Mapping exercise: How could creative industries foster innovation in tourism in the Northern Dimension area?
Country Report – Russia
December 2016 Team: Terry Sandell, Lila Skarveli
This project is funded A project implemented by by The European Union the PROMAN Consortium 1 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country Report – Russia
DISCLAIMERS
This report has been prepared with the financial assistance of the European Commission. The contents of this publication are the sole responsibility of PROMAN and can in no way be taken to reflect the views of the European Union.
This report has been discussed with the international expert concerned in relation to the input work plan agreed with the Client, the expert’s terms of reference and to ensure it contains relevant issues and recommendations, which have been discussed in a debriefing session with the Client.
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Framework Contract Beneficiaries 2013 - EuropeAid/132633/C/SER/MULTI Lot 9: Culture, Education, Employment and Social.
RfS 2015/369412/1
2 2 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Countr eport – ussia
CONTENTS
DISCLAIMERS ...... 2
LIST OF ABBREVIATIONS ...... 4
1. INTRODUCTION AND KEY POINTS ...... 5
2. BASIC COUNTRY INFORMATION ...... 14
3. CCIS IN THE RUSSIAN FEDERATION ...... 15
4. TOURISM SECTOR IN THE RUSSIAN FEDERATION ...... 21
5. CCS/CCI-TOURISM SECTOR COOPERATION IN THE RUSSIAN FEDERATION ...... 26
6. THE RUSSIAN FEDERATION'S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION WITH NORTHERN DIMENSION COUNTRIES ...... 27
7. CASE STUDIES ...... 31
C
C C
C C C ,
8. COUNTRY CONCLUSIONS AND OBSERVATIONS ...... 34
C C
3 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? –
LIST OF ABBREVIATIONS
Acronym/abbreviation Meaning
4 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? –
1. INTRODUCTION AND KEY POINTS
‘Mapping
European level has not been taken or is it because we are in a ‘post definitional’ era with certain Is the tourism industry’s use of cultur
5 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussia
o the bridges that need to be built between Is and the tourism sector include new intermediaries who can identify interpret broker and manage tourism I I tourism synergies
In the last couple of years there has been increasing interest in looking at the e isting and potential linkage of the cultural and creative industries to tourism development It however throws up considerable practical and methodological challenges and problems for various reasons and e plains why relatively little progress seems to have been made he ma or first hurdle is that the definition of cultural and creative industries is constantly evolving and moreover it differs from country to country his has been particularly evident in the case of the eleven orthern imension countries even in the case of those countries which work very closely together for e ample in the case of ithuania atvia and Estonia here can also be conceptually uite different national approaches or e ample in one country cultural and creative industries may be seen as a distinct sector and be supported on that basis In another country they may not even be seen as a sector but as part of something wider or cross cutting such as one part of the creative economy or as a part of national innovation entrepreneurship or ME policies he third issue flows from the other two ecause of an evolving and differing understanding in country terms of what the Is constitute there is no common statistical base which allows clear comparisons or benchmarking something which is urgently needed and is beginning to start being e plored at European level
If one turns to the tourism sector there are similar parallel problems he collection of statistics e g number of nights’ accommodation may be firmly in place but those statistics are partial and beginning to look increasingly inade uate as they are often not taking account of revolutionary changes affecting the tourism and travel industries he continuing growing importance of s and an emerging peer to peer and sharing economy affecting such areas as traditional tourism accommodation are often not being captured by the traditional industry information systems
ourism categorisation is also constantly evolving with the e istence of an increasing number of sub sectors Even cultural tourism a sub sector itself can be broken down into possibly a do en or more sub sectors such as heritage tourism arts tourism creative tourism urban cultural tourism rural cultural tourism indigenous cultural tourism e periential and gastronomic tourism ‘dark’ tourism often with overlaps with other forms of tourism e g adventure tourism health and well being tourism and so on gain there are definitional differences from one country to another and certain types of tourism may be more developed or be more of a national tourism priority in one country compared to another
he complications of identifying at a general level the e isting and potential linkage of Is to the tourism sector is e acerbated by certain tourism sub sectors being in their own right part of the cultural sector itself for e ample in the case of heritage tourism oth the Is and the tourism sector are not in reality clearly demarcated both are imprecise fluidly defined fast changing and dynamic areas of comple and important economic and social activity In the case of Is there are other complications or e ample the
ommittee on Industry esearch and Energy and ommittee on ulture and Education of the European arliament raft eport une ‘On a coherent E policy for cultural and creative industries’ I I ‘Alongside a clear definition that takes into account all sectors related to Is the co rapporteurs believe it e ually necessary to have comparable and reliable statistical data Each Member tate has in fact its own classification of Is It is therefore essential to adopt at E level an updated framework for the sector and to map changes over time he ob ective should be to identify specific indicators to measure the results of policies for the promotion of the sector.’ nline travel agencies such as E pedia ooking com etc ourism in which visits are made to sites attractions or e hibitions connected with suffering death disaster and negative or macabre events Melanie mith in her ‘Issues in ultural ourism Studies’ outledge pp lists thirteen categories of cultural tourism which she reduces to nine and later seven broad sub sectors ee ppendi of the egional eport for a detailed ‘Typology of ultural Tourism’.
6 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussia arts ‘lobbying industry’ has or many years u i uitously used the terms cultural industries and creati e industries interchangea ly in order to protect or olster pu licly unded culture udgets. Although things ha e mo ed on and in many countries the importance o the arts or e ample is recognised and understood as a part o the creati e industries alue chain there is still o ten a lot o lurring and de initional con usion .
erhaps nai ely e had the intention at the outset o our ork o trying to ring some clear and o erarching de initional discipline to our su ect. This ra e intention as eliminated as a result o almost the irst day o the irst country isit here it as clear that there ere ery local and legitimate interests de ates and speci icities and that it ould e arti icial to impose on countries de initions and categories that might ork or some ut not or others. Imposing de initions ould in some cases ha e een positi ely distorting to an understanding o the local I situation. It should also e mentioned as ill e seen rom the t o ootnote re erences a o e to a ery recent uropean arliament report that e en at le el here the cultural and creati e industries ha e soared to a position o highest importance in terms o policy terminology is o ten loose or e ample ith oth the terms ultural and reati e Sectors S and ultural and reati e Industries I eing used.
In the conte t o our ork e there ore elt there as no alternati e ut to assess the cultural and creati e industries and the tourism sector in the indi idual countries in their o n terms and then ith the regional cross country report to try to ring them together.
Although it is right to look at ays o increasing the synergies et een the tourism industry and Is it is important to recognise that there is already a su stantial le el o engagement. or e ample e en a super icial listing o the main Is illustrates ho they are already contri uting to the tourism sector
So t are and digitalisation this has had a re olutionary impact on many aspects o the tourism industry not least in the role that OTAs play e.g. TripAd isor ooking.com pedia Air n etc. esign especially graphic design ut also right the ay through all aspects o design including son et lumi re spectacles light esti als and e ents etc. usic or place randing am ience open air concerts etc. Ad ertising and roadcasting the importance o these areas to the tourism industry are sel e ident ilm and cinema promos tra elogues ilm location tourism Theatre use o actors as animators or or audio guides staged e ents historical pageants and re enactments etc. esti als a ma or element in e ent tourism and place randing ra ts and anti ues as part o shopping and sou enirs Architecture the tourism industry s use o uilt heritage and use commissioning o signi icant uildings including as hotels
ommittee on Industry esearch and nergy and ommittee on ulture and ducation o the uropean arliament ra t eport une ‘On a coherent policy or cultural and creati e industries’ I I The uropean arliament ’Calls on the ommission to design its uture policies ased on the ollo ing de inition o Is ‘cultural and creati e industries are those industries that are ased on cultural alues indi idual creati ity skills and talent ith the potential to create ealth and o s through generating alue rom intellectual property. They include the ollo ing sectors relying on cultural and creati e inputs architecture archi es and li raries artistic cra ts audio isual including ilm tele ision ideo games and multimedia cultural heritage design creati ity dri en high end industries and ashion esti als music per orming arts ooks and pu lishing radio and isual arts’. Online tra el agencies.
