International cultural cooperation: on the example of the implementation of socio-cultural projects

The Eu

The purpose of the article is to highlight international cultural cooperation on the example of international sociocultural projects and programs initiated by the EU. Methodology. It consists of the application of methods of analysis, observation, description, which allow to explore and outline certain aspects of international cultural cooperation on the example of sociocultural project implementation. Scientific Novelty. The article attempts to summarize the experience of implementing important international cultural projects in recent years. Conclusions. In recent years, Ukraine is an active participant in international sociocultural projects that promote intercultural communication, the establishment of our country in the international cultural community as a European country with rich cultural traditions, a reliable partner in solving modern cultural problems. In partnership with the EU, with the support of the British Council, the Goethe Institute, and other international institutions, events, and programs in the cultural and creative industries sector have taken place and continue to be implemented in Ukraine. The programs «Culture and Creativity», «House of Europe», projects «Creative Europe», «Cultural Bridges», implemented during 2014-2021, facilitated the establishment of dialogue in the domestic cultural sector and effective relations with cultural operators and institutions.

The Innovative Response of Cultural and Creative Industries to Major European Societal Challenges: Toward a Knowledge and Competence Base

Sustainability ◽

10.3390/su132313267 ◽

2021 ◽

Vol 13 (23) ◽

pp. 13267

Author(s):

Christer Gustafsson ◽

Elisabetta Lazzaro

Keyword(s):

Public Support ◽

Smart Growth ◽

Creative Industries ◽

Economic Resilience ◽

Societal Challenges ◽

International Policies ◽

External Relations ◽

Societal Challenge ◽

The Eu

In this paper we highlight the importance of culture, cultural heritage and creative industries (CCI) in current European policies in relation to a number of societal challenges, and how the CCI are called to innovatively respond to such challenges. We distinguish four main societal challenges to which the CCI can strategically respond and significantly unlock the potential for innovation and smart growth in the EU. These societal challenges are addressed by four main pillars of the CCI, namely: (1) Europeans’ creativity, cultural diversity and values; (2) European identity and cohesion; (3) European employment, economic resilience and smart growth; and (4) Europe’s external relations. We address each societal challenge from the CCI perspective, indicating how the CCI can provide innovative responses to such challenges and enable strategic crossovers through networking and collaboration, but also referring to some criticalities. We further discuss how this CCI capacity needs public support and provide an overview of how this is undertaken via the main EU, national and international policies, with a focus on the latest trends.

Analysis of the EU Policy on Cultural and Creative Industries after Covid-19 Pandemic

Culture and the World Review ◽

10.18327/cwr.2021.11.2.2.25 ◽

2021 ◽

Vol 2 (2) ◽

pp. 25-47

Author(s):

Dong Ki Son

Keyword(s):

Creative Industries ◽

Eu Policy ◽

The Eu

Support Mechanisms for Canada’s Cultural and Creative Sectors during COVID-19

Journal of Risk and Financial Management ◽

10.3390/jrfm14120595 ◽

2021 ◽

Vol 14 (12) ◽

pp. 595

Author(s):

Charlie Wall-Andrews ◽

Emma Walker ◽

Wendy Cukier

Keyword(s):

Creative Industries ◽

Financial Instruments ◽

Social Success ◽

Tourism Activity ◽

Support Mechanisms ◽

Government Data ◽

Cultural Sector ◽

The cultural and creative industries enhance the quality of life for Canadians and visitors to Canada. However, definitions of the sector vary, presenting challenges for researchers and policymakers. Government data shows that the pandemic job and revenue loss were disproportionate in arts. The Canadian government created a range of financial tools (grants and subsidies) to support the sector during the Pandemic. This paper analyzes these financial instruments created in response to the Pandemic. This paper offers a case study on how government can support the economic and social success of the creative and cultural sector (CCS) in Canada and avoid the risk of the cultural ecosystem collapsing. In addition, the key findings may be helpful in other industries and markets when exploring ways to support the cultural and creative sectors, which are vital components of domestic and tourism activity.

From hierarchical convergence to reticular expansion: urban dynamics through Alice’s mirror

DIID - No. 74 (2021) ◽

10.30682/diid7321m ◽

2021 ◽

Author(s):

Keyword(s):

Urban Areas ◽

Urban System ◽

Creative Industries ◽

Value Chains ◽

Urban Dynamics ◽

Public Action ◽

Knowledge Based ◽

Knowledge Based Economy ◽

The Eu

The paper addresses the role that Cultural and Creative Industries play in contemporary urban dynamics. In the framework of the knowledge-based economy, value is increasingly generated and multiplied by activating and consolidating networks between cities, and it is reproduced in intra-urban dynamics, by disrupting hierarchies and seeking value chains in unconventional areas. In this framework, the EU ROCK project is a paradigmatic experimentation of a new urban system in which convergence as a source of value is replaced by reticular expansion. The paper tests the ROCK methodology against network literature, investigating its role as a network infrastructure for knowledge and innovation expansion. This interpretation can inform policies for CCIs, especially in the context of the New European Bauhaus, as it calls for more articulated public action to redesign urban dynamics, settlements and flows in specific urban areas.

