Networks of knowledge and support. Mapping relations between public, private and not for profit sector in the creative economy.

A large part of the recent research and theoretical debate in economic geography underlines the central role of networks and relational perspectives. Although networks and their social dimension are recognised as central to the regional economic development, often the focus of research is in the economy transaction and supply-chain arguments. In particular, in the context of creativity and cultural industries, there has been a growing interest in the way the social and cultural dimensions are intertwined with the sites of exchange and consumptions but also the value of productions systems and supply-chains. From the economic geography framework, we moved on to social network analysis, as a new approach able to put together actors and institutions and to present all possible relationships and connecting structures, while focusing on the interconnection between public, private and not for profit sectors. The paper presents an empirical case study of the North-East region of England highlighting the importance of networks in the regional cultural economy. It draws on the data collected through social network analysis questionnaires and qualitative interviews to make the case for a better understanding of support, knowledge exchange and sociality. Social network analysis is used to show and highlight the role of the public sector and not for profit sector in the cultural economy but also the role of formal and informal network structure which supports the sector. Alongside, the SNA data qualitative interviews are used to better understand the issue surrounding the networks. The dynamics emerging from the social network analysis needs to be better understood and put into context. In particular, it addresses some of the dimensions emerging from the networks mapping: What is the role networks and what are they importance assets and impacts? In particular how relevant is the formal and informal dimension of them? Which role do networks play in terms of support and knowledge infrastructure? What is the role of the public sector in this networks and in this interaction? The conclusions drawn helps to better understand what role the interconnection between private, public and not for profit plays in the creative economy

Access and diversity in South African craft and design:the work of craft intermediaries in Cape Town

Creative intermediaries are increasingly recognised for their role in facilitating the growth and development of creative entrepreneurs and creative and cultural industries. There is also a growing interest in the role of creative and cultural industries in developing economies, for economic development but also cultural engagement and social change. In this article, we bring a Global South perspective to the study of creative intermediaries in the craft sector by exploring how they engage with makers and markets for craft products in Cape Town, South Africa and beyond. Using qualitative interviews with key players from four intermediary organisations working at the community level through to luxury export, we present their different business models and approaches to supporting the development of the craft sector and makers. We reflect on the role they play in addressing inequalities, especially in opportunities to access craft careers and develop sustainable livelihoods for disadvantaged communities. We also consider some of the key challenges these intermediaries face in relation to policy, infrastructure, finance and global competition. The article argues for the value of adopting an ecological perspective in studying the role of craft intermediaries to recognise their role in addressing inequalities in accessing craft careers and the importance of support for makers at different stages in their professional development.</p

Geography, skills and careers patterns at the boundary of creativity & innovation: digital technology and creative arts graduates in the UK

In the last decades, research on knowledge economies has taken central stage. Within this broader research field, research on the role of digital technologies and the creative industries has become increasingly important for researchers, academics and policy makers with particular focus on their development, supply-chains and models of production. Furthermore, many have recognised that, despite the important role played by digital technologies and innovation in the development of the creative industries, these dynamics are hard to capture and quantify. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. They also seem to play a key role in innovation of access and delivery of creative content. This chapter tries to assess the role played by digital technologies focusing on a key element of their implementation and application: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we explore the characteristics and location patterns of graduates who entered the creative industries, specifically comparing graduates in the creative arts and graduates from digital technology subjects. We highlight patterns of geographical specialisation but also how different context are able to better integrate creativity and innovation in their workforce. The chapter deals specifically with understanding whether these skills are uniformly embedded across the creative sector or are concentrated in specific sub-sectors of the creative industries. Furthermore, it explores the role that these graduates play in different sub-sector of the creative economy, their economic rewards and their geographical determinants

Talent on the move: creative human capital migration patterns in UK

The last decade has seen an increasing number of contributions, from both academics and policy makers, focusing on the role of higher education in developing human capital (Charles, 2003; Cramphorn & Woodlhouse, 1999; Preston & Hammond, 2006) and hence contributing to local and regional growth (Faggian & McCann, 2006; Mathur, 1999; Moretti, 2004). Within this broader literature, the role played by more ‘scientific’ types of human capital, such as STEM (science, technology, engineering, and mathematics) graduates and science parks (Bozeman, Dietz, & Gaughan, 2001; Linderlöf & Löfsten, 2004; Löfsten & Lindelöf, 2005), has also been explored. Little attention has been paid so far, to the role played by more ‘creative’ types of human capital. This chapter aims at filling this gap, in light of the central role that the term ‘creative’ took in policy and academic discourses in the UK (Comunian & Faggian, 2011; Comunian & Gilmore, 2015; DCMS, 2006; Powell, 2007; Universities UK, 2010)

Digital technology and creative arts career patterns in the UK creative economy

The creative industries have attracted the attention of academics and policy makers for the complexity surrounding their development, supply-chains and models of production. In particular, many have recognised the difficulty in capturing the role that digital technologies play within the creative industries. Digital technologies are embedded in the production and market structures of the creative industries and are also partially distinct and discernible from it. This paper unfolds the role played by digital technologies focusing on a key aspect of its development: human capital. Using student micro-data collected by the Higher Education Statistical Agency (HESA) in the United Kingdom, we investigate the characteristics and location determinants of digital graduates. The paper deals specifically with understanding whether digital skills in the UK are equally embedded across the creative industries, or are concentrated in other sub-sectors. Furthermore, it explores the role that these graduates play in each sub-sector and their financial rewards. Findings suggest that digital technology graduates tend to concentrate in the software and gaming sub-sector of the creative industries but also are likely to be in embedded creative jobs outside of the creative industries. Although they are more likely to be in full-time employment than part-time or self-employment, they also suffer from a higher level of unemployment

Winning and losing in the creative industries: an analysis of creative graduates' career opportunities across creative disciplines

Following earlier work looking at overall career difficulties and low economic rewards faced by graduates in creative disciplines, the paper takes a closer look into the different career patterns and economic performance of “Bohemian” graduates across different creative disciplines. While it is widely acknowledged in the literature that careers in the creative field tend to be unstructured, often relying on part-time work and low wages, our knowledge of how these characteristics differ across the creative industries and occupational sectors is very limited. The paper explores the different trajectory and career patterns experienced by graduates in different creative disciplinary fields and their ability to enter creative occupations. Data from the Higher Education Statistical Agency (HESA) are presented, articulating a complex picture of the reality of finding a creative occupation for creative graduates. While students of some disciplines struggle to find full-time work in the creative economy, for others full-time occupation is the norm. Geography plays a crucial role also in offering graduates opportunities in creative occupations and higher salaries. The findings are contextualised in the New Labour cultural policy framework and conclusions are drawn on whether the creative industries policy construct has hidden a very problematic reality of winners and losers in the creative economy