7 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country e ort – ussia
ublis ing tra el and guide boo s are still ery o ular as ion lace i age and branding ol costu es etc. a ing aug ented reality and er a s still at an early stage but already being used e en by big traditional touris o erators suc as o as Coo ood and local natural roducts food festivals, branding (‘appellation’) and gastrotourism in bot urban and rural conte ts
o t e real uestion is could and s ould t ere be ore interaction s t ere eit er ar et ailure or under utilised otential and resources Out o ic lo ot er uestions or e a le is e isting CC touris interaction because o e ecti e ertical olicies or in s ite o t e oes a ori ontal co on language e ist it regular dialogue roducing t e de elo ent o s ared interests bet een t e CC and touris sectors re t ere articular touris sub sectors and CC sub sectors ore suited to inno ati e interaction and ore able to roduce ne coo eration et ods odels and aradig s t ere is ar et ailure or under utilised otential and resources at ind o inter ention or incenti isation is re uired to a e t e CC sector and touris industry interact ore e ecti ely
s illustrated abo e a lot is going on bet een t e arious CC sub sectors and t e touris industry so t ere is not classic ar et ailure but rat er o ‘under utilisation’ ic arrants and usti ies inter ention. ouris and t e CC s s are any c aracteristics. ey are rag ented dyna ic nu erically do inated by s icro businesses and sole traders reoccu ied it t e sel es and o ten c aotic. ey eac a e t eir o n agendas. ere is lac o a co on language bet een t e robably attributable in art si ly to lac o ti e. n general t ere does also see to be a lac o sa oir aire in ter s o t eir engaging it eac ot er inno ati ely or ot er ise or t e CC sector de elo ing clustering a ears to be ery el ul but CC s and touris actors a e so ar not naturally clustered. ost i ortantly t ere a e been e ractical easures alt oug t ere are so e good e ce tions to bring touris ro essionals and CC actors toget er ic at t e ery ini u re uires acti e olicy a er interest inter reters so e unding and artici ati e co it ent.
ery i ortant uestion is to at e tent any synergies currently ta ing lace bet een t e cultural and creati e sectors and t e tra el and touris industry are because o or in s ite o current ‘vertical’ olicies. ile olitical ention o CC s contributing to ot er sectors is re uent including so eti es in olicy docu ents it tends not to be targeted in any ractical ay. ere is robably ore t an one reason or t is. t is a act t at t e conce t o CC s is still relati ely ne e en i one traces it bac to t e s and is ossibly art o t e e lanation. One sus ects t at alt oug t e role o t e CC s in ter s o t eir econo ic and social bene its is increasingly being recognised by uro ean go ern ents t ere is robably still airly ides read an issue o real understanding o t e CC eno enon and t e nature o t eir otential. is is t en at t e olitical and olicy le el greatly e acerbated by t e roble o oorly oined u go ern ent ad inistration ic articularly a ects t ose areas ic need to be olitically and econo ically anaged in a ori ontal cross cutting ay. urt er issue in so e countries is t at go ern ents o ten are not i aginati e at or ing it and or t e ri ate sector es ecially in relation to s icro businesses and sole traders. urt er ore t ere is also an issue o o ners i . ic inistry or ad inistration is res onsible or CC de elo ent Culture cono y ndustry nno ation Business?…Shared? Or are t e CC s t e sel es uc o t e ti e o erating in t e ri ate sector res onsible or t eir o n de elo ent
n t e case o t e ot er side o t e e uation touris o is res onsible or de elo ing touris ser ices roducts and e ents es ecially in relation to an area li e cultural touris n ost cases it is not go ern ent but s inde endent co ercial and non co ercial entre reneurs and cultural institutions acting entre reneurially or i aginati ely not in act t e inistries o ouris . t is al ost a uni ersal act t at olicy a ers traditionally ocus on at t ey directly control and anage unless
8 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountr eport – ussia lobbied to do other ise eadership and representation in the sub sectors in man countries is not ver ell developed so lobb ing is ea and the sector as a hole covers such a ide area and diverse interests that lobb ing as a sector is most of the time not realistic
t should also be recognised that the s have not been noticeabl lobb ing for more engagement ith the tourism industr hile the tourism industr , although much better organised in terms of sector and sub sector representation, has not been noticeabl developing an agenda for greater oint dialogue and e ploration ith the sector
gain one needs to as a uestion, this time the uestion is h such an agenda has not been developed in the past? t ould seem that it ma simpl be to do ith the comple it and chaotic nature of the t o sectors or e ample, ho man sub sectors does the tourism industr have? f one ta es ust one of those numerous sub sectors, for e ample, cultural tourism, ho man sub sub sectors does cultural tourism in turn have? s for the s ho man are the ? t depends on the countr but in most cases about a do en But again if one loo s at one of them individuall , such as design, it becomes comple n one orthern imension countr design is officiall defined according to about sub sectors
n loo ing at ho the creative industries could foster innovation in tourism in the orthern imension area one needs to ta e into account all the factors mentioned above t has seemed ver clear from our or that to get the t o chaotic and fragmented sectors to begin to or better together and feed off each other it ill be impossible to identif a single unified interface or find a ’magic bullet’. his is not of course the ans er politicians, polic ma ers and economic planners ant t is ho ever the realit f progress is to be achieved in getting the S sector to engage more and in a s stematic and s nergistic a ith the tourism sector, there is a need to be selective, realisticall focussed and ta e a segmental approach eveloping effective methods, models and paradigms for ourism cooperation and interaction ill onl come through such an approach
ur or suggests that in being selective, and in relation to the orthern imension region, the most productive tourism target areas are probabl going to be heritage tourism, creative tourism (including routes and trails, gastronom and rural tourism) and events tourism eritage tourism is in man of the countries ell developed hat said, there are plent of sites, man museums but ho man apps? reative tourism, hich e define more clearl belo , is a natural ground for all t pes of S involvement ultural routes and trails open up all sorts of innovative opportunities as visitors are there for the e perience and need to move, learn, eat, sleep and interact ultural routes can of course also be cross border and multi countr pro ects dra ing orthern imension countries into mutuall beneficial cooperation astronom or gastrotourism is also booming in parts of the orthern imension area, either as a result of a planned tourism development (e g the oint ordic ood promotion hich as launched some ears ago, and because of its success, follo ed b a ordic ashion initiative later) or as a practical research area (as in the case of the or currentl being done in St etersburg at the igher School of conomics) ural tourism s special challenges information, communication and access are also fields of opportunit for s vents tourism, a priorit in man of the orthern imension countries, is still not a saturated area, even if it is becoming more competitive, ith ne festivals of all t pes mushrooming in the region hich are natural meeting grounds for inputs from the S into tourism development n the case of tourism based festivals polic in particular, the s could be encouraged to provide the bac ground lin age, depth and continuit for festivals and events that are b their nature often one off, narro l focussed, sometimes self absorbed and usuall of short duration h not classical music festivals ( ith their d ing audiences ) lin ed to co located outh oriented fashion pop ups? sing the local S resource as ear round lin age or continuit is alread happening in some places in the orthern imension area
ccepting that the creative industries alread contribute a lot to the travel and tourism industr but that there could be a more developed relationship especiall if targeted at a fe ver specific tourism sub
9 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? u t e t – u ia
ect at i i te e ti i ee e t a lic le el t e i t te ul eem t be a ee i c ea e a a e e u e ta i g a i te e t i act t e cla ic ‘Hawthorne Effect’. lic e c u ageme t b tt m u i itiati e a i tal e gageme t c mbi e it t le imagi ati e a e iti e t ategic lace b a i g a e ecti e e ti ati ma ageme t ma eti g a e babl a t t e ee e mula. a e e t e te tial t e t u i m elati i ee e e t be acti el m te i a ticula b e c u agi g it t be ut t u i m i u t age a a eatu e a a i cu i t ic at i u t ai c e e ce e e t a t ug i u t i mati c a el . a e e ai i g i al ee e i t e ite i ecti b ma i g m e a a e t e im ta ce a te tial t e t u i m ect a a a t e a ma et c eati e industries’ g a e ice . i ee t be e t ug ma i g it a actical age a item at e e t a gat e i g a t ug ‘word mouth’. e e i al a ee im l t b i g t u i m a e i al t get e t c eate ial gue a me e a actical b i ge . me ti e ea lie t e e i little e i e ce a c mm la guage a t e e i babl a ee a i te me ia ca e i u t ‘producer interpreters’ m b t ect .
ile i ma t e t e ime i c u t ie a t blem a e begi i g t be a e e elate t i a ce a i e tme t gi e t ei t a iti al i u t att ibute t i i u uall ma i e ti g it el i acilitati g t ei acce t e i ti g i e tme t i ati u i g c eme ic a e eci ic a e ge e al i atu e . eal g e i g i g t be ma e i a i g t e a t u i m ect cl e t get e a m e ucti el t e t e e i babl g i g t be a ee t e e t be eci ic a a l ta gete e c u ageme t a u t tu itie a c eme . actice t i babl mea t at t e e i a ee eciali e age cie e.g. ati a e i ge c c mic a egi al t te i e t ia i la e e etc t cu t i . e a t e t u i m ect a e te t a elli g i t e ame i ecti but a allel ail a t t e ame t ac it a e but e a i e e t i i g al met i g ic t e eciali e age cie c ul a e . e act i a al ea me ti e t e a t u i m ect a e amic c a tic ect a agme te t at e e it i eac i i i ual ect t e e a e a a e e blem le ge e icit a c mmu icati ga .
ugge te ab e a cu ul be e itage t u i m c eati e t u i m i clu i g ute a t ail ga t m a u al t u i m a e e t t u i m a t e e a ea eem t be t e m t uit ul e gi tic a i ati e e gageme t it t e ect . e itage a e e t t u i m a e el e i e tl u e ta able but t e im ta t a till eme gi g a ea ‘creative tourism’, ic e belie e e a a t e m t ele a ce a te tial ma t e ee me e la ati .
