more accommodating to conventional art forms than to hybrid or entrepreneurial creative ventures.
Most of the creative practitioners who took part in the study work as entrepreneurs and freelancers or in small enterprises. This trend shows the entrepreneurial spirit of local artists and other creatives, who demonstrate remarkable initiative in establishing businesses and developing long-term projects in the city. Yet, this independence also requires them to manage, without additional support, a wide range of responsibilities to ensure the success of their ideas. Some interviewees noted that setting up a business in Helsingborg is a relatively straightforward procedure, especially when compared to other countries where stringent requirements and obstacles can be highly discouraging. However, specific challenges emerge in the cultural and creative sector, and the general sentiment among creators is oriented toward moderate dissatisfaction with the municipality’s support for creative ventures. Insights from both interviews and the survey describe an environment where creative entrepreneurs note a lack of engagement and backing from local public institutions for their initiatives. They feel abandoned in navigating their efforts to sustain the cultural and creative scene without sufficient institutional support. Overall, the business climate is described as rather challenging, with clear room for improvement through a stronger, proactive involvement from the municipality.
How would you rate the level of support provided by the local government for cultural, creative, and artistic projects in Helsingborg?
Several participants expressed concerns about the municipality’s reluctance to make significant investments in the cultural and creative sector. Such investments could help local entrepreneurs and organisations achieve long-term sustainability while increasing their visibility to potential customers and investors. The interviews highlighted a contrast within the sector: while some participants were satisfied with the level of support provided by the city, others emphasised several challenges, including limited access to funding and opportunities. As a result, they often had to work with smaller budgets, restricting their ambitions and hindering the realisation of their projects. Sixty percent of survey responses indicate a need for greater promotion and visibility of local creative production and cultural expressions.
Increasing public visibility of the local creative community (e.g., showcases, festivals)
more networking events and professional meetups
Improving access to resources for project funding and collaboration
Creating mentorship and skill development programs
Professional creative education programs or courses
Don’t know
Launching and sustaining a creative practice requires managing multiple interconnected dimensions that go beyond the act of creation itself. While external funding and stable income are essential, these factors alone do not guarantee success. Achieving financial sustainability depends on several other factors, including how external actors receive services and products. The survival of creative practices is heavily influenced by their ability to engage with audiences and attract customers, making these elements critical for assessing the overall condition of such initiatives.
In this context, study participants consistently highlight the challenges in engaging the local public with cultural and creative initiatives and attracting customers to support their work. Some practitioners attribute this struggle to Helsingborg’s relatively small audience size in relation to the numerous cultural and creative offerings available across the city, creating intense competition for consumer attention. This topic emerged spontaneously in several interviews, often in the context of seemingly unrelated discussions, such as professional fulfillment and the perceived slow response of the public sector to take action. According to Interviewee 7,
“There’s very few people who are doing great in this, and if they are doing great it’s because they are independently wealthy elsewhere. […] The problem is that there aren’t enough people here to consume stuff. If you have an idea and you put it out to market, there aren’t enough people here who are willing to give you their time, their money, or their energy to get back what you’ve invested. So I’m not so satisfied with that.”
Other participants, however, believe that interest in cultural and creative products is limited and that finding the right target audience for specific art forms or events is challenging. Regardless, these obstacles often hinder the long-term sustainability of creative activities. According to the participants, the root of this struggle lies in the lack of platforms that showcase diverse artistic forms, limiting opportunities for creators to connect with the public.
The issue of skills and competencies in the cultural and creative industries has been a long-standing topic of discussion, not only within professional creative communities but also in academia and at the policy-making level. Working in the cultural and creative industries requires specialised knowledge and skills for the production of creative goods and services, which are produced and released under conditions of uncertain demand (Saintilan & Schreiber, 2023). In the case of complex creative products, the integration of diverse creative skills is essential, giving rise to the so-called “motley crew” principle of creative teams (Caves, 2000). This principle suggests that teams with a mix of varied skills, perspectives, and personalities are more likely to generate innovative and creative outcomes. By blending different expertise and viewpoints, such teams stimulate new ideas, tackle challenges more effectively, and foster collaboration that drives creative breakthroughs. In the context of cultural and creative entrepreneurship and one-person businesses within the CCIs, numerous studies indicate that creative practitioners are multi-skilled professionals who possess not only creative and artistic abilities but also business and marketing-related competencies (e.g., Klamer, 2011; Kolb, 2015; Chang & Wyszomirski, 2015; Schulte-Holthaus, 2018).
