scholarly journals Changing tune in Woodstock: Creative industries and local urban development in Cape Town, South Africa

2012 ◽  
Vol 5 ◽  
Author(s):  
Laura Wenz
Keyword(s):  
South Africa ◽  
Local Development ◽  
Cape Town ◽  
Field Research ◽  
Global South ◽  
Creative Industries ◽  
Urban Setting ◽  
Creative Economy ◽  
Creative City ◽  
The Right

Since the beginning of the new millennium, a plethora of works has been published on the making of the ‘creative city’ and the urban impact of the creative economy. So far, however, limited recognition has been given to how the development of cultural industries and the creative economy as a whole influences urban transformation in the rapidly urbanising Global South, especially in Africa. In Cape Town, a steadily growing number of creative industries and ‘culturepreneurs’ (Lange 2005) are carving out new spaces from the city’s highly contested urban setting. Over the past five years, the mixed-use, inner-city fringe area of Woodstock has seen the incessant arrival of creatives from various sectors. Travelling alongside is a property sector geared towards catering specifically for the creative industries’ spatial demands by turning old industrial structures – the remains of Woodstock’s former capacity as national hub for clothing, food processing and other light manufacturing – into creative centres hosting international film studios, leading galleries and designer ‘theatre retail spaces’. After setting the stage through a comprehensive introduction to the rise of the creative economy in South Africa and Cape Town, this article tunes into the current local development of Woodstock, based on extensive field research in the area. It traces ways and forms of conflict but also new social interfaces between the new creative tenants and the old established community, on the one hand pointing to problematic issues like lingering gentrification, sociospatial polarisation and lopsided cultural representation while also trying to flesh out some of the opportunities for finding the right frequency of engagement between creative industries and spaces of vernacular creativity within Cape Town’s post-apartheid urban realm. Keywords: Creative economy, creative city, Global South, urban regeneration, gentrification, vernacular creativity

scholarly journals INDUSTRY REVOLUTION 4.0 : STRENGHTHENING THE CREATIVE ECONOMY SECTORS THROUGH BEKRAF IMPLEMENTATION PROGRAMS

2020 ◽  
Vol 5 (01) ◽  
pp. 84-108
Author(s):  
I Wayan Aditya Harikesa
Keyword(s):  
Social Inclusion ◽  
Creative Industries ◽  
Creative Economy ◽  
The World ◽  
Close Cooperation ◽  
Economic Foundation ◽  
The Government ◽  
Small Medium Enterprises ◽  
The Right ◽  
Medium Enterprises

President Joko Widodo or Jokowi has made a great leap in enhancing Indonesia�s Small Medium Enterprises (SME)s and the country�s overall creative industries by establishing a new non ministerial institution called Badan Ekonomi Kreatif (BEKRAF) or the Creative Economy Agency. The BEKRAF, established under the Presidential Regulation Number 6 of 2015 issued on January 20, 2015, is responsible for accelerating the development of creative economy in Indonesia. Small Medium Enterprises (SMEs) have been playing crucial roles for generating economic progresses as well as social inclusion in Indonesia. Among the most important and worthy of priority is the country�s creative economy. The existence of BEKRAF will enhance close cooperation between the government, SMEs players and related economic stakeholders. This paper aims to assess the concept of �Creative Industries,� as a boundary concept that allows for increased co-operation between players and the generally opposing knowledge concepts�as reflected in their respective knowledge and cultural politics. Indonesia has great potential in terms of economic growth. In 2015, Indonesia�s Gross Domestic Product (GDP) rocketed to 4.79 percent, far above the previous expectation of only 2.4 percent. This encouraging climate is indeed the right moment for the government to strengthen the country�s economic foundation particularly in the real economic sector. Hence, BEKRAF has a vision to build Indonesia as one of the world�s great economic powers in the field of creative economy by 2030. This issue will be discussed comprehensively in the final part of the paper.

Counting on Carrington Road: Street Numbers as Metonyms of the Urban

2018 ◽  
Vol 17 (4) ◽  
pp. 433-450 ◽  
Author(s):  
Alexandra Crosby ◽  
Kirsten Seale
Keyword(s):  
Visual Presentation ◽  
Creative Industries ◽  
Creative Economy ◽  
Top Down ◽  
Fine Grained ◽  
Creative City ◽  
Starting Point ◽  
Urban Futures ◽  
Post Industrial ◽  
The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

scholarly journals A Critique of the Creative Economy, Creative City and Creative Class From the Global South