t i im ta t t elab ate a little at c eati e t u i m i at e at it i bec mi g. e c ce t c eati e t u i m eme ge ab ut i tee ea ag but i t e a c te t e le t a elli g t e ti ati t ll a c u e lea met i g i a t uctu e etti g e.g. t a c e c u e t lea a la guage. ece t time i lue ce b t e ami m t e ect c eati e t u i m e el me t a ta e a muc i e mea i g a i clu e a t u i m e e ie ce ic i l e t l mal but al mal i mal lea i g. eati e t u i m i a ‘work i progress’ i t at it i
a ticula l i te e ti g ect u a at a i cu e tl ta i g lace i i la ic i a e i g t i i ue. e a i i g i e tme t i a ce eci icall i c u e bei g e l e at u ea le el t ug e t a t e eati e u e g amme. a m e cauti u ie c eati e tourism notwithstanding the business planning of the world’s fourth biggest online travel agency see Alice Jong’s e e ia e i b b i but ill a elle ‘ ell acc i g t t e me ia t e e ict i i . i b b i g i g t ei e t t a el a e e b l e it i b b mbiti u ec ct ill a e t a e uc u i g i b b a ta e tel it gu i g t e le t a el i u t it i i b b e t ct u la e a e tau a t e e ati
10 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussia seen by some as also having an important co creation dimension to it i.e. where the tourism provider and the tourism consumer co create the tourism e perience. t is also often seen as embracing all e periences and learning related to a specific place, even those that have not been traditionally perceived as ‘tourism’ e periences. he local dimension and active participation by ‘locals’ is also often considered another essential ingredient. nlike traditional cultural heritage tourism, creative tourism embraces not only historical culture but also very much contemporary culture. inally creative tourism can be seen as a reaction to traditional cultural tourism that has sometimes turned into ‘serial reproduction’ or ‘Gettyisation’ . here is a demand for distinctively individualised and active e perience, not passive consumption of, for e ample, a franchised etty museum. ecognition of the importance of this new form of tourism came in with E commissioning the first serious non academic study of it.
his already important discernible movement to a new form of individualised, co created tourism opens up real and innovative opportunities for the cultural and creative sectors to e plore and establish new and active relationships with the tourism sector. As is made clear in the regional cross country report it will re uire practical intervention and certain types of support as for all their similarities in terms of being uintessential post industrial economic sectors, the s and the tourism industry do not speak the same language. ocussing on how ‘bridges’ can be built between targeted s on the one hand and creative tourism and traditional cultural tourism on the other is probably the best way to start to get the wider tourism industry and the whole spectrum of the cultural and creative sectors travelling more often and more productively on the same track and with mutually beneficial and genuinely shared agendas rather than on separate, parallel paths as seems so often the case.
n the country reports we try to take stock of the current state of the s, of the tourism sector, the general climate of interaction between them, and the general degree of the country’s interaction with other orthern imension countries plus we provide some country case studies. t should be said that it may have partly been because of the severe time constraint already alluded to at the beginning of this report but good case studies were not easy to find. e believe that this reflects perhaps two things. he first is that there are not abundant good e amples of the and tourism sectors developing together innovatively or that the good e amples are not recognised or particularly well known in the countries concerned.
n the regional report we bring things together, present an analysis, draw some conclusions and make recommendations which we hope may help to take things forward.
Even all treet seems smitten. eutsche ank E uity esearch issued a research note titled id Airbnb Just einvent rip lanning n ovember, the home sharing site s co founder and E rian hesky delivered an Apple inspired product launch replete with long ueues for reporters, lots of applause, standing ovations and – of course – one more thing of the new Airbnb rips platform. rips features a revamped etfli like design that puts bookable E periences at the centre. oming soon will be restaurant reservations, bookable activities and classes, and transportation options with teases that Airbnb will move into cars and flights . E periences are led by local host e perts, including astrophysicists, fashion gurus and truffle hunters. he design entices with old school movie posters and slick personali ed trailers. t s all about going deep and local with what feels like hand crafted opportunities to – you guessed it – live like a local. o people really want to spend their vacations making violins, crafting with recycled garbage, or learning to be an acrobat?’ (Phocuswright article, ecember reg ichards and Julie ilson eveloping reativity in tourist e periences A solution to the reproduction of culture in ourism anagement , pp . A phenomenon sometimes referred to as ‘Macdonaldsisation’ E , ourism and the reative Economy, E ublishing, aris. http d .doi.org . en
11 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussia
ey country points include
Although occasional reference will be made to s and tourism in the ussian ederation in general this report is focused on the orth est egion erious longer term planning and de elopment in the ussian ederation is in general often ery difficult but particularly for anything that is not, for whate er reason, a ma or go ernment priority or not mentioned in a state policy or similar document he ambiguous position of the cultural and creati e industries in national policy terms is uite e ident n the national trategy issued in ebruary outlining cultural policy to the year , ‘creative industries’ is mentioned once, fleetingly, in relation to competition for state financial support plus there is one other unconte tualised and isolated mention of support for the de elopment of the ‘cultural industry’ he trategy for ultural Policy for the period up to is ata istically and fiercely conser ati e t frames policy in terms of o iet era ‘institutional architecture’, focussing on philharmonias, special schools, creati e unions and the big buildings based cultural institutions he traditional cultural industries are featured but ery much as they e isted in o iet times traditional print publishing, classical music concert halls, state and municipal run theatres, con entional cinema production and national film e hibition, radio, and mass media he trategy document ma es it ery e ident that the cultural sector is still being seen by national policy ma ers in a ery narrow classical, ‘high culture’ th century o iet conte t and isolated from other economic sectors otwithstanding a whole raft of negati es in relation to the climate in which the creati e industries ha e to operate within the national system, it is a growing sector hey ha e interestingly pro en their comparati e sustainability during a period of continuing financial crises which began with the crisis and continue until the present here is no national specific legislation, nor any planned, only general cultural legislation At a regional (oblast’) and local le el the creati e industries are in some places seen as important by the authorities and gi en at least limited support hile in the main seemingly neither understood nor appreciated at the national le el, cultural and creati e industries de elopment is ta ing place in the big urban centres such as t Petersburg and Moscow n the case of the orth est egion, where it is officially supported, for e ample in the epublic of arelia, the sector is de eloping well, often in an interesting way de elopment in the ussian ederation in particular, but also to some e tent in the orth est egion, presents a somewhat confused picture en at national le el, while seemingly not featuring in policy, it has its champions, notably people li e Ale ei udrin and people who seem to be sympathetic, li e Prime Minister Med ede Aside from any specific problems, there are additional wider non specific realities related to de elopment here is a general lac of understanding and distrust of small and medium si ed enterprises ( M s and sole traders , there is a problem with the rule of law and concomitant petty bribery and corruption, plus a lac of in estment funding ia go ernment schemes or enture capital ome local research in t Petersburg has indicated that many go ernment sector cultural institutions do not want to ha e any form of interaction with creati e industries actors and that e en within the creati e industries sector itself there may be areas of resistance to collaborati e wor ing nno ation policy is seen almost e clusi ely in terms of scientific, technological and industrial de elopment luster policy is focussed almost e clusi ely on industrial clustering, although there has been in Moscow in particular some cluster creation and cultural hubs are appearing in some urban centres he powers of the regions and oblasts in terms of decentralisation are sometimes ambiguous or confused especially in terms of international relations his is ob iously an important matter for
( “ , О. Голодец Заместитель Председателя ” Правительства Российской Федерации Дорогие друзья тема действительно ‘ звучит несколько необычно Скажу ee откровенно, у нас нет специальной программы по поддержке креативного o бизнеса eсодействие was finance развитию minister культурной for o er a индустрииdecade until’. Правительство and during Российской was appointed Федерации as eputyРаспоряжение ead of the от PresidentialФевраля conomic2016 г ouncilр. Стратегияin addition toкультурной being as ed политики to draw up на new период economic до 2030 plans года, by p.President 35. Putin n the case of sole traders, for e ample, there is currently some discussion accompanied by much rumour that legislation will be introduced penalising through compulsory payments those who are self employed or not in
‘regular’ jobs. 12 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry e ort – ussia
border regions such as the orth est egion here is still o ten a erce tion or reality that everything has to go through osco t etersburg is a estival city but there is no estivals association or si ilar or a arently in the ussian ederation in general n late , in the conte t o raising ore oney or govern ent as a result o the latest inancial crisis, ro osals ere loated by so e arts o govern ent or a la designed to raise ta es on individuals not art o the ainstrea state econo y and hich could hit reelancers in the creative industries articularly hard he bac ground is the idea o a ing une loy ent a cri inal o ence or everyone ho is it or or , introducing an annual charge or anyone ho is not aying inco e ta and charging une loyed eo le or currently ree social services li e healthcare he i ortance and otential or touris to contribute to the econo y o the ussian ederation cannot be uestioned and is increasingly being re lected in olicy and in ractical actions he degree to hich touris is a ected by olitical and other events is also being ta en into account ncreasingly ussian touris lanners are ocussing the sia aci ic ar ets, artly because their uro e ar et is ragile he ederal gency o ouris re orted that grou boo ings ro hina had increased by bet een anuary and ril ne a or negative in luencing actor in relation to inbound touris is the ussian visa regi e but even in this area so e i rove ents are ha ening or lanned t see s that there is serious discussion o introducing visa ree travel or tour grou s ro ndia, ran and ietna li e the e isting arrange ent ith hina here is also see ingly dra t legislation to introduce electronic visas or visitors ro uro e and the
decentralisation starts not hen you have to begin“Настоящая by roving децентрализация so ething to osco начинается in order неto get тогда, their когда a roval нужно but hen сначала there доказывать is direct dialogue что то ith Москве, the получать ее одобрение, а когда есть прямой диалог с миром.” (“Real world.”)