In the context of the CCIs in Helsingborg, the analysis of the interviews shows that all interviewees value most the skills that are not directly related to their creative practice — in other words, not directly hard creative skills related to creative production. Among the most frequently cited valuable skills were communication skills such as the ability to engage with clients, collaborators, and other artists. Additionally, business and organisational skills, such as project and time management, planning, budgeting, and idea generation, were frequently mentioned as important and valuable skills for CCI practitioners. One interviewee responsible for a festival in Helsingborg shared their insights into the skills required and, to some extent, the reluctance to do this kind of work:
“I’ve recently learned how to market something, marketing skills, and things I’ve had to teach myself. It’s very, very important, which is not a very Swedish thing. God, I don’t wanna do that. Oh, no, I don’t want to talk about my work! [But] you have to market yourself and the event. This is a major part of how people find the festival. How to communicate is a major thing. Understanding production cycles. Understanding budget management is a big thing. ”
(Interviewee 7)
One interviewee highlighted the ability to stay present and maintain focus on their surroundings as the most valuable skill in their work, while another interviewee, an artist, considered resilience to be the most important skill in their career. The survey results reflected a similar pattern: among the most important skills for a career in CCIs were communication skills, marketing, and promotion, followed by resilience and adaptability, and collaboration.
Which of the following skills do you consider most important for your career in the cultural and creative industries? (Select up to 3)
3: Skills considered most important for careers in the cultural and creative industries by respondents
It is important to note that the respondents’ mention of certain skills as being of the utmost importance to their professional development does not necessarily imply that these skills are possessed by them. As one of the interviewees noted, marketing and promotion skills, which are crucial for cultural and creative activities, remain among the skills they lack. Another interviewee highlighted the lack of knowledge of Swedish as a missing skill. The survey results indicate a strong inclination among creative practitioners in Helsingborg to learn new skills — two-thirds of the respondents, who answered this question in the survey, expressed a high level of interest in learning new skills. However, learning opportunities within the CCIs in Helsingborg were perceived as somewhat limited, as illustrated in the following graph.
How easy is it to access training or workshops to improve your skills in Helsingborg?
Difficult - There are few options available.
Very Difficult - Resources are almost nonexistent Easy - There are some options available
Diagram 4: Perceived ease of access to training or workshops for skill development in Helsingborg
Research on culture and creativity often emphasises the need for practitioners to participate in networks and build communities around them to mitigate some of the sector’s intrinsic challenges (i.e., Komorowski & Picone, 2020; Andersson Cederholm et al., 2024). We found this theoretical principle to be well-received by the study participants, who reflected extensively on this theme during their interviews and provided meaningful insights in their survey responses. In general, respondents consider feelings of community and togetherness extremely significant, as they help establish a network of like-minded individuals who can inspire and rely on each other in different situations, all rooted in a shared entrepreneurial attitude and strong passion for culture and creativity. Opinions from the interview participants find further validation from people who participated in the survey seeing that 60% of them find a sense of community to be “very important” for their personal and professional fulfilment. Additionally, they highlighted networking opportunities as a valuable form of support for their careers and creative practices.
Interviewee 2 provided an interesting reflection on the topic:
“You see lots of stories similar to yours, people who moved here, people who struggled in the beginning, people who couldn’t find their way in this new country. So somehow, like I said, you can find lots of takeaways from those meetings both personally and professionally.”
From this perspective, networks and community-building initiatives are valuable opportunities for young creators or practitioners new to the city, as they can rely on more experienced colleagues for guidance through the challenges they are likely to face. Individuals have the opportunity to learn from each other’s successes or mistakes, feel less isolated in their creative journey which can be quite demanding at the start, and receive encouragement to pursue their goals. In the words of the Interviewee 2,
“[…] you can find people who know what to do or how to do it. They can show you ways beyond their stories, they are most of the time open to hear you and show you the way. […] people are pushing you for things you may not have the courage to do yet.”