Relationships between Heritage, Intangible Capital and Cultural and Creative Industries in Italy: A Framework Analysis for Urban Regeneration and Territorial Development

Advanced Engineering Forum ◽

10.4028/www.scientific.net/aef.11.149 ◽

2014 ◽

Vol 11 ◽

pp. 149-156 ◽

Cited By ~ 2

Author(s):

Maria Immacolata Simeon ◽

Assunta Martone

Keyword(s):

Local Development ◽

Urban Regeneration ◽

Cultural Development ◽

Creative Industries ◽

Policy Implications ◽

Intangible Capital ◽

Territorial Development ◽

Framework Analysis ◽

Cultural Sector ◽

Culture is a powerful and unique driver for economic and socio-cultural development. But in Italy nowadays the absence of systemic and integrated vision of cultural sector brings economical and social benefits which are non adequate to the fields potentiality. Starting from this premise, the paper focuses on the cultural sector in Italy and identifies a interpretative model of local development activated by culture, based on the relationships between heritage, intangible capital and cultural and creative industries. The model contributes to highlight from one hand the relationship between cultural sub-sectors, to the other hand the economic and cultural market spillovers that are determined within the cultural borders and in related sectors. In this perspective, the paper provides also guidelines and policy implications to operators and policy makers to support - through tangible and intangible cultural capital - the urban regeneration and development of the territories.

THE CONCEPT OF CULTURAL AND CREATIVE INDUSTRIES IN THE EUROPEAN ACADEMIC FIELD AND POLICIES OF THE EU AND GREAT BRITAIN

UKRAINIAN CULTURAL STUDIES ◽

10.17721/ucs.2017.1.16 ◽

2017 ◽

pp. 74-78

Author(s):

I. I. Parkhomenko

Keyword(s):

Sustainable Development ◽

Creative Industries ◽

Cultural Value ◽

Cultural Industries ◽

Academic Field ◽

Goods And Services ◽

Critical Interpretation ◽

The Uk ◽

The Eu

Current European integration course in Ukraine requires rethinking Ukrainian scientific and policies meaning of the cultural sphere as the set of cultural industries, which produce and distribute goods or services with special cultural value, irrespective of the commercial value they may have. According to the main UN Resolutions, UNESCO Conventions and legal activity of the European Commission since 90th of XX century cultural assets are considered to be - an instrument and resource of economic, cultural and social sustainable development of states, cities and regions. New conditions require scientific methods for modelling Ukrainian cultural industries, identification of the priority industries. Besides the concept of cultural industries European scientists and governmental officials, use the concept of creative industries, especially, for the policymaking. All that show the need for clarification of these concepts in Ukrainian scientific field and policies making practice for governmental purposes. The purpose of this article is to study the meaning of the concepts of cultural and creative industries according to the European scientific discourse and policies making documents in the EU and the UK. The article shows that modern European scientists do not use the tradition of critical interpretation of the cultural industry, which was offered by representatives of the Frankfurt School in the mid-twentieth century. Scientists improve concepts to identify the sphere of culture as an economic reality, which is reflected in the specific governmental documents of the UK, the EU and UNESCO for policies making to improve sustainable development. The models of cultural and creative industries offer a logic of distinction according to the basis of the value component: the output of the creative activity has utility that is more functional for the consumers; it could be a component of the production of other industries, not only cultural industries. Cultural output has cultural value. The purpose of the creative industries is to produce goods and services for the commercial trade. Cultural industries produce cultural content, which embodies or conveys cultural expressions.

Ender Grønlands økonomi og erhvervsudvikling i fisk?

Politik ◽

10.7146/politik.v22i1.114839 ◽

2019 ◽

Vol 22 (1) ◽

Author(s):

Nauja Bianco

Keyword(s):

New Product Development ◽

New Product ◽

Business Environment ◽

Tourism Industry ◽

Creative Industries ◽

Comprehensive Strategy ◽

Marine Industry ◽

The Eu ◽

Business Structure

What dilemmas and challenges are Greenland facing in the light of the wish for future independence? This article reflects on central issues relating to the Greenlandic economy and business structure of today and the possibilities in a future secession from the Kingdom of Denmark. The article demonstrates that – besides the grants from Denmark and the EU which amounts to approximately 60 % of the income of the Greenland Government – the foundation for Greenland’s economy and business structure since the 1950s and 60s has been fishery which is still thriving. The article also shows that this is a single stranded and sensitive business structure that cannot alone meet the income needs for an independent Greenland. The article points out that the Greenlandic economy needs diversification and that the business environment should be developed. Particularly innovation and new product development in the marine industry, such as development in bio-economy, could be elaborated. There is also room for entrepreneurship within the cultural and creative industries. Developments of the tourism industry must be pursued and a comprehensive strategy for attracting foreign and direct investment to Greenland should be developed.