13 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? –
2. BASIC COUNTRY INFORMATION
‘super regions’, ‘okrug' country’s
14 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussi
3. CCIS IN THE RUSSIAN FEDERATION
n t e c se o t e ussi n e er tion it is re y i port nt to un erst n t e e e op ent o cu tur po icy t e st ro t e s unti t e present e en i one oes not go ck to its sti in uenti o iet ntece ents to un erst n t e so e t c otic present e e op ent o s in t e country
ince t e s t e ussi n e er tion s o e ro isse ire, i er , so eti es c otic, syste in t e irection o ery conser ti e n t istic cu tur po icy is s een process ic s seen o est non go ern ent sector re in co ine it re uce utono y or t e go ern ent sector cu tur institutions o itic y it s een process ere t e st te s g in eco e e tre e y po er u s in o iet ti es t t e e pense o t e pri te n in epen ent sectors n to t e etri ent o t e e e op ent o ci i society is s een p rticu r y e i ent in t e st i teen ye rs n is ery isi e in t e test n tion cu tur po icy ocu ents s gener is tion it c n so e s i t t t e rene e strong presence o t e st te co ine it re uction in institution utono y it in t e cu tur sector s o ten resu te in ne regu tions n contro s ic e in pr ctice e to isincenti is iton n een un e p u in sti u ting ne cu tur opportunities or un ing o e s ic ig t e e e ope is is t e ro istoric n current conte t in ic t e s nee to e seen n un erstoo especi y in ter s o t eir e e op ent in t eters urg n t e ort est egion
ot it st n ing t e gr it tion to r s conser ti e n t istic cu tur po icy ic s cu in te it t e tr tegy or t te u tur o icy to t e ye r t e cu tur n sc pe o t eters urg itse s c nge consi er y in t e p st i teen ye rs ne trigger or e e op ent s in n t e e ents n progr e org nise to ce e r te t e t nni ers ry o t e oun tion o t e city is inc u e t e us roo ing o esti s n ot er cti ities uring t t ye r ontr ry to t ig t e een e pecte , ost o t ese esti s continue ter n pro e to e sting eg cy o t t nni ers ry ye r t s een out o t t cti ity t t t eters urg c n no present itse s ' esti city' n ppe r to e ‘dynamic’, inste o eing ust ' useu city'
not er i port nt e e op ent, uite r ic t t e ti e, s t e oc tion o u get y t e t eters urg o ittee on u ture n t e intro uction in o co petiti e pro ect gr nts progr e is progr e s continue unti t e present n no gr nts re gi en in t o re s, or e ents n esti s, especi y t ose it n intern tion i ension, n gr nts or inno tory pro ects n t e p st un er t is sc e e so e un ing ent to cu tur entrepreneurs ip cti ity t oug pu ic y t e t eters urg o ittee on u ture no ys see s to e coy out its position in ter s o support or t e cre ti e in ustries, t oug not speci ic y or cre ti e in ustries e e op ent, t ere is o est ount o gr nt cti ity t so s supporte t e nstitute or u tur rogr es o er consi er e perio o ti e e nstitute is pro y t e ongest unctioning n ost cti e pro oter o cu tur n cre ti e in ustries tr ining n e e op ent in t e city
e t eters urg o ittee on u ture ists its in unctions on its e site in ir y precise nner ut interesting y t ere is not sing e irect or in irect ention o cu tur in ustries
preser tion n r tion use o cu tur istoric erit ge re i n e e op ent o cu tur tr itions support o cu tur n rts org nis tions it t e i o ci it ting e u ccess to cu ture or sections o society cre ting t e con itions or t e i pro e per or nce o cu tur n rts org nis tions
t eters urg ity u tur o icy
15 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? n y – ia
m in cia m ic and a d ca i n y m, c a i d ca i n and di c y a n y n n a i n ci i n c and c na i na min i i d m n i c a c and c a and d ca i na ac i i i n nin in n i na and ama c id nin in na i na c a i n in m n c a and a ani a i n in in na i na c m i n ima a a c n c and a d i ni icanc ani a i n ci y id c a c c a i a , c m i i n , c a i n , i i i n , c n nc and ym ia d m n and c i n c and a d amm a d d m n c d m n i a d in na i na and i na amm a d c
i a nc nc c a and c a i ind i m in c n a i a i i n
innin d m n in an nd andin c nc and a i a m d a n i nm n a i nd d aci c nn a i ndin a a m n in ia ic in d a i m i a a n , , anc and in i c ad a , in nd, in m adin an in in and a nc ad d m n and icy in and i d a i i a ica y a in , a n mid i y , n in , n a nm n a i i in a di c i n c a and am n in d a c a i ind i y d d in inc din in c c n m a y a , a c and i y i c a a n i y a , n m n a i nd i , ic a n a d m c d cad a i a i m n , i adin and c dina in a a i nd i a a a i icia y ac d c a i c in ic a a i d in
am i i y a icia icy in a i n c a and c a i ind i i in ac c d in c ic d c a i n i icia c a i c i , a m n i n d a , mmi i d n n m n i n c a i ind i , y c n a nc cia and c n mic m n n i d c m n mmi c n mic icy and a ic annin i d m n a a n a c n mic d m n i i i nc cia and c n mic m n ci y n i n c a i ind i a “the main d i in c a ima a n m i ni ican ci i in d, in c a and i ica terms.”
nin icia y c ni d c c a d in , i i i nc a a n , and n i , c i d in , i n i i in in c a indi id a in c n y a a n i ac ica in i in c a i ind i n a mmi n cc din n in man , m n i n a a a n y in city’s d a c a an a m d in ina d a , a d y ca i a a d a n dy d nd and c nc and i a nn c a y any ay n i n c a i ind i a a a n inc d d a
16 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? try e rt – ssi
the me time there ere the e i i s e r y i terest i the cre ti e i stries c ce t y th the t eters r mmittee ti the t eters r mmittee stry s e s y the mmittee c mic icy tr te ic i s st me ti e . heir icies h e ee i e ce y the e er er me t str te ic ecisi i t cre te ech r s thr h t the ssi e er ti t r i e s rt r the e e me t hi h tech i stries. he irst h se the t eters r ech r r ect s the est ishme t the res si ess c t r i ther im rt t h se s the setti i te the ster e e me t e tre. s its me s ests the ster e e me t Centre’s r se is cti e y t cre te rt re c sters i c i thr h eri ree ice me t ri ser ices. t is thr h this ch e th t t eters r s irst cre ti e c ster e y the er the e tre r the e e me t re ti e stries c sisti t c m ies cre t rs c me i t ei s ici y rec ise e tity i te .
s e t e r ier it rem i s t e see h t this rm ise e tity ‘cluster’ c chie e s i c t e r ier met h r it seems t h e ee c cei e t it is sti ery m ch i the irst m th re cy ith m i ity t its t re re t e i.e. hich is i t e its s s ri city er me t c mmittee hether the mmittees either stry r ti i re y i e the ecess ry s rt r it t ec me cti e str te ic y si i ic t. h te er h e s it is i e y th t the e e me t the cre ti e i stries i t eters r s er the st ec e t e st r the imme i te resee e t re is i t e the res t the s themse es the ri te sect r the i e e e t c mmerci sect r i i i s.
stit ti y the stit te r t r r r mmes h s ee m i yer i tr i i r the sect r h s s ee ery i e i e e me ts tsi e t eters r rtic r y i re i . he stit te r t r r r mmes h s si ce ee r i c se y ith the e ic re i hich i s me res ects c c im t e re shi r s. here ith e er i istry t re s rt there h e ee ts re te r r mmes i c i the setti s eci ce tres. e the re s s r s ccess e e me t s eci ic y i this re i rt r m ers ities e ershi h s ee the cr ts e th t h s ee rs e . re i h s str cr ts se hich t s r risi y is ery i ish rie te ith str esi rie t ti .
he r e the e tre r the e e me t re ti e stries th i the c te t the e r y e cis r ect its s se e t m i y rm t eri rece t y i the re istr ti the irst ici cre ti e c ster h s ee t i e . s me ti e the ther i stit ti yers re the ti stry t re mmittees the ity ci . here is s c emic i terest i e e me t rtic r y the rt t i stit ti s the t eters r t te University’s c ty i er rts cie ces m y e e the i her c mics ch . he tter h e ee cti e i rese rch i ei i e i r ects c rre t m i rese rch i terest is e e i c i ry t rism r ‘gastrotourism’ i t eters r . hey re s re ri t st rt eri re te c rses i . m y e e is r i i the t eters r se rt ershi r r the se ert r m is i i re ti t r m ti tr c i e e me t i cert i ces i the ssi e er ti hich i c es s r e h. he ert Forum’s ishe s i c e m i t Petersburg’s cre ti e i stries t et c m rehe si e ict re the city’s cre ti e ec my erst i the r essi s th t c stit te the cre ti e c mm ity he i r ise the r i e i ssi i ter ti y the city’s cre ti e i stries. e e i re ti e ities e r ci cre ti e cities c se st ies. he c se st ies t i ter ti cities th t h e s ccess y est ishe y mic cre ti e ec my.
th h the e tre itse s ir y rm t its er h s ee ery cti e i t eters r i ther rts the ssi e er ti r m ti erst i s their te ti is e i this r e. e h s s ee i e ith setti t h s i t eters r .
