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Kreative Wirtschaft

ĂŠconomie crĂŠative A guidebook for governments, organizations and communities to activate creative economy strategies for sustainable prosperity.

Economia creativa Kreative Wirtschaft Written & designed by ILM Creatives


Š 2013 ilm creatives


TBLD Creative Economy Why Now?


Creative economy theories have been used by numerous countries globally to create competitive advantage and economic growth since the turn of the century, in an effort to diversify their economies. Sustainable goals are present within some creative economy theories and applications, however, are not fully integrated to produce sustainable outcomes and impact. While some current creative economy development may lead to sustainable development, our extensive research showed that they have been criticised for causing gentrification, mass consumption and segregation. On the other hand, triple bottom line (TBL) takes into account the economic, social, environmental and cultural impact to assess value creation that translates into social equity, environmental responsibility, economic health, and cultural vitality. Culture-led development includes a range of non-monetized benefits that can lead to another kind of prosperity: sustainable prosperity. This is a kind of prosperity where people can also develop a healthy emotional and spiritual life, in the context of an enabling environment that improves their productivity while enabling them to live a good life, according to their own definition. Among the many organizations that are supporting the development of creative economies around the world, we selected the British Council as the foundation to design triple bottom line through its core and create our new extended methodology that is sustainable. We gathered inspiration and knowledge from the most globally influential and applied theories and tools, such as the ones proposed by John Howkins and Richard Florida, who have extensive work in the topic of creative economies. To design triple bottom line principles we gathered inspiration from several theories, especially the United Nations Conference on Trade and Development (UNCTAD), and Sustainable Measures.


About


This Manual guides how a triple bottom line framework can be designed into a creative economies in any city or cluster, region, country at any stage of development with any scale of application. In applying our methodology, stakeholders will be guided through a process that uses the four capitals-- economic, social, environmental and cultural capital-- to establish sustainable intent through the core of the process for the expected outcome of sustainable prosperity.

ILM is a group of design leaders who apply strategic design thinking to develop sustainable competitive advantage that includes people, planet and profit. We are passionate about building inspired tools and solutions that can foster a more sustainable and brighter future for everyone.


Montserrat Castañon

Juan Camilo Sanchéz

Dyanis de Jesús

Born and raised in Mexico City, Montserrat Castañon is an industrial designer with experience focusing on the production of design projects and art exhibitions in museums and galleries such as Laboratorio Arte Alameda in Mexico City and Cristina Grajales Gallery in New York City. She currently works at Fitz & Co, a strategic communications agency for art and culture, with clients like Art Basel, Paris Photo and Sharjah Art Foundation. Her passions are the creative intersection between disciplines, like art and design, and cultural exchange. She looks to work with cretive talents to bring their work to new audiences and markets.

Born and raised in Bogotá, Colombia, Juan has extensive experience in planning and developing motion and interactive projects for multinational agencies in North and South America. Juan entrepreneurship and vision brought him to New York, where he has been developing relationships and establishing further platforms within the intersection of business, creativity and sustainable methodologies.

Born and raised in Puerto Rico, Dyanis brings more than ten years of experience within the Communications Industry from advertising to marketing, interactive and editorial. She has been a Creative Director in New York, Chicago, Milan and Puerto Rico working for national and global markets. Dyanis is also the founder of Prototipo Media, a platform for multiple creative projects, fostering the cultural exchange between her native Puerto Rico and other countries through art and design.


Rasha AlShihabi

Saadia Zahid

Vimvipa Poome (Pla)

Of Palestinian origin with a Saudi Arabian nationality, Rasha developed her career as an Associate Creative Director in advertising with Leo Burnett for 8 years leading brands and managing creative teams. In 2010 she started two stores: one for creating products out of popular street culture and Arab expressions, and a multi-branded jewelry store / design lab.

Born and raised in Dubai, Saadia Zahid is a business strategist with over a decade of experience in the creative sector in the U.A.E. and the Middle East. Currently based in New York, she shares her market expertise in consulting brands looking to enter the middle east market, while working on projects that build cultural understanding and commercial collaboration between the Middle East and the US creative industries.

Born and raised in Bangkok, Pla has an extensive background as Project Manager, Industrial Designer, Brand Communication Designer, Brand Strategist, Design Researcher and Managing Editor in firms such as Baramizi, a branding agency in Thailand and 9D Studios,an e-commerce start-up in NYC.