Despite a general agreement about the value of doing their part in building a collaborative movement and a flourishing environment for creative projects, participants identified an issue with collaborative endeavours in Helsingborg that hinders the creation of a real local creative community like in other cities. Most interviewees and 50% of survey respondents stated that they were either moderately or extremely dissatisfied with the current networking opportunities for creative professionals. There is a clear discrepancy between the need for creative practitioners to get together in a more structured way and the opportunities to do so. According to several interviewees, for instance, there are still insufficient situations or venues for creatives to build these relations and meet potential collaborators. Similarly, 80% of survey respondents expressed significant discouragement about the lack or scarcity of community-building opportunities within Helsingborg, noting that the region or other cities offer more substantial programmes for this purpose. According to participant testimonies, this has left local creative workers feeling isolated and disconnected from one another, hindering their ability to collaborate and exchange ideas. Without platforms such as structured programmes, events, and accessible meeting places, they miss out on vital opportunities for professional growth, innovation, and cross-contamination, which are essential for sustaining a thriving creative environment. Half of the people consulted consider the city’s creative community to be highly fragmented, whereas another third believe it is not really possible to talk about a proper community in this context because of the weak connections.
The majority of participants, both from interviews and the survey, demonstrated a positive understanding of the concept of networking, viewing community-building efforts as valuable additions to the dynamics within the local creative scene. However, some scepticism towards the idea of networking emerged, highlighting legitimate concerns. Interviewee 6 offered an uncommon yet thought-provoking perspective by suggesting that personal relations among creative practitioners can sometimes lead to nepotism or favoritism. While knowing collaborators on a personal level can foster trust and improve work dynamics, repeatedly working with the same individuals may unintentionally create exclusivity. This practice could result in a small, connected group consistently accessing opportunities while a significant number of skilled professionals remain excluded due to a lack of affiliations. Balancing trust-based collaboration with inclusivity is, therefore, a critical challenge for fostering a fair and vibrant creative community.
Inclusivity is a complex social issue in many contexts, including the cultural and creative industries. Although the issue is of utmost importance today, it was not the main focus of this study, as it requires more specific attention and could be the subject of more detailed research. However, when researching the current challenges and needs, we could not ignore the notion of inclusivity, as it can be a large part of the challenges and needs of creative practitioners in Helsingborg. Inclusivity is particularly relevant given that the majority of our interviewees and almost half of the survey respondents (43%), moved to Sweden from other countries.
Overall, most of the interviewees stated that they felt the city’s creative scene was not inclusive. This conclusion is based on several reasons: for one of the interviewees, it is related to the fact that they have moved to Sweden from another country and do not feel that their background is well represented in Helsingborg, especially compared to cosmopolitan Malmö. Another interviewee, a native Swede, described inclusivity in the CCIs as a reflection of a general segregation trend in Helsingborg and concluded that much more should be done to minimise fragmentation. One of the interviewees, who moved to Sweden as an adult, mentioned that inclusivity for people with a foreign background is a big problem in Sweden in general, but more specifically in Helsingborg, where the city’s creators lack recognition, and their work is not appreciated.
However, there was an alternative take on the issue of inclusivity in the Helsingborg’s creative scene. One of the interviewees, who moved to Sweden as an adult, shared the following perception of this topic and highlighted the active agency of the creators:
I’ve included myself in the cultural scene by making my own contacts and networks, so I don’t think it’s the scene that needs to be inclusive. Who are they like? Are they people who control the scene? Are they like gatekeepers? Who are they? I don’t know how to think about that inclusivity because you have to find your way to include yourself in
something. And if you can find it, it’s inclusive. If [...] we’re talking about working with Swedes, it’s something different; there are other challenges like the language, like the cultural background, and so on. Of course, you might not be able to work with them [Swedes] from the beginning; it will come later, but maybe it will never come because you have different backgrounds. That’s OK, too, but I think it still allows you to do things.