2020 ◽  
Vol 11 (4) ◽  
pp. 1
Author(s):  
Diego Santos Vieira de Jesus ◽  
Daniel Kamlot ◽  
Veranise Jacubowski Correia Dubeux
Keyword(s):  
Global South ◽  
Creative Class ◽  
The Self ◽  
Creative Economy ◽  
Economic Governance ◽  
Culturally Specific ◽  
Creative City ◽  
Governance Strategies ◽  
Central Argument ◽  
Political Economic

The aims are to identify and examine the inconsistencies and incongruities of the definitions of “creative economy”, “creative city” and “creative class” in their application to the study and the formulation of public policies in the Global South. The central argument points out that 1) the idea of “creative economy” seemed to conceive peripheral societies would be flat tables on which pre-given economic governance strategies for creative sectors could be replicated; 2) the concept of a “creative city” by the mainstream does not deal with the specific political-economic obstacles in the Global South, so it seems more feasible to define “creative city” from a culturally specific understanding of what creativity is and recognize the motivations for creating a creative city can come from different actors according to local circumstances; 3) the mobilization of creativity in the exercise of the profession is a weak criterion for defining the “creative class”, which motivates difficulties regarding the self-identification of individuals as members of it. They reproduce hierarchical regimes that exclude differences.

scholarly journals Creative economy as a tool of competitiveness

2020 ◽  
Vol 83 ◽  
pp. 01007
Author(s):  
Jana Centárová
Keyword(s):  
Intellectual Property ◽  
Natural Environment ◽  
Driving Force ◽  
Economic Value ◽  
Creative Industries ◽  
Creative Class ◽  
Creative Economy ◽  
Creative Industry ◽  
Creative Potential ◽  
Creative City

Creativity is a fundamental manifestation of human existence and is present in every human being in different forms. The creative economy is a natural environment for innovative ideas, development and exploitation of creative potential. Over the last two decades, it has been observed that creativity is gradually becoming a driving force for economies, and as a result the importance of creative industries is also increasing. The creative industry is increasingly becoming part of EU documents and policies. The governments of the creative countries gradually introduced the concept of the creative industry, the creative class and the creative city and their importance. The creative industry refers to those parts of the economy that create economic value on the basis of individual creative input or artistic talent. It is a sector based on the exploitation of intellectual property. The aim of this work is to briefly map the concept of creative economy and its measurement in the work of foreign and Slovak authors and describe the possible potential of this industry.

scholarly journals CREATIVE CITIES RESEARCH IN PENANG, MALAYSIA: A REVIEW OF CONCEPTUAL AND METHODOLOGICAL FRAMEWORK

2015 ◽  
Vol 13 ◽  
Author(s):  
Khoo Suet Leng ◽  
Nurwati Badarulzaman ◽  
Narimah Samat ◽  
Morshidi Sirat ◽  
Sharifah Rohayah Sheikh Dawood
Keyword(s):  
New Economy ◽  
Creative Industries ◽  
Policy Framework ◽  
Creative Economy ◽  
Methodological Framework ◽  
Methodological Issues ◽  
Creative Cities ◽  
Contemporary Research ◽  
Creative City ◽  
Conducting Research

A heightened interest in the notions of ‘creative cities, creative industries and creative economy’ has propelled research in these emerging areas of the New Economy. As an emerging area, some conceptual and methodological issues need to be addressed prior to adopting the creative city paradigm as part of the strategic and policy framework towards a creative economy. This paper presents a review of key conceptual and methodological issues that need to be considered when conducting research on creative cities in Malaysia. The conceptual and methodological issues relating to creative cities and creative industries should be addressed and dealt with in order to facilitate an enabling framework for contemporary research in this emerging area.

Creative economy assessment: a case study of Kish Island

2017 ◽  
Vol 44 (12) ◽  
pp. 1940-1956 ◽  
Author(s):  
Elham Lafzi Ghazi ◽  
Miguel Goede
Keyword(s):  
Performance Measures ◽  
Design Methodology ◽  
Creative Industries ◽  
Creative Class ◽  
Small Island ◽  
Creative Economy ◽  
Content Type ◽  
Tourist Attractions ◽  
Creative City

Purpose The purpose of this paper is to evaluate the case of Kish, which is a small island off the coast of Iran, using the creative indicators of a creative economy. Design/methodology/approach Based on the extant literature, a set of performance measures and factors are identified for the creative economy. This set is mainly based on Florida’s theory on the creative class. The case of Kish Island is evaluated based on these indicators, and after analysis, conclusions are drawn. Findings Kish Island, with its numerous tourist attractions, shows remarkable creative industries that highlight the presence of the creative class and the development of a creative economy in this area. Originality/value The paper illustrates the model of a creative economy assessment for the small Kish Island and finally provides a good understanding of the concept of the creative economy as a key element of the creative city.