17 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country e ort – ussia
eyon t Petersburg creative in ustries evelo ment is going on in s eci ic conte ts usually t e result o t e vision an energies o in ivi uals For e am le in t e e ublic o arelia a lot is being one in terms o su ort or esign an cra ts evelo ment in t e conte t o its tourism evelo ment olicy
ere is also a ma or or ic Council o inisters or en ro ect entitle ‘Joining Creativity’ in ic t e ort est egion is artici ating an ere t e lea artner t ere is t e arelian esource Centre or Public rganisations e state main aim o t e ro ect is to en ance economic coo eration an tra e bet een t e or ic countries an (Карельский ресурсный Центр общественных организаций КРЦОО). ort est ussia an contribute to t e success ul internationalisation o creative in ustry irms in t e altic ea egion e ro ect utilises an buil s on e isting no le ge an e eriences o revious ro ects on creative in ustries in ort est ussia an t e or ic countries in articular t e ongoing analysis o t e Norden’s creative in ustries ro ects in ort est ussia as ell as t e ongoing analysis o t e CC olicies it in t e PC artner countries con ucte by t e ort ern imension nstitute alto University
e ro ect as target grou s
ntre reneurs an s in t e iel s o creative in ustries as ell as businesses in ot er sectors o are intereste in e loring t e ossibilities o creative sector ro ucts services or s ills u ort organi ations relate to creative in ustries t e ucation sector
e ro ect starte in February an is ue or com letion in ril
n autumn consultations began on a ne e eral government rogramme or cultural olicy n ay a ra t rame or or t is olicy as ublis e aving been re are by a or ing grou ea e by t e C ie o t e Presi ential ministration n ecember it as a rove by Presi ent Putin o in oing so contraste t e eternal values o ussian culture it t e evaluation o t e rouble n t e ocument t e state’s e clusive an absolute role an its com lete res onsibility or culture is ma e absolutely unambiguous
n February t e ne Cultural trategy or t e erio until as issue an seems to ave been more limite t an at seeme to ave been in t e rame or ocument issue in late ey element in t e trategy is t at it a irms unambiguously an re eate ly t at state cultural olicy is a national riority t also sees state cultural olicy as t e most im ortant actor or increasing t e uality o li e an or ostering ositive social relations as ell as being able to guarantee t e ‘territorial integrity’ o t e ussian Fe eration n ot er res ects it is or a rea er rom t e outsi e a curious re etitive but in many res ects ascinating ocument lt oug re erences are ma e to t e nternet an t ere are a cou le o mentions o CC s see belo in many res ects it rea s as i t ere ave been no evelo ments in culture over t e ast i ty years gain or an outsi er es ite its assertions it rea s as being very e ensive s ell as ocussing on suc matters as t e ussian Fe eration nee ing to be in t e to ive countries in terms o t e number o U C orl eritage sites it oes not e lain y t is is so im ortant it also eals in even more etail it ivorce marriage an ‘family
values’.
o Правительство ere is at times an Российской e licit an im licit Федерации eno obicРаспоряжение element in отit e g 29 ussian Февраля istory 2016 being г subverte р an Стратегия negative re erenceкультурной to oreignполитики cultural на период in luence до 2030 but года ara o ically t ere seems simultaneously to be an obsessive interest in oreign recognition an a roval am les inclu e training young ussian musicians in or er to in international com etitions b ot er uro ean countries on culture etc eing in UNESCO’s top five countries in terms of World Heritage Sites, being seen to spend less than
18 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Co ntry e ort – ssia
e trategy egins y a statisti al revie of at a ened in terms of lt ral rovision et een and t t en refers to t e t reat of a manitarian risis if a tion is not ta en en e t e need for t e trategy it t e country’s most dangero s ossi ility for a manitarian risis oming from
lo ering of t e intelle t al and lt ral level of so iety deval ation of a e ted val es and distortion of val e frame or s gro t of aggression and intoleran e and e avio r asso iated it it deformation of istori al memory negative eval ation of ositive eriods of atrioti istory t e s reading of a false vie of t e ssian ederation eing istori ally a ard atomisation of so iety and r t re of so ial ties friends family neig o rs t e gro t of individ alism and indifferen e to t e rig ts of ot ers
t arg es t at national se rity in t e area of lt re is t reatened y
erosion of traditional ssian s irit al and moral val es e ansion of foreign lt ral and information infl en e in l ding roliferation of lo ality rod ts of o lar lt re romotion of ermissiveness and violen e ra ial national and religio s intoleran e de reasing role of t e ssian lang age in t e orld oor standards in t e tea ing of ssian at ome and a road falsifi ation of ssian and orld istory nla f l t reats to lt ral o e ts
t t e eginning of a se tion entitled ‘A Contem orary odel of C lt ral Policy’ it states t at “In t e ssian ederation in ontrast to t e oviet lt ral oli y model in i t e state as t e ey and often only a tor in lt ral oli y reinfor ed y legal norms t ere are no a variety of a tors involved in lt ral policy.” o le of senten es later in tal ing a o t t e state as remaining t e main [субъект] strategi investor in lt re and lt ral instit tions it states “[This investment ma es t e state t e ey a tor in lt ral policy” and t ro g o t t e do ment it is made very lear t at it is t e state and state lt ral oli y i e l sively s o ld determine and ontrol everyt ing t does t is even en setting o t a lear intention for e am le to introd e legislation to fa ilitate s and s onsors i to rovide e tra dgetary reso r es for state riorities related to t e lt ral se tor
e main riorities in t e trategy a art from dealing it a serio s ro lem of eritage restoration at ot federal and regional levels i is learly very m a ma or riority in l des
rivate state artners i s and en o ragement of s onsors i develo ment of a serio s statisti al frame or for monitoring lt ral oli y and system erforman e maintaining t e re ently introd ed salary arrangement for lt ral or ers to e at and not elo t e national average
mongst t e fig res ited in t e do ment it in l des one i s ggests t e er a ita s ending on lt re rose from s in to s in ven it t is a arent staggering in rease it otes foreign statisti s s o ing t at t e ssian ederation er a ita s end is lo er t an almost all and C o ntries e e t ort gal omania lgaria and ree e and one eig t of t e level in Nor ay and one arter of t at of ran e t also dra s attention to t e great regional dis arities in terms of lt ral s ending t seems to ave in mind s t ings as illaging at ar aeologi al sites
19 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry port – ussi
continuin uc tion or cultur l or rs support or ussi n cin support or th ni tion stu ios n lopin th ir or ir tion o th role of the ‘creative unions’ incr sin th nu r o ussi n l n u schools cl ss s ro t in st ps to pro ot th ussi n l n u sp ci lly h r it h s lost roun sinc th coll ps o th o i t nion supportin roups ro pro otin ussi n h rit th r t c lin th s rious r ion l isp riti s in cultur l pro ision in r structur l i pro nts such s o rnisin th coustics n soun syst s o philh r onic h lls incr sin th nu r o sp ci l usic schools tc so th t th y r tt n y o chil r n promoting the ‘right’ version of history amongst young people lop nt o th p triotic ilit ristic up rin in o citi ns n h i ht nin o th pr sti o s r in in th r orc s n l n orc nt or ns o th ussi n r tion.
onc rnin th cr ti in ustri s th r r t o l tin ntions only. It is cl r th t th r is no int ntion in th ocu nt to ct s c t lyst or I lop nt or n pu licly n ors th s s rious p rt o th n policy ut so oul s th ct th t th y r ntion t ll s st p or r in t r s o th n tion l l l. n o th r r nc s ntions si ply ‘promoting th lop nt o th cultur l industry’ ut ithout ny cont t or urth r co nt. Th oth r r rs to th ct th t “In c rt in r s o cultur l cti ity in p rticul r in th sph r o cr ti in ustri s co p tition or r c i in st t in nci l support ill r in forever.”
At th n o th pu lic tion ‘Cultural In ustri s in Russia’ th uthors pro uc T n lysis or th ussi n cr ti in ustri s. It is int r stin to o throu h it ut in so r sp cts littl is ppointin s th cli t n r or s s not to h ch n n i th r h s n n incr s in th sc l o th th n s to th pri t n in p n nt s ctors.
Th i r nc t n th st t o rn nt s ctor n th pri t s ctor in t r s o lop nt o th cr ti in ustri s is r tic lly pli i y rtisin . Althou h s r l in ustry rtisin pp r only in th rly s urin th l st t nty y rs it h s lop tr ly i pr ssi ly in th ussi r tion r l ctin ll th r ic l soci l n cono ic ch n s th t h t n pl c th t chnolo y r olution n r ic l ch n s in ho p opl sh r n r c i in or tion n co unic t . It h s co or in ustry ith ssi turno r n in th proc ss cr tin ll p i s rious o s. It lso h s its o n tur pro ssion l n r pr s nt tion l o i s so thin l c in in r l tion to oth r cr ti in ustri s.