Eight Steps to a TBLD Creative Economy The following methodology was designed to guide the step-by-step process, making each step highly actionable by including diagnostic questions of each step. It translates a complex landscape into simple terms that can lead a sustainable development of creative economies. This methodology is flexible and scalable; steps can be adapted and applied to the needs of the project, without the need for a linear process, and can be used for small projects to large scale city wide development needs. We recommend the full application of each step for anyone not familiar with creative economy development, or developing a project for the first time.


1 Assessment.......p.16 What? Why? How?

2 Definition..........p. 22 What? Why? How?

3 Classification.....p.26 What? Why? How?

4 Organizational Structure.........p. 30 What? Why? How?

5 Mapping...........p. 34 What? Why? How?

6 Project Goal.......p.40 What? Why? How?

7 Activation Roadmap...........p.46 What? Why? How?

8 Strategy, Implementation and Measures of Success...............p.68 What? Why? How?


Methodology


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1 Assessment:


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WHAT?

WHY?

HOW?

The assessment is a set of questions and analysis tools to gather general information that will be needed throughout the development. A strategic development process must begin with this assessment to enable a broad understanding of the current state of the economy in relationship to the project at hand, be that for a organization, a city or a country.

The assessment is meant to provide a clear understanding of two areas:

1. Fundamental Questions

To complete this step, our methodology introduces a set of Fundamental Questions, and a pool of recommended Assessment Tools that will guide the completion of this step.

a) predetermined information about the project, and b) areas that will need to be considered through a TBLD process such as the current status economic, environmental, social and cultural aspects.

Answering the set of questions will inform basic information about your project:

Who is the project for/ Who will benefit from the project? Who are the stakeholders? What are the goals of the project? What is the scale and scope of the project? What is the current economic state regarding the project? What is the current environmental state regarding the project? What is the current social state regarding the project? What is the current cultural state regarding the project?


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2. Tools The choice and number of tools will be left at the discretion of the researcher for the project. The recommended tools were selected to inform the user on the current status of every aspect that represents the TBLD craetive economy: economic, social, environmental and cultural.

This tool looks at political, economic, social, technological, legal and environmental aspects, providing a general overview of the territory. When applied to creative industries it can shed light on the status of important considerations for our proposed methodology such as the state of labor and social laws or environmental considerations.


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A basic tool and a useful technique for understanding the strengths and weaknesses of the project at hand, as well as identifying both the opportunities and the threats. It can be utilized to gain insight into the current economy, the region or even the location of a project.

A tool referenced by the UNCTAD, which provides a general assessment of the status of the creativity within a given location. It measures the outcomes of creativity through 5C’s, which are four forms of capital — social cultural, human, and structural or institutional — whose interplay determines the growth of creativity, which then generates the fifth “c”, creative capital. It is important to measure not only economic outcomes of creativity but also the cycle of creative activity through this interplay because the relationship between creativity and socioeconomic development is not always apparent.

Identifies important drivers for economic growth and creativity with specific measures in the following categories: talent, tolerance, technology and territory. This provides future benchmarks to reference as development are being implemented.


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CREATION OF SUSTAINABLE MEASURES The initial assessment must also consider how TBL aspects are operationalized and become measurable. This is where our proposed four capitals. Assessing them at this point will be important to understand their current state. This needs to be supported by establishing measures for each capital that will allow tracking their development process within the creative economy, and how the development is affecting each of these resources. The measures will also allow identify how each of these capitals can be utilized to support the creative economy. The resource we used for this step is Sustainablemeasures. com which is based on the premise of how human, built and natural capital create what they label as “community capital�, a concept similar to the triple bottom line by design outcome we are looking for.1 1

www.sustainablemeasures.com

3. List of Priorities The conclusion of this step is to generate a list of priorities from all the information gathered and in relationship to the project goals.


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2 Definition:


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WHY?