(Interviewee 2)
A similar opinion was expressed by another interviewee — a native Swede working in artistic production. Their perception also reflects the different logics that exist within the CCIs, as mentioned above, namely the purely artistic and the more production-oriented directions. In the first, elitism and, consequently, a noninclusivity are perceived as inherent characteristics:
You know, being an artist is not inclusive in a general way. It’s very elitist, and you always have to fight your way through. So the competition between artists is very strong [...] So sometimes you can see that in a scene there are some people there, some people there and some people there and maybe some people think it’s bad. I don’t think so. I think it’s good because you have to find your own way, and if you feel good being here, you’re here. You can take a chance and try it and if this place is right for you, then this would be the place for you.
(Interviewee 3)
The analysis of interviews and survey responses has highlighted both strengths and recurrent challenges faced by Helsingborg’s creative practitioners, contributing to the formulation of an answer to RQ1: “What are the key needs, challenges, and tensions faced by CCI projects in Helsingborg?”. The key themes that emerged from the data collection concern:
• Participants’ reasons for living and working in Helsingborg as contributors to the local CCIs.
• The relationship between the city administration and creative practitioners, with contrasting opinions depending on the nature of participants’ work.
• Insights about being a creative practitioner in Helsingborg and the challenges that must be addressed to sustain and grow creative practices in the city.
• Which skills are most valued by Helsingborg’s creative practitioners and which areas they wish to develop further.
• The importance of creative communities, with many participants emphasising the need for a stronger, more unified network of practitioners.
• The (lack of) inclusivity of the local cultural and creative scene, which sparked diverse perspectives on the topic.
Building on the insights from the field, the following section suggests key areas where targeted efforts from different actors are most needed to support the growth of Helsingborg’s CCIs. By addressing the needs, expectations, and aspirations of local creators and entrepreneurs, this section presents practical strategies and development initiatives aimed at strengthening the sector. This will directly address RQ2: “What strategies can be implemented to foster further development of the CCI sector in Helsingborg?” by exploring alternative approaches to encouraging a more dynamic and resilient cultural and creative ecosystem in the city.
The city’s investment in Gåsebäck, including the availability of studios and creative spaces at Brandstationen, offers an opportunity for artists and creatives to access affordable workspaces. However, awareness of these opportunities remains limited, and existing coworking spaces in Helsingborg primarily cater to tech start-ups and corporate professionals, leaving few affordable options suited to the financial circumstances of artists and cultural practitioners. As a result, many creatives seek out non-central areas to find lower-cost spaces or choose to work from home. To better support the sector, there is a clear need for more open, mixed-use spaces that accommodate traditional and non-traditional creative practices. A flexible coworking or shared studio model with adaptable pricing structures could enhance accessibility, providing artists with a dynamic environment to work, connect, and gain visibility.
The creative community in Helsingborg lacks a cohesive network that allows artists to connect, collaborate, and stay informed about opportunities in the city. The study revealed that many perceive the creative scene as fragmented, with practitioners clustered within specific cultural niches or artistic disciplines. This highlights the need for broader platforms where creatives, especially those new to Helsingborg, can engage with a broader artistic community. Such platforms could include networking nights, thematic events, or workshops to facilitate meaningful exchanges. Given Helsingborg’s proximity to other cities, strengthening local networking opportunities could also attract visiting artists, fostering connections between Helsingborg’s creative scene and the wider regional network. Beyond professional benefits, a more integrated network would help combat isolation and social exclusion by creating a peer-support environment. Initiatives such as Röda Kvarns Vänner and BRAKK (Brandstationens Cultural Club) have begun fostering connections within the creative community. However, there is still a need for more inclusive and structured efforts to break down creative silos and establish a more interconnected cultural network.