. . o p. . Правительство Российской Федерации. Распоряжение от Февраля 2016 г. o р. Стратегия культурной политики на период до 2030 года . t Правительство uutu Al s n r Российской P n ilo ФедерацииP i i rhun n Распоряжение ultur l In ustri s от in ussi Февраля orth rn 2016 г i nsion P rtn rshipр. Стратегия on ultur культурной политики p. на период до 2030 года, p.
20 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country Report – Russia
4. TOURISM SECTOR IN THE RUSSIAN FEDERATION
nli e in the case of the other ten C countries in the Russian ederation in many respects the CCIs and tourism or rather cultural tourism are not perceived as separate areas. It could almost e said that in certain conte ts at an official discourse level cultural tourism and cultural and creative industries are synonymous. lso in certain official conte ts sometimes the impression given is that CCIs are a su sector of cultural tourism. lthough such categorisation could possi ly e helpful it is evident that it e ists in reality ecause there is a very poor understanding of the creative industries in conceptual economic or social terms. his is particularly true ithin the state sector in general including at the municipal and federal policy ma ing level. It is a little reminiscent of the recent past hen any commercial or private sector cultural activity in former oviet countries often used to e s eepingly descri ed or rather dismissed y officials as sho usiness .
here is a positive side 'шоуto thisбизнес' difference. hile it may thro up serious possi ly damaging issues in terms of CCI development and failing to ta e sufficient account of ma or ne economic and social realities in society there is not the pro lem in the narro er conte t of this study as there may e ith the other ten C countries of searching for lin age et een t o different sectors i.e. CC CCIs and tourism. In the state policy and planning conte t in the Russian ederation the focus is very much cultural tourism ith the CC CCIs having a support al on role.
hile there is no uestion a out the tourism potential of the Russian ederation current performance and statistics do not al ays reflect this potential. ccording to the most recent orld conomic orum figures hich include the year the travel and tourism sector accounts for only . of hich means that the country ran s th out of countries hich ere assessed. n the other hand in the Russian ederation entered the top ten of glo al leaders in t o inde es international tourist arrivals th position and international tourism e penditures th position .
oo ing at the orth est Region and t eters urg in particular it is orth noting that apparently half of all tourists ho visit the Russian ederation visit t eters urg although it may e only for a fe days. lthough collection of tourism statistics and data is recognised as a ea area even at an official level the importance of tourism as an economic sector and the development trends in t eters urg are clear. ntil the last t o years the Russian ederation did not produce ourism atellite ccounts a standard tool in many countries for measuring in a more accurate ay the contri ution of tourism to the economy. Russia’s ederal tate tatistics ervice Rosstat and the ederal gency for ourism Rustourism have een or ing to ards the production of a ourism atellite ccount and in the activities classified as tourism ere approved y the inistry of Culture since hen there have een pilot calculations on the contri ution of tourism to the economy.
It is estimated that there are firms or ing in its tourism sector and that there are places for tourists to stay including hundreds of hotels of different categories ith the rest eing hostels flats recreational leisure facilities sanatoriums and children’s camps. he general policy and trend is to increase the diversity and uality of the tourist offer. It is estimated that ust over half a million people are directly employed in the tourist industry. If one adds to that figure those considered to indirectly employed y the tourism sector it amounts to a figure of around . million o s or . of total employment.
It as mentioned earlier that t eters urg see itself as a ‘festivals city’ as ell as a ‘museums city’ and there are more than t enty international arts and cultural festivals hich ta e place in the city each year
orld conomic orum he ravel ourism Competitiveness Report ro th through hoc s p.
21 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? untry Re rt – Russia
and ei hty ther festival ty e events usic has een a articular f cus in c nnecti n ith festivals and t urism devel ment artly ecause there is n t a lan ua e arrier and artly ecause the city has such a lar e num er f alaces and ther hist rical uildin hich are articularly d f r cham er music’
n the s hen there as an a sence f attenti n t the r lems f the t urist industry his may have een at least a small art f the reas n f r a massive shift y Russian ederati n citi ens fr m internal t urism t f rei n travel n the v lume f ut und t urism as de artures in it had r n t de artures acc rdin t fficial statistics ainst this ac r und f ne lect f the t urist industry’s r lems es ecially in terms f in und t urism and d mestic t urism in the c untry the first l n term urism evel ment r ramme f r t eters ur as f r the eri d
his r ramme seems t have had an im act n the num er f t urists as milli n hich had increased si nificantly t milli n in and f h m ere f rei n t urists a s r this si nificant increase the num er f h tel r ms increased et een and y ne si nificant sect r f t urism f r t eters ur is the altic cruise traffic et een and it m re r less d u led reachin a fi ure f t urists
here is l cal le islati n vernin t urism activity in t eters ur he ‘Law f aint eters ur c ncernin t urist activity’ as assed at the end f t set ut the ers and res nsi ilities f the e islative ssem ly f aint eters ur in the s here f t urism devel ment hich includes
ad ti n f le islati n c ntr l f t urism devel ment esta lishment f f rms f state su rt f r the t urism sect r
t als defines the different ty es f t urism and defines the cluster c nce t ri rity directi ns f t urist activity ere als set and defined as ‘internal, entrance c n ress e hi iti n cultural c nitive s cial amateur and ater tourism’.
here are f c urse t urism licies at the federal unit level i e f r lasts and ther ty es f federal unit as ell as at ften munici al level r e am le a art the t urism licy f the Re u lic f arelia its main city etr av ds esta lished a t urism devel ment strate y s me time a hich as devel ed ithin the frame r f an arelia r ect ‘Contemporary ld ity m r vin r ss rder ultural Tourism’.
t nati nal federal level the tate r ramme evel ment f ulture and urism is the main current t urism licy and strate y d cument he ederal inistry f ulture is res nsi le f r im lementin this state r ramme he ederal ency f r urism is desi nated as its c e ecut r and seventeen ministries and instituti ns are s ecifically named as the r ramme s artici ants hey ran e fr m the three inistries f ndustry and rade Re i nal evel ment and rt t the ederal ervice f r ydr mete r l y and nvir nmental nit rin t the ermita e useum the lsh i heatre and the Russian cademy f ciences
he tate r ramme f r is made u f f ur su r rammes
erita e rt urism reatin an nvir nment nducive t the m lementati n f the tate r ramme
t a ain illustrates the e tent t hich culture and t urism are intert ined in the Russian ederati n and this is erha s additi nally influenced y the fact that they are th ithin the c m etence f ne state
22 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country eport – ussia
ody, t e inistry o Culture. n t e conte t o t e launc o t is tate ro ramme at t e end o , two ederal tar eted pro rammes were incorporated into it. T ey were t e Culture o ussia ro ramme and t e evelopin omestic Tourism and n ound Tourism in ussia , t e latter wit a si ea le ud et speci ically or t e tourism sector. T e evelopin omestic Tourism and n ound Tourism in ussia identi ies t ree ey tas s t e development o tourism and recreation products, improvement o t e uality o services and promotion o tourism products in international and domestic mar ets. ts aim is to stimulate tourism in t e ussian ederation, not t rou out t e country, ut only in t e most promisin re ions in t e conte t o in ound and domestic tourism development. or t is purpose a cluster approac is ein used. T ere will e two types o clusters, one or tourist recreational centres and car tourism wit inancin y means o state unds and private investments.
not er ma or pro ramme w ic as een runnin since and on t e principle o a cluster approac and pu lic private partners ip is or special economic ones o ‘Tourism and Recreation’. n t e conte t o t is pro ramme construction o tourist o ects, includin associated in rastructure and located in di erent re ions o t e country is ein carried out. T is pro ramme as an e ample is supposed to spend a very si ea le amount o overnment investment on one special area in t e ltai re ion. Ta incentives, rent privile es, a ree customs one re ime, partial su sidisin o t e interest rates o an loans are esta lis ed or t e residents o suc speci ic areas.
s as een mentioned t at w ile policy rests wit t e inistry o Culture, t e e ecutive ody or tourism is t e ederal ency or Tourism. riorities or action y t e ederal ency or Tourism include
sta lis in t e priority destinations or tourism development w ic are Crimea, oc i, ort ern Caucasus, t e rctic, La e ai al, t e ltai re ion, t e ol a re ion and t e ar ast mprovin vocational trainin , includin improvin t e uality o teac in and learnin materials mprovin t e ormulation o tourism o ers in line wit consumer interests and improvin communication tec ni ues mprovin t e identi ication o tar et mar ets ddressin price competitiveness w ic re uires interdepartmental co operation Creatin an inte rated system or ensurin t e security o tourists.
T e new tourism mar etin strate y or t e ussian ederation as involved openin ational tourist o ices T a road and la s ip tourist in ormation o ices in transport u s, nota ly in oscow, t eters ur and oc i airports, and an inter re ional co randed advertisin campai n under t e sin le rand identity “Time to rest in Russia”.
t er stated priorities related to tourism development ave included creatin audio tours or certain re ion, developin and promotin a national events pro ramme and calendar, pilotin a virtual tourist in ormation o ice in oc i and creatin a multi lin ual national tourism portal.
T is tate ro ramme evelopment o Culture and Tourism was to some de ree a ar in er o t e discussions t at too place durin on t e new Cultural olicy w ic as mentioned earlier was iven presidential approval in ecem er . s t e o icial announcement or t e tate ro ramme stated, T e tate ro ramme is aimed at en ancin t e strate ic role o culture as a moral and spiritual oundation or personal development and social co esion, and developin tourism in order to introduce ussians to t e world s culture and environmental erita e.