WHAT? The definition step includes a concise description of the activities that comprises the creative economy and of their contribution to a sustainable development in the form of the four capitals (economic, social, natural, cultural) for a especific project, country or a region. For this step, it is possible to work with an existing creative economy definition. Since we are using the British Council as a base methodology, we recommend using their definition. Although the British Council does not issue an official definition for creative industries or economy, it recognizes the original United Kingdom’s Department of Media, Culture and Sports (DCMS) definition as one of the most used by other countries and the basis to create their own. DCMS definition for creative industries identifies them as:

“those activities that have their origin in individual creativity, skill and talent, which have a potential for wealth and job creation through the exploitation of their intellectual property�2

Regardless of the chosen definition, it will be important to consider the four capitals -- economic, social, environmental and cultural -- at this stage, and in relationship to the project at hand. This will help influence and support a fully integrated creative economy with TBL and culture throughout the application of the methodology. This addition will set the tone for the role that the four capitals can play in the development.

www.britishcouncil.org/mapping_the_creative_industries_a_toolkit_2-2.pdf

Establishing a creative economy definition and its relationship to the four capitals will serve as a guidance and intent throughout the implementation of the whole methodology. It informs on what the methodology should support or amplify to best leverage the four capitals.


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HOW? 1. Diagnostic Questions

2. Consideration for the definition

Is there an existing definition for creative economy in your country or region?

To complete this step gather a list of considerations for each capital, based on the answers to the diagnostic questions, and use it as reference for the following steps.

Does it consider the contribution that creative activities make to the four capitals? How would a creative economy in your region or country impact your economy? How would a creative economy in your region or country impact your environment? How would a creative economy in your region or country impact your society? How would a creative economy in your region or country impact your culture?


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3 Classification:


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WHAT? This is a classification of the existing creative industries within the region or country that is being developed. Our base methodology from the British Council refers to the DCMS classification which divides them in 13 sectors: Advertising Architecture Art and antiques market crafts Design Designer fashion Film Interactive leisure software (video games) Music Performing arts Publishing software Television Radio They all characterize the two major elements within a creative economy: 1) The long-established cultural industries 2) The newly established knowledge-

based industries that sprang from them Each country must identify and classify its own creative industries based on the local practices.


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WHY? Sustainable Fashion A certified sustainable fashion firm may demonstrate these qualities: 1. Encourage consumers to wear ethically sourced and low impact clothing 2. Adopt or promote more sustainable consumption patterns 3. Decrease the carbon footprint, water and energy consumption of its clothing production and distribution 4. Explore new business models around re-manufacturing and alternative raw materials

Classification of the creative industries identifies and group the existing creative industries to help understand their current landscape, cross sectoral interactions and relationship to other industries within a given economy. This step will also guide the understanding on their overall impact on the economy, and the four capitals.


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HOW? 1. Diagnostic Questions

1) sustainable creative industries

al stakeholders.

Is there an existing classification for the creative industries in my region?

2) non-sustainable creative industries

Transparency: the firm must publish a report on its social and environmental impact alongside its usual bottom line. This practice should be verified by a third party organization.

If yes, is there any existing goal/objective guiding the existing classification? Currently, which creative industries are more present in your economy? From these industries, are there any that have more potential for growth? According to the development and economic objectives, which industries should be fostered? 2. Tool: Sub-classification - Sustainable Certification for Creative Industries When determining the classifications for creative industries, it will also be important to account for any existing sustainable creative industries. For this step, we recommend to divide the basic classifications into two sub-classifications:

The ideal way to achieve this subclassification is by creating an official certification method. We recommend the B Corp, which certifies corporations that meet standards of social and environmental performance, accountability and transparency. You can consider taking inspiration and/or adapting this method in your region or country. In order to be qualified as a sustainable creative industry, a firm must meet standards of sustainable performance considering the following: Social and environmental vision and mission: a firm must pursue a strategy that benefits society as a whole. It must not only concentrate on financial profits. Accountability: the firm must consider the effect of actions and decisions not only on shareholders, but including workers, community and environment as addition-


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3 Organizational 4 Structure:


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WHAT?

WHY?

HOW?

Creative industries have unique business structures and operations. It is important to analyze and understand this unique organizational structures to formulate policies and strategies that can support them. As we have established, this step should also consider the four capitals in the analysis of the organizational structures for creative industries. Whether we are looking at the business structures, the operational attributes, or locational characteristics, our four capitals should guide the assessment.

Such analysis will offer insight regarding policies and strategies specific for their needs. In addition, by considering the four capitals in this step, it will be possible to identify gaps and opportunities for the sector to grow in each capital (economic, social, environmental and cultural), and also determine what kind of support is needed for this kind of sustainable development.