Incubators and learning programmes tailored for artists and creatives are becoming increasingly prevalent in Sweden and globally. The national network Creartive Sweden connects various organisations supporting artists nationwide, highlighting a growing recognition of the need for structured support. However, both existing incubators and findings from this study indicate that a more flexible model of learning and incubation is necessary, one that does not strictly follow the traditional startup incubator approach. Artists and creatives often seek on-demand learning opportunities, coaching, mentorship, and business skills development rather than rigid, time-bound programmes. Our research participants specifically expressed a need for audience engagement, marketing, promotion, and project management support. A peer-learning model could also be crucial, facilitating connections between experienced artists and emerging or newly arrived ones. Beyond professional development, such incubators could serve as hubs for community-building and collaboration, strengthening the local creative ecosystem through shared knowledge and mutual support.
Sweden’s cultural sector offers more funding opportunities compared to many other countries, with artists and artist-led organisations able to apply for projectbased and operational support from local municipalities, regional bodies, national agencies (such as Kulturrådet and Konstnärsnämnden), as well as various foundations. However, securing funding is becoming increasingly competitive, particularly in light of upcoming governmental budget cuts to the cultural sector. Additionally, challenges such as nepotism and favoritism can create further barriers to access, making it difficult for many creatives to obtain the financial support they need.
To address these challenges, interventions can be made by developing a local funding database explicitly tailored for Helsingborg-based artists, and consolidating relevant municipal, regional, and national opportunities. Beyond just access to information, structured workshops on funding strategies and application writing could equip artists with the skills to navigate the application process effectively. Facilitating ongoing dialogue between artists and the local municipality could also increase transparency and improve funding structures. Ideally, this would be integrated into a broader learning and incubation model, where artists could explore new financial strategies, diversify income streams, and build long-term financial sustainability and resilience, reducing dependency on local funding alone.
A stronger and more transparent relationship between the creative sector and the municipality is essential to enabling a thriving cultural environment. Dialogue between artists and decision-makers needs to be enhanced, ensuring that nontraditional initiatives receive support alongside more conventional cultural projects. Establishing a dedicated officer could help bridge the gap between creatives and municipal resources, providing guidance and ensuring that opportunities are accessible and fairly distributed. Relevant examples of this include the way Helsingborg Stad provides coaching and mentoring for two of its most innovative funds, the Vision Fund and the Climate Fund. The coaching sessions of the vision fund, for example, take place in different parts of the city to ensure accessibility and awareness of these opportunities. Beyond administrative support, creatives should have more opportunities to connect with decision-makers, including structured dialogues, networking events, and participation in key discussions that shape cultural policies. Encouraging city staff to attend events and initiatives they help fund, and other significant cultural happenings would strengthen engagement, increase institutional awareness of local creative work, and foster a more mutual relationship between the municipality and the artistic community.
Many creative practitioners struggle with visibility, limiting their ability to sustain their work and connect with potential supporters. There is a need for support with marketing and audience-building strategies to promote their work and expand their reach. Additionally, municipality-backed campaigns could play a crucial role in showcasing local creative production, increasing exposure for artists, and making their initiatives more visible to residents and tourists. Regular large events and festivals would further boost the presence of local creatives, ensuring their work reaches beyond niche circles and into the broader community, strengthening audience participation, local cultural life, and the sustainability of creative careers.
Our study found that emerging and immigrant creative practitioners are underrepresented in Helsingborg’s creative sector, underscoring the need for targeted initiatives that provide meaningful support and opportunities. While there are limited existing strategies to address this gap, the importance of inclusivity in shaping a more representative and dynamic cultural landscape is widely recognised. The challenge is not only about increasing diversity in numbers but also about fostering genuine engagement and visibility. Instead of treating diversity as a separate issue, it should be integrated into the broader cultural ecosystem, ensuring that emerging and immigrant artists have equal access to platforms, resources, and recognition within Helsingborg’s creative scene.
A thriving creative sector relies not only on individual talent but also on the infrastructure, support systems, and opportunities that allow practitioners to connect, grow, and sustain their work. Without structured programmes, events, and accessible meeting places, creatives miss out on vital opportunities for professional development, innovation, and crossdisciplinary exchange. Addressing the challenges and opportunities outlined in this report is essential for fostering a more inclusive, resilient, and dynamic cultural ecosystem in Helsingborg, one where creative practitioners can thrive.
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