T e stron lin a e o tourism and culture is made even more e plicit w en e plainin t e tate ro ramme s t ree main o ectives
23 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountr Re ort – Russia
reser in cu tura an istorica erita e an ensurin t at items o cu tura a ue are accessi e an t at eo e are a e to artici ate in cu tura i e t ere un oc in t e nation s creati it im ro in t e ua it an a ai a i it o ser ices in omestic an internationa tourism reatin a a oura e en ironment or t e sustaina e e e o ment o tourism.
Ten e ecte resu t areas are iste ic inc u e t e o o in
stren t enin o Russia s common cu tura s ace an t e s iritua unit o t e Russian mu tiet nic o u ation t e transition o t e in ustr to an inno ati e e e o ment trac trans ormin cu ture an tourism into t e most e e o e an attracti e socia acti ities inc u in acti e im ementin T so utions an im ro ement in u ic o ernance an stream ine s en in as a resu t o creatin mec anisms to counter cu ture re ate t reats to nationa securit or in to et er it ro essiona art unions an ci i societ or anisations ncreasin t e ie o Russia as a countr it a reat cu ture an a i rant an e comin tourist in ustr .
T is is o o e a ist o er ormance in icators main cu tura rat er t an touristic ut one e icit so t e increase in t e num er o eo e accommo ate in ote s an uest ouses com are it .
n t e ne trate or u ture issue in to co er t e erio u to on assin ut s eci ic mention is ma e to t e e e o ment o tourism es ecia in re ation to sma istorica to ns an t e nee to ocus on t em to in a s o ro i in irect or in irect inancia su ort or restoration an im ro ement o t eir in rastructure.
n t e same ocument it a so re ers to uture use o t e cu tura an tourism otentia o t ose areas o t e countr ic a e an et nic or mu ticu tura ro i e an o ran in territories or omestic an incomin tourism es ecia in re ation to e ucationa et nic an i rima e tourism.
T e i est ranc or ani ation in t e Russian tourism sector is t e Russian nion o Tra e n ustr R T esta is e in . T is or ani ation inc u es tour o erators a encies ote s ea t resorts insurance com anies trans ortin com anies consu tin an T com anies e ucationa institutions mass me ia u ic an ot er or anisations t at ea it tourism. t as e o er mem ers or anise into ten re iona rou in s one o ic is t e ort est Re ion. t as s ecia ist committees co erin areas suc as resort tourism omestic tourism insurance an so on.
t sees its main tas as “creation in t e countr o a ci i ise tourism mar et an raisin t e com etiti eness o t e nationa tourism o er an ser ices in t e s ere o tourism. se en areas in ic it states it or s one is s eci ica t e creation o ne tourism ro ucts. T is is in a ition o course to or in on suc t in s as e is ati e an e a matters mar etin trainin in ormation ro ision an so on. n t e s ere o e is ation R T as een tr in to et t e tate uma to intro uce a
. . o . . Правительство Российской Федерации. Распоряжение от Февраля 2016 г. o р. Стратегия культурной политики на период до 2030 года . . Правительство Российской Федерации Распоряжение от Февраля 2016 г р. Стратегия культурной политики на период до 2030 года “Основные задачи РСТ – создание в стране цивилизованного туристского рынка и повышение конкурентоспособности национального туристского продукта услуг в сфере туризма.” Taken from its website.
24 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o ntr e ort – ia
a ic i e ta rea to e o er o en t eir or orce on o i a to an re ion o t e ian e eration ar in t at t i o e a i ti or o e tic to ri an or t e econo
t i er a ort entionin ere t at t ere a e een at ea t art o t e i not it ea er i o a e een een on a e art re ta to e intro ce or t o e oin on o i a a roa t e ar ent ein t at it o a o increa e o e tic to ri e an
25 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? –
5. CCS/CCI-TOURISM SECTOR COOPERATION IN THE RUSSIAN FEDERATION
system’s ‘owner’
‘big players’ ‘federal’
26 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o ntry eport – ssia
6. THE RUSSIAN FEDERATION'S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION WITH NORTHERN DIMENSION COUNTRIES
s e plained earlier t is report is fo ssed only on t etersb rg and t e ort est egion e ort est egion as positi ely t e most a ti e international lin s of any of t e regions in t e ssian ederation partly be a se of its geograp i al lo ation and partly be a se of t e ig le el of ooperation t at as been de eloped by and between t e o ntries aro nd t e alti ea is ooperation appens t ro g an e tensi e range of administrati e and organisational str t res fo ssed on ario s areas in l ding lt ral ooperation n relation to t e latter t ere are some long standing lin s ot s rprisingly in t e lt ral sp ere t e ort est Region’s lin s wit inland are parti larly strong and establis ed
e ort ern imension artners ip on lt re as been a signifi ant positi e infl en e in ontrib ting to t e setting in motion of serio s lo al dis ssion and in reased nderstanding in t e ort est egion and beyond of w at t e p enomenon is abo t and w at t e reati e e onomy on ept means in pra ti e e was establis ed in reating a fo rt ort ern imension ooperation area t an early stage be a se t ere were already establis ed organisations and platforms in t e region in ol ed in lt re it was de ided t at t e s o ld fo s spe ifi ally on t e lt ral and reati e ind stries w ere it as been a ti e in organising and s pporting meetings and training promoting resear de eloping pro e ts and olding a t emati ann al or m
part from ooperation t ro g go ernmental str t res t ere are some good e amples of independent initiati es of w i t e ite ig ts onferen e see ase st dy is one t is an international ross platform b siness onferen e w i is be oming important and was t e initiati e of a t etersb rg ompany
e time onstraint for t is pro e t meant t at ot er areas of t e ort est region w ere interesting a ti ity is ta ing pla e o ld not be e amined in any serio s way or e ample apart from arelia t ere are ot er pla es t at wo ld a e been wort y of attention ere are ite a few lt ral instit tions in r angels w i are already in ol ed in ross border a ti ities wit partners in t e arents egion si and art s ools t e p il armoni so iety m se ms professional and amate r art gro ps prod ing ompanies many of t em a e already ad e perien e of ooperation wit foreign partners often t ro g oint pro e ts
ere as also been a n mber of pro e ts nder t e olar ti rogramme e latest rogramme is for pe ifi ally lt ral pro e ts a e in l ded rosso er rafts rtisans wit o t orders to re reate preser e transfer and do ment traditional andi raft s ills to ontrib te to t e preser ation and profitability of traditional andi rafts ew ori ons promoting intensified lt ral ross border ooperation and e ort ern ea ty o operation in arts and lt re espe ially on erning is al arts and art istory ort ern ross order lt ral perts or e ange of st dents and tea ers between innis ort ern apland and rmans region o ering lt re ed ation and entreprene rs ip arents lt ral o prod tion etwor promoting lt ral ooperation planning
n t e area of to rism alt o g rrently in ery t rb lent times t ro g o t t e region ooperation is strong not least be a se all t e o ntries are nat ral target mar ets for ea ot er e dramati drop in t e ol me of ssian to rists to neig bo ring o ntries as not been positi e b t t ere a e been
amples in l de t e r ti o n il t e arents ro r ti o n il t e o n il of t e alti ea tates and t e ordi o n il of inisters orden
27 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o n Re o – R ssi
osi i e e e o en s oo i ise i i is e o e o i ion o oo e ion n i e ne s e i is ee nge en s o ise ssenge s i s o e e osi i e ene i o e e s g in e s o i s o is e ono
o e i ge i es n n
si es
o g is o i n eo ogi o e is o i en e o e i o os nse e o e o o e i i on en i e n ien i n o ess i ings o e en is o i n i e o e o e n e in nse e o e e on o on s e o e s ension o o ens o e i e nse e o e ini e gi s in e gie os Historic Monuments of Novgorod and Surroundings (1992) • Cultural and Historic Ensemble of e o o e s s n s i e on en s o i i n is o i en e o in e e s g n Re e o s o on en s i i ogos e in n Re e os o
nsn ion o e ies
e eo e i i e s s oni in n i i ni o Re i o o o e en ine oni n i ns o n i i ni si es en i s e o n e s s e o nge s n n en i o e in es e n s s o en o n ins o i o noes o e i i gin o i o es s
ns o n o e
s sin ns o n i ongo i
en i e is o e ies
es en o eno e o e i gin o i o es s e no in ion es e n s s e no in ion
28 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Countr e ort – ussia
Mama ev urgan Memorial Com le o t e Heroes of t e attle of Stalingrad (2 1 ) as ir ral (2 12) rc itectural and ar Ensemble sar s Countr Estate ma lovo (2 11) ussian remlins (2 1 ) i in iver alle (E tension of t e Central Si ote lin ) (2 1 ) e arc eological site of anais (2 9) Ensemble of t e stra an remlin (2 ) e lmens mountains (2 ) rasno ars Stolb (2 ) e reat as ugan Mire (2 ) aurian Ste es ( aurs State ios ere eserve) (2 ) e Commander slands (Comandors State Nature eserve) (2 ) Magadans State Nature eserve (2 ) etrogl s of Si ac i l an (2 ) reat s ov (2 2) C urc of rince imitri n lood (2 1) Historic Center of t e enisseis (2 ) e ensemble of former cit building of Svi a s (199 ) Centre istori ue d r outs (199 ) Cat edral of C rist t e Saviour (199 ) ostov remlin (199 )