1. Diagnostic Questions

What are the commonalities of the organizational structures of the creative industries in yor region? What are their common needs? What are their processes? What are their value chains? What are their business life cycles? What is the average talent retention rates? What are the characteristics of their supply chains? How culturally inclusive are the organizations? How environmentally conscious are the organizations?


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How are these industries supporting local culture? Does local culture play an important role in their value chains?


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The Creative Industry Value Chain The creative industry value chain has four different stages: creation, production, distribution and consumption. But to also consider environmental and social capitals within this chain, we must also look, for example, at the sourcing of materials, product lifecycle and regulations concerning inclusion and hiring practices, among others.


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3 Mapping: 5


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WHAT?

WHY?

HOW?

Mapping provides indicators on the growing pace of the industries, how many and how fast they are able to generate jobs, their contribution to the economy, and how they relate to other industries in an overall economy. Going through an official mapping could be optional, depending on the development of the creative industries in the country, the resources, and the scale and scope of the project. In some cases, there could be previous mapping data available, which could serve as reference for the completion of this step.

A mapping’s objective is to give an overview of the economic value that creative industries generate through analytic methods for collecting and presenting information on the range and scope of the industries.

1. Diagnostic Questions

Has a mapping exercise of the creative industries been conducted before? Was it commissioned by the government or by a private organization? Can you gain access to it and/or the entities involved? For the purposes of your project, do you have enough human, financial and institutional resources to conduct a mapping exercise? Are there good enough sources of information to accomplish it? Is a mapping needed to achieve the objectives of the project?


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2. Tools British Council Mapping Toolkit: If it is determined that a new mapping should be performed, we recommend the use of the British Council’s tool: “Mapping The Creative Industries: A Toolkit”.2Their mapping process is supported by a sequential methodology to guide the mapping and its implementation.

2 www.britishcouncil.org


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Cradle to Cradle Standards We also recommend identifying current sustainable trends in the creative industries.

Consider identifying current sustainable trends in creative industries such as the following standards: A Cradle to Cradle Design Standard is a path for sustainable manufacturing, applied to creative industries and which: -Material health: The use of materials as technical or biological nutrients that are safe and healthy for humans and the environment. -Material reutilization: Optimize materials economy that eliminates the concept of “waste�. -Renewable energy: A future powered by solar energy and built on circular material flows. - Water stewardship: treating clean water as a valuable resource and a fundamental human right. -Social fairness: Progress that is made towards sustaining business operations that protect value chains and contribute to all stakeholder’s interests. Other important additions to support TBLD practices are: - Carbon footprint -Amount of innovations produced that improve the quality of life -Indirect contribution to other industries in terms of sustainable development


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3 Project Goals: 6


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WHAT?

WHY?

HOW?

With all the information gathered up to this point, setting the project goals must come to place to state the direction for the potential creative economy development. The goals must consider the project’s needs and goals and the relevant creative industries to attain them. It should also contemplate both, the sustainability of the industries themselves, and their practical contribution to the creative economy through each aspect of a sustainable economy: economic, environmental, social equity and cultural. Such contributions should be measurable, and should acknowledge the potential of the creative industries to serve as guidance to other sectors in also reaching sustainable development.

The definition establishes a direction, and the approach to achieve the goals of the strategy. Defining all these components will be key as it establishes a clear sustainability intent for the project, thus guiding the whole project to be triple bottom line by design.

1. Diagnostic Questions

Is there an existing definition for a similar project that can be used as a base? If yes, does it serve the purpose of the project? Does it consider any of the four capitals? How can it be adjusted to do so? Does the project need a customized definition? How can the new definition integrate the goals/objectives, scope/scale? How can the new definition integrate the contribution to the four capitals?