scholarly journals Criatividade, Conflito e Direito à cidade num Rio de Janeiro Espetacularizado

2016 ◽  
Vol 1 (2) ◽  
pp. 8 ◽  
Author(s):  
Barbara Szaniecki
Keyword(s):  
Rio De Janeiro ◽  
Right To The City ◽  
The Political ◽  
Creative Economy ◽  
Political Dimension ◽  
Mega Events ◽  
Creative City ◽  
The Right ◽  
The City ◽  
Creative Production

O artigo traz reflexões sobre a implementação do conceito de Economia Criativa no Brasil e, em particular, da transformação do Rio de Janeiro em Cidade Criativa. Essa transformação é visível através da realização de megaeventos mas torna invisíveis alguns dos potentes atores culturais e criativos da cidade. Apresentaremos a literatura que aborda esses temas assim como experiências alternativas de produção cultural e criativa – os Pontos de Cultura a nível nacional, alguns experimentos realizados na ESDI/UERJ e a criatividade multitudinária das manifestações – que conjugam as dimensões produtiva e política da Criatividade e podem fortalecer o Direito à Cidade num Rio espetacularizado. Creativity, conflict and right to the city in rio de janeiro spectacularizedAbstractThis article reflects on the implementation of the concept of Creative Economy in Brazil and, in particular, the transformation of Rio de Janeiro in Creative City. This transformation is visible through the realization of mega-events but makes invisible some of the powerful cultural and creative actors of the city. We present the literature that addresses these issues as well as alternative experiences of cultural and creative production - the Points of Culture in Brazil, some experiments in ESDI / UERJ and multitudinous creativity of the protests - which combine the productive and the political dimension of creativity and can strengthen the Right to the City in a spectacularized Rio de Janeiro.

Informality and the branding of creative places: the case of Suci screen-printing kampong in Bandung, Indonesia

2021 ◽  
Vol 43 (1) ◽  
pp. 89-113
Author(s):  
Fikri Zul Fahmi ◽  
Dinar Ramadhani ◽  
Aliyah Alfianda Dwicahyani ◽  
Adiwan Fahlan Aritenang
Keyword(s):  
Local Government ◽  
Screen Printing ◽  
Brand Image ◽  
Local Development ◽  
Global South ◽  
Brand Identity ◽  
Creative Economy ◽  
Branding Strategy ◽  
Development Agenda ◽  
Creativity And Innovation

This paper examines how informality is utilised in the branding of urban kampong and how this reshapes kampong development in the context of the global South. We examine the case of Suci area, Bandung, which the local government relabelled as a ‘creative tourism kampong’ in order to rejuvenate the identity of the long-established businesses in the area. Informality is thus strategically used to develop the brand identity of the kampong. The brand of ‘creative kampong’ is used to reflect that deprived communities residing in the kampongs can participate in the local development agenda for promoting the creative economy. However, the policy strategies have not gone beyond relabelling the name: the characteristics and potentials from informality in the kampong are not aligned with and translated into actions to promote creativity and innovation in the existing local enterprises. As the result, the branding strategy could not develop awareness and esteem about the brand image that the kampong is being revitalised as a creative kampong.

scholarly journals CREATIVE CITIES RESEARCH IN PENANG, MALAYSIA: A REVIEW OF CONCEPTUAL AND METHODOLOGICAL FRAMEWORK

2015 ◽  
Vol 13 (5) ◽  
Author(s):  
Khoo Suet Leng ◽  
Nurwati Badarulzaman ◽  
Narimah Samat ◽  
Morshidi Sirat ◽  
Sharifah Rohayah Sheikh Dawood
Keyword(s):  
New Economy ◽  
Creative Industries ◽  
Policy Framework ◽  
Creative Economy ◽  
Methodological Framework ◽  
Methodological Issues ◽  
Creative Cities ◽  
Contemporary Research ◽  
Creative City ◽  
Conducting Research

A heightened interest in the notions of ‘creative cities, creative industries and creative economy’ has propelled research in these emerging areas of the New Economy. As an emerging area, some conceptual and methodological issues need to be addressed prior to adopting the creative city paradigm as part of the strategic and policy framework towards a creative economy. This paper presents a review of key conceptual and methodological issues that need to be considered when conducting research on creative cities in Malaysia. The conceptual and methodological issues relating to creative cities and creative industries should be addressed and dealt with in order to facilitate an enabling framework for contemporary research in this emerging area.

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