Mapping Creative Industries: A Case Study on Supporting Geographical Information Systems in the Olomouc Region, Czech Republic

ISPRS International Journal of Geo-Information ◽

10.3390/ijgi8120524 ◽

2019 ◽

Vol 8 (12) ◽

pp. 524 ◽

Cited By ~ 1

Author(s):

Rostislav Netek ◽

Tomas Burian ◽

Jakub Kohn

Keyword(s):

Czech Republic ◽

Geographical Information Systems ◽

Spatial Location ◽

Creative Industries ◽

Geographical Information ◽

Service Levels ◽

Interactive Map ◽

Cultural Sector ◽

The article presents an interdisciplinary link between the geospatial and the cultural sector. This is a unique study of Central Europe in visualizing and interpreting the spatial location of elements in cultural and creative industries. The main purpose was to create suitable visualizations and to process the spatial aspects of cultural and creative industries in a cartographical environment. A team of professionals from several fields (geoinformatics, economics, culture, social sciences, cartography) was assembled to map the creative industries in Olomouc Region, Czech Republic. A total of 1,211 subjects were identified which created the conditions for the employment of more than 5,000 people. Their turnover exceeds EUR 190,000,000 annually. This study was based on an initially examined dataset. Seven spatial analyses were applied. Thirty analogue maps and one interactive map application were created. The point character map was the most used one. The price map, as a background layer, was considered very useful for further map reading. The essential phenomena were topics of population density and transport. Based on the generated map outputs, we found that subjects had a tendency to concentrate in the city center or in areas with higher prices and service levels.

Coworking Spaces as a Driver of the Post-Fordist City: a Tool for Building a Creative Ecosystem

European Spatial Research and Policy ◽

10.18778/1231-1952.27.1.05 ◽

2020 ◽

Vol 27 (1) ◽

pp. 105-125

Author(s):

Pavel Bednář ◽

Lukáš Danko

Keyword(s):

Local Community ◽

Local Development ◽

Data Gathering ◽

Creative Industries ◽

Community Initiatives ◽

Organizational Perspective ◽

Coworking Spaces ◽

Depth Interviews ◽

The Eu

Collaborative places nurture creativity and efficiency of cultural and creative industries. Research in collaborative places revealed they are essential for networking and cooperation in the creative ecosystem. The results of studies focusing on competitiveness of coworking spaces and their effect on boosting entrepreneurship are rather vague. Furthermore, an awareness of how coworking spaces stimulate coworkers to engage in urban regeneration through local community initiatives is limited. Hence, this study seeks to provide an insight into coworking spaces from the organizational perspective devoted to entrepreneurship and competitiveness. Simultaneously, the paper aims to reveal synergies between creative communities and local development. The method of data gathering consists of semi-structured in-depth interviews with managers and entrepreneurs from selected countries of the EU applying the grounded theory for their analysis. The results suggest that coworking spaces indicate a boosting of the entrepreneurship of the creative class through collective projects. These activities tend to stimulate knowledge creation and open innovation in the creative ecosystem that benefit local development. Coworking spaces also represent a driving force to initiate and maintain a dialogue between the creative ecosystem and local authorities for culture-led urban development.

Toward an ‘African’ take on the cultural and creative industries?

Media Culture & Society ◽

10.1177/0163443716664856 ◽

2016 ◽

Vol 39 (4) ◽

pp. 582-591 ◽

Cited By ~ 7

Author(s):

Christiaan De Beukelaer

Keyword(s):

Cultural Production ◽

Creative Industries ◽

Creative Economy ◽

African Continent ◽

Double Blind ◽

Western Literature ◽

Academic Literature ◽

Empirical Context ◽

Cultural Sector ◽

This article questions the extent to which ‘Africa’ can simply buy into the creative economy discourse. This is necessary because the relative lack of attention to the cultural and creative industries on the continent in the academic literature creates a double blind. First, the empirical context in which culture is created, traded, and consumed remains absent from the largely Western literature. Second, the same Western literature serves as a way to make cultural production on the African continent fit the notion of the cultural and creative industries. This creates a tension between the cultural and creative industries models and the context in which most cultural stakeholders on the continent work. My argument is that far greater empirical attention is needed to the practices in the cultural sector across the continent, because ‘Africa’ cannot simply pick and adopt a model, it needs to conceptualize and theorize its own models and approaches to the cultural industries for this discourse to become a useful tool.