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2. Formulate your Project Definition with the following components: 1) the given goals and objectives of the project 2) the scope and scale of the project 3) the contribution of the project to the four capitals. 4) the initial conclusion from the assessment (Step 1)


Urban regeneration project in a post-industrial site in Abu Dhabi, UAE The key consideration to set the goals were the four capitals --economic, social, natural, and cultural -- in relationship to the project, in order to attain a triple bottom line by design outcome: Economic capital: -Foster entrepreneurship: Abu Dhabi government invests in infrastructure to foster private-sector entrepreneurship and eventually create more jobs. -Build a knowledge based economy: With its aim to reduce reliance on the oil sector, Abu Dhabi vision 2030 greater focus on knowledgebased society. -Focus on R&D and technology: R&D investment in the nation’s universities has been improved significantly especially in clean industries. -Focus on media: Abu Dhabi is the Arab region’s media hub. Film, broadcast, music, digital media, events, gaming and publishing industries are dramatically growing. -Focus on tourism: Tourism is core engine of growth and diversification. It is the fourth largest industry in Abu Dhabi. Social capital: -Education: Abu Dhabi is a home for world-class educational institutions. -Attracting long term target (both resident and business professionals): With its high living standard, Abu Dhabi is attracting, fostering and retaining knowledge workers and creative class. Environmental capital: -Sustainable - achieve maximum benefits from minimum resources: Sustainable development is the key components as seen in Abu Dhabi Plan 2030, Masdar city and UPC’s Estimada. Cultural capital: -Foster art and culture’s growing sector: It is an up and coming art and cultural scene with government’s support. The Saadiyat Island will be home to the Guggenheim Museum, the Louvre in the near future. -Incorporate and protect heritage: There is a need to protect the city from a loss of components of the traditional Emirati family lifestyle and unique cultural identity. With this key considerations, the final project definition was definition: “To develop a creative cluster in Abu Dhabi, as a free zone for creative entrepreneurs with the main purpose of becoming a catalyst for the arts and design, stimulating cross-discipline networking, supporting creative entrepreneurship, education and activities for both, knowledge-based and creativity-based workers; and ultimately promoting a clean industry through design solutions. In doing so, the aim is to transform an old industrial port into a dynamic cultural and sustainable creative environment to increase Abu Dhabi’s competitive advantage locally, and internationally by supporting existing tourism goals.”

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7 Activation Roadmap:


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WHAT?

WHY?

HOW?

To activate a sustainable creative economy, it is important that the stakeholders involved understand the different dimensions that provide support to the sustainability agenda within the industries, what shapes them, and what conditions they need for success. These components must always be evaluated in relation to the four capitals that are the basis for our methodology: economic, social, environmental and cultural. The steps this roadmap facilitate the activation of creative economies with the added value of integrating sustainability at its core to promote sustainable prosperity.

The roadmap considers a set of triple bottom line additions at every step of the activation. It offers direction to stakeholders regarding specific considerations that should be addressed per each point, to ultimately attain the outcome of sustainable prosperity.

Each step of the Roadmap is meant to guide stakeholders in diagnosing the current state of each of the dimensions that a creative economy development must consider. Each point states specific details about the integration of the four capitals within each to ultimately attain the desired outcome of sustainable prosperity.


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The provision of infrastructure, both tangible and intangible, to support creative industries is a fundamental function of governments. It is their responsibility to create and maintain the conditions under which economic, social and cultural life of the citizens can prosper. Infrastructure needs can occur at any point in the value chain of the industries, from initial creative production through to marketing and retailing. As with any other industry, the creative industries need affordable access to appropriate space in which to work and to live, accessibility, transportation, and distribution facilities. Diagnosis of existing situation: For the project at hand:

Who are the stakeholders who can have an impact on the infrastructure support? Do you have access to them? If not, how can you gain access? How can you affect their policies? To activate a sustainable infrastructure model, stakeholders must consider the following:


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Masdar City, CleanTech Cluster Abu Dhabi UAE An emerging cleantech cluster in Abu Dhabi, Masdar City is designed to provide an entrepreneurial atmosphere where businesses can thrive and innovation can flourish with the lowest environmental footprint. The city itself serves as a model of innovative practices in green urban development. www.masdarcity.ae/en/


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In the creative economy model, public finance and investment are expected to extend beyond cultural ministries and to involve, for example, ministries responsible for industrial development, technology and finance. There must be an expanded view of cultural policy beyond the core artistic and cultural activities. Traditional investment in cultural and artistic sectors has been heavily dependent on public financing, but the evolution of market-driven creative industries calls for creative entrepreneurs to be proactive in building their business cases and dealing with other sources of funding and investment instead of relying on the government. In order to fund creative industries, a variety of sources can be considered: public sector, private investment, venture capital, public-private partnerships, grants from foundations, company’s cultural-social responsibility tax exemption schemes, etc. Diagnosis of existing situation:

For the project under consideration, who is backing up the funding? Is there a need for additional funding? Is there a criteria in place for the selection of such funding that considers sustainability? Based on existing business models for creative industries or business life-cycles, where does the funding seems to be needed the most? To activate a sustainable financial model, stakeholders must also consider the following:


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The Inclusive Wealth Report The Inclusive Wealth Report 2012 is a joint initiative of the United Nations University International Human Dimensions Programme on Global Environmental Change (UNU-IHDP) and the United Nations Environment Programme (UNEP). It is an example of the need for indicators that guide business practices to not destroy the productive base that supports our well-being. The report aims to measure and track progress towards sustainability, and serves as an example of the kind of indicators that should come to place in order to promote transparent practices that support a sustainability agenda. www.ihdp.unu.edu/article/iwr


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Creative industries need flexible institutional mechanisms that can facilitate the implementation of action plans based on long-term strategies to enhance the creative economy. These mechanisms can also play a role in facilitating concerted policies. The establishment of a standing body or committee can play a key role in shaping public policies by involving government officials from all the relevant ministries, and orchestrating strategies that apply to creative industries as a whole. Such a committee can also establish a regular dialogue with key professional associations and institutions of the creative sector in order to allow greater ownership in the process, and better respond to the needs of the creative professionals. It could also serve as a networking and partnerships platform to share experiences, collect and disseminate information, and facilitate interactions between creative business, private sector and academia. Diagnosis of existing situation:

What are existing institutions that could play a role in supporting your creative economy strategy? Based on your goals, can a new committee be formed under any of them? Which stakeholders would be best suited to support a creative economy strategy that considers natural, social and cultural capital? Can a new committee or council come to place? (Determine how) To activate sustainable institutional mechanisms, stakeholders must consider the following:


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Malmö, Sweden - Sustainable Eco-Friendly City Malmö is a city in southern Sweden transitioning from industrial city to knowledge city. It has a Sustainable City Development policy and aims to be climate neutral by 2020 and run on 100% renewable energy by 2030. Malmö is also one of five European cities aiming to reduce car dependency as part of the One Planet Mobility project. Malmö has pioneered a Design Exercise where participatory design engages the people on the ground in creating innovation and developing creative scenarios for sustainable mobility. Malmö has been recognized as part of FastCompany’s 13 Most Creative Cities in the World, and received the UN-HABITAT Scroll of Honour for its innovative, holistic approach to becoming a 21st century eco-city. www.fastcompany.com/1266029/fast-cities-malmö-sweden)


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To support the development of creative industries, it is essential to establish or reform institutional or regulatory frameworks needed to nurture a creative economy. Effective and updated legislation for creative industries should be considered in the following areas: intellectual property, fiscal regimes for creative activities, monetary or exchange policy that could inject them with financial resources, competition laws, and social and labor laws specific to their practices. Diagnosis of existing situation:

What are existing laws in support of creative industries? What is the current status of intellectual property laws? Do they need to be updated based on current industry developments? Are there any legal frameworks in place that support environmental practices in relationship to business or industries? Are there any legal frameworks in place that support cultural practices in relationship to business or industries? For a regulatory framework to support sustainable prosperity, stakeholders must also consider the following:


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The Asia Europe Foundation The Asia Europe Foundation (ASEF) is an institution that promotes cultural dialogue, commerce and understanding between Asia and Europe. They have identified several areas within culture and creativity that, with the right plicy support, can enable the development of sustainable creative cities: -Trans-disciplinary cultural spaces, beyond the traditional discipline-based art spaces like commercial galleries or institutionalized art spaces. This could be, for example, a place where non-artists, traditional artisans and contemporary creatives are invited to meet and generate exchange. -Arts in education, including critical thinking and non-linear problem solving, not only as specialized art’s education -Bottom-up participation and community engagement within urban planning and policy processes www.asef.org


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Developing opportunity in export markets is another area where governments can devise strategies and policies to foster sustainable development within the creative sectors. Export strategies can feed multiple goals for an economy by contributing to the economic growth and wealth, attracting direct foreign investment, improving positive cultural perception of the country within and outside, and positively influencing other nations.3 It will be important to assess the export value derived from domestic creative industries, and to identify the sectors with most potential to contribute to exports and to adopt sustainable business models. The aim should be to harness these sectors to develop brands, new products and services, new markets and generate innovative business models that can feed export goals. Diagnosis of existing situation:

Is trade an area that can support the creative industries your project will focus on? Which is the current export/import landscape in the region being developed? What gaps may need to be addressed in order for your creative industries to be considered in the mix of trade goods for your region? To develop export markets that support sustainable prosperity we recommend the following considerations:

3 www.unctad.org


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1050째 Ceramics Collective 1050째 Ceramics Collective is a group of designers, artists and artisans working together to make high-quality, unique and functional products in Oaxaca, Mexico. They are the commercial branch of Innovando la Tradici처n ac (Innovating Tradition), a multidisciplinary non-profit and a sustainable-design project that offers services to potters and pottery communities in Oaxaca to support the development of their activity. Developing and promoting the etno-social dimension of design, its relationship with environment sustainability, and its power as an agent of change in the Mexican society. Their goal is to offer products services and information that help establish new narratives about the way we build and inhabit our world. To further expand their brand and mission, 1050째 has been taking advantage of international trade agreements like NAFTA (North America Free Trade Agreement) to export their products, which had made possible to satisfy the demand of their biggest buyers which are mostly located in the USA and Europe. www.1050grados.com/


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Clustering can offer public and private sector stakeholders numerous opportunities as it can foster an environment for collaboration, sharing resources, cost-effective workspaces for creatives, while also generating cooperation in the broader context of creative industries. Most importantly, clustering can help organize, focus and identify the infrastructure and finance needs for creative sector development. Clusters can take shape in different forms, depending on the needs of the creative industries within a city, a region or a nation, and the goals of the different stakeholders.4 Diagnosis of existing situation:

Is clustering a current practice in any creative industry in your region? What lessons can you learn from how it is being done, if any? Are there any particular set of creative (or non-creative) industries that could benefit from clustering in relationship to the project at hand? Are there any current limitations that may prevent this to happen? (e.g. zoning regulations, etc.) Stakeholders can push sustainability within clustering by noting the following:

4 www.unctad.org


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Berlin, Germany - A Hub for Creative Initiatives Berlin has established itself as an attractive destination for artists and creative professionals from all over the world. This positioning is suppported with a web portal, Creative-City-Berlin.de, which encourages and supports inward cultural mobility and knowledge sharing. It has become an important hub/incubator for creative initiatives such as Ufa Fabrik Berlin, an international center for culture and ecology with a diverse ongoing program including artist residencies, performances and opportunities for civic engagement, combining international and local cultures. Another example is Uberlebenskunst from HkW, a two-year program entitled “The Art of Survival�, where HkW have set the goal of developing and testing new approaches to the art of survival in the 21st century. This are just examples of many more initiatives that are firmly anchored in the local culture and designed to engage with Berliners and the international creative community alike. www.ufafabrik.de / Hkw.de / Creative-City-Berlin.de


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Public and private sector institutions can stimulate sustainable creative entrepreneurship to foster development within target creative sectors. Small to medium sized businesses can contribute to the culture and prosperity of an economy, and possess the nature to influence a multiplying effect in setting new trends and standards. Diagnosis of existing situation:

What role does entrepreneurship play in your current creative economy strategy? Are there any current incentives for entrepreneurs in the creative industries? How can sustainability be inserted in such incentives? What are motivations beyond financial that can support entrepreneurship in your region? Governments can look at enhancing the capacities of entrepreneurs to develop sustainable business practices by facilitating the following:


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Creative Estonia In 2009, Enterprise Estonia launched an integrated program for raising awareness on the importance of creativity and business called Creative Estonia. The program brings together different activities to promote creative entrepreneurship and creativity in society. Creative Estonia aims to bring together different stakeholders and facilitate contact between creative professionals and businesses, policymakers, students and businesses from other sectors. Creative Estonia’s activities involve developing a creative industries web portal , a comprehensive collection of relevant information on creative industries, web resources for start-up companies, online advice, networking support and in the future also promotional and marketing capabilities for creative companies. In addition to the portal, Creative Estonia publishes best practices, reports from studies and mapping projects, organises conferences and seminars in different parts of Estonia, offers media support for creative industries initiatives and raises awareness through different means. www.looveesti.ee/overview/policy-in-estonia.html


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Data collection and measures for creative industries and sustainability are still developing, and different nations are at different stages due to their varying developmental stages, resources and the knowledge they possess.5 There are some nations and organizations that have established more advanced systems for data collection and measures for creative industries and sustainability; however, sustainability is not consistently accounted for within creative economy accounting.To achieve a sustainable creative economy, it is important for stakeholders to develop the necessary tools to measure the value, status, and impact of creative industries in relation to economic, environmental, social and cultural capital. Quantitative and qualitative data can lend to more informed policy-making, development of long-term strategies and allocation of resources. Diagnosis of existing situation:

Are there current data collection practices in your region? Are creative industries measured in any way? How? What entities are responsible for measuring and managing the data? How can these measures be adjusted to also account for the sustainable assets within creative industries: environmental, social and cultural? To establish measures that support sustainable prosperity the following is recommended: 5 www.unctad.org


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The United Nations Environment Programme’s Inclusive Report The United Nations Environment Programme’s Inclusive Report states: “indicators such as gross domestic product (GDP) or the Human Development Index (HDI) are failing to capture the full wealth of a country. These limitations may be in part fueling environmental decline and degradation because changes in natural or nature-based assets are not factored into national accounts, rendering those accounts less useful as an indicator of changes in human well-being.” www.ihdp.unu.edu/article/iwr)


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Education can nurture a sustainable creative culture and business environment. It can be used to foster critical thinking and non-linear, iterative problem solving skills, which are significant attributes of creative talent. It can also support the idea of everybody being creative, which leads to inclusiveness in societies. Diagnosis of existing situation:

Where is your current education system in relationship to creativity? What are needs of the current project that education can support (short or long term)? Where can education be supported in the short-term for your region? How can it be improved to support creative thinking and sustainability in the longterm? What are non-informal education methods that can be considered in your region? To leverage education’s role in supporting a sustainable creative culture and business environment, consider the following:


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NAVI BC Sustainable Vitalisation around the Charlottenburg Campus, Berlin NAVI BC is a joint initiative of the Borough of Charlottenburg-Wilmersdorf, Berlin’s Senate Department for Urban Development, the Adlershof Projekt GmbH, the Berlin University of the Arts (UdK), and the Berlin Institute of Technology (TU). It combines science, economy, art, and culture in order to make the campus one of the most nationally and internationally attractive sites for researchers, business people, and designers. They have defined six spheres of interest in which to develop and implement innovative concepts: site development, interdisciplinarity (hybrid programs), business formation, real estate development, branding, and Charlottenburg as a cultural destination. The goal is to link the quality of life and the international character of the neighbourhood to economic innovation and eagerness for creative experimentation. www.ccaa.nl


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8 Strategy, Implementation & Measures of Success:


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WHAT?

WHY?

HOW?

The full application of the methodology within an existing project leads to the identification of a set of recommendations. It will be important for the final outcome to be translated into a concrete strategy, tying each recommendation into an implementation plan with measurable goals. The ultimate goal is to support the development of a creative economy that has triple bottom line and culture designed through its core. The strategy can then be applied in the further planning and development of the given project.

A strategy will capture the complete context of the project at hand, allowing the understanding of the full dimensions of the development, especially in support of the four capitals. It is also the ideal tool to align all stakeholders that may be involved in the development of the project at any given time. This will ensure consistency of implementation in achieving the same goals.

The strategy will result from the findings and recommendations gathered through the full application of the methodology. These must be looked at in relationship to the initial project goals and then prioritize. The final set of recommendations generated from this exercise needs to be examined in relationship to the four capitals to generate a final set of points that will then confirm the strategy. Each point must be attached to concrete actions that will allow its implementation, and measurable goals to track their success.


FINAL REMARKS


Applying our methodology, stakeholders will be guided through a process that fully integrates the four capitals-- economic, social, environmental and cultural -- to establish a sustainable intention from the beginning of a creative economy development, with the expected outcome of sustainable prosperity. Only by considering the full dimension of economic development, we are able to leverage and support the resources needed to further generate real competitive advantage. In an economy, this has further social, environmental and cultural implications that can translate into social equity, environmental health and cultural vitality enabling a landscape that multiplies these effects.


Š 2013 ilm creatives


Sustainable Creative Economies : A Manual  

This Manual guides the full application of a triple bottom line framework to develop creative economies in any city or cluster, region or co...

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