Historical and Cultural
e ra ssa eservation (199 ) e arc itectural and istorical com le S elter of count N C eremetev (199 ) e alamo arc i elago (199 )
ntangible Heritage ists 2 elements on t e e resentative ist
e Cultural S ace and ral Culture of t e Semeis ie (2 ) e lon o a ut Heroic E os (2 )
Memor of t e orld egister 1 inscri tions
e Soborno e lo eni e of 1 9 (2 1 ) e aurentian C ronicle 1 (2 1 ) stromir os el (1 –1 ) (2 11) Tolstoy’s Personal Library and Manuscripts, Photo and ilm Collection (2 11) coo eration it inland it uania oland ussian ederation and raine) Radzwills’ Archives and Niasvizh (Nieśwież) Library Collection (2009) (submitted by Belarus in t oland and Slovenia (2 ) “Codex Suprasliensis – Mineia četia, Mart (The Supraśl Codex – Menology, March)”, jointly wi Historical Collections (1 9 19 ) of St etersburg onogram rc ives (2 1)
29
29 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry eport – ussia
rchan el ospel o hitro o ospel la onic publications in yrillic script o the th century e spaper collections Maps o the ussian e pire and its collection o the th century ussian posters o the end o the th and early th centuries
reati e ities et or
lyano s – Literature
Le al instru ents rati ied and non rati ied
on ention on the a e uardin o the ntan ible ultural erita e non rati ied Position a ourable onsiderin rati ication on ention on the Protection o the nder ater ultural erita e non rati ied Position un a ourable on ention on the Protection and Pro otion o the i ersity o ultural pressions non rati ied Position a ourable nternational on ention a ainst opin in port rati ied ece ber
P ussian ederation is th
30 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? –
7. CASE STUDIES
7.1 Via Hanseatica Trip planner and Mobile App
7.2 DeLaRuk
project’s
31 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o tr eport – ss
e s st rte r te o t e t eters r c e o rt str to et er t er s e te to cre te es ce tre ere t e te peop e co e t es cre te r et o se ct o o jects ort te t s or co cept t e o o c es c tor s tt e t e o ts t e ste t e e e ope t e co cept o ‘festival’ or ers o or t s s c s je e r to s es er c ot es ccessor es e est or t es t e c ce or ers pro cers to eet t e r c sto ers c c o te e se e r e per e ce or so rce o rt er sp r t o
ro t e rst o est o e est t e e t e to er terest co erc soc e e terpr se er c e t e tre s re te to cre t e to r s
7.3 Kaykino Creative Projects
o s t e cre t o o t o e terpr s s o o e o t o t eters r to o so et ere t o t se e t o etres e r Oblast’. ctor r c e s sc ptor s e s c s ess co s t t t terest t e s o str e r co p or s t e re s o c t re or t o s e c te to t e e e op e t o cre t t cre t e str es e trepre e r ct t
t eters r r t e rese rc s t t e r c e s ere e t o e se er t es t t e e o t e s t t t e or r c e e sp r prese t t o e t r st o t e r ct t s to pro ote o t e s o soc eco o c e e op e t t ro cross c t r co c t o et ee t e c t r r pro c re s et ee rt s ess t ro p rt ers ps ers t e r ct t re s re
r et str te es co c t o ter t o p rt ers ps e e op e t o e co erc opport t es re te p rt c r to s o t e cre t e str es soc eco o c e e op e t o pro c r r co t es t e p ces c t e e e co t e e op e t e e op e t o cre t t
e e e op coor te projects pro e co s t c r se rs tr sess o s or se e e ts e t o s est s to s pport s ess st rt ps s esses c re re est s e e or t t e oc c p t or t es to c e e t s s e s or t c e ts cre t e co t es
ro t e r or t e re ot o e e op cre t e str es ct t pro c e r Oblast’ t co tr t to t e cre t o o ore te c p ces t e re o ro t eters r c s see so e o t e to r s p ers s pote t to r s o er t o to t t e c t tse s to o er
7.4 Arkhangelsk Region
s e p e e se ere t s report ser o s t e co str t e t t ere s o opport t to e p ore rst ot er p ces t e ort est e o ere terest cre t e str es ct t s t p ce so et es t to r s co ect o e o t ose p ces s t e r e s e o
e r r t ree te s e c t re to r s ‘accelerator session’ s e c s p rt o o er cce er tor pro r e c ee or se t e r e s e o e e op e t orpor t o t e e o str o t re terest t e e e t ttr cte e press o s o terest c s ests t ere s re e or t s o cce er tor ct t
32 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o ntr e ort – ssia
e event as r n b aterina ac ova of t e reative n stries enc in osco an b itr il ov fro t etersb r as re resente b t e irector aterina ac ova osco an b t e oar e ber itr il ov fo n er of t e entre for t e evelo ent of reative n stries in t etersb r .
e c lt ral an to ris accelerator as so et in co letel ne for t e e ion. e e ecte o t t as to ave create effective viable tea s o ave create esi ne an ac a e ro ects. n ril t ere as a resentation or ‘pitching’ of t e ro ects to otential investors. e ool of artners an investors to o t e ro ects ere resente of co rse incl e t e evelo ent or oration an t e r an els e ion inistr of lt re. e c ose t e finalists.
is is a ver concrete an ositive e a le of an initiative to et t e sector an to ris or in to et er to ro ce so et in ver ractical t ro enco ra e ent of ne ro ects creatin ne to ris ro cts an services.
7.5 Karelian Crafts and Design Business Incubator Project, 2007-2013
n t is re ort references ave been a e to t e e blic of arelia an of interestin creative in stries evelo ent or as been oin on t ere es eciall relate to crafts an esi n. c of at is a enin as flo e fro t e rafts an esi n siness nc bator ro ect ic a as its ai t e establis ent of an innovative creative sector econo t ere. e ain activities of t e ro ect incl e
st of ro ean e erience of state s ort for evelo ent of t e creative in stries st of t e local sit ation in arelia a series of e ert se inars in t e fra e or of t e st esi nin a core creative cl ster in etro avo s a ac a e of strate ic an ractical oc ents for t e evelo ent of t e creative sector. in arelia tec nolo base esi n of co etitive esi n ro cts for selecte cons er ar ets. creation of a esi n entre an e i in it a ro riatel creation of a raft siness nc bator an branc es of it establis in a s ste of f rt er e cation an rofessional evelo ent incl in re s illin ar etin of creative in str ro cts ne ro cts an services.
e ro ect si nificantl assiste t e evelo ent of t e creative econo of t e e blic of arelia on ic it as been b il in ever since. t ro ce t o i ortant strate ic oc ents ic enable t e a for ar for overn ent s ort for creative b sinesses. ana e ent in t e s ere of t e creative in stries an crafts s ort as evelo e an t e Republic’s creative econo s ort infrastr ct re as create .
e enter for lt ral nitiatives as a artner an acte as t e coor ination centre an is still activel or in it t e a t orities in etro avo s r nnin trainin an ot er events in t e re ion. e ro ect an f rt er or an evelo ents since ave i rove t e rofessional an b siness s ills of crafts a ers an creative in stries actors lea in to i rove ent of t e esi n of e istin crafts an not least so venirs. e ro ct activit as la nc e relate to t e creation an ro otion of arelian so venirs into ne ar ets ic is econo icall i ortant in t e local conte t bot in ter s of to ris an in ter s of t e crafts an creative in stries.
t can be seen t at Karelia’s e erience is artic larl relevant to t e lin a e of t e creative in stries an to ris evelo ent in t e ort est e ion an be on .
33 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? untr Rep rt – Russia
8. COUNTRY CONCLUSIONS AND OBSERVATIONS
n the c nte t the the e ur pr ect it ul be lish t preten that these are the easiest ti es hate er the cause the pr ble s currentl besetting the Russian e erati n are als a ecting its rthern i ensi n neighb urs negati el hile e aluati n can ha e s e p siti e ec n ic c nse uences r e a ple in ter s b sting e p rts since the beginning the Russian ruble has e alue against the ur b an against the llar b uch a ra atic ecline in the ruble’s alue has ine itabl i pacte n Russian ut ar t uris an i p rtant pr p rti n hich ent t neighb uring c untries such as inlan st nia at ia an ithuania r h the Russian ar et ha been their biggest in ter s nu ber isit rs
he ec n ic c nte t an its i pact has n t been c n ine t e aluati n he Russian ec n acc r ing t usuall reliable s urces sh e the rst per r ance a ng e el pe an e el ping c untries in ith a ecline c pare ith his in turn is ha ing a n c n e ect in ith in icati ns that une pl ent rates a ha e been rising as b th the pri ate sect r an the state sect r a e sa ings b re ucing their r rce
his ec n ic bac gr un is irectl rele ant t b th e el p ent an t t uris e el p ent an pr i es an argu ent r a resh appr ach t b th n the case e el p ent at present it is n t clear that e isting p lic an current p lic thin ing at e eral regi nal an unicipal le els ith n table in i i ual e cepti ns are a ing the c nnecti n bet een the nee r a ‘new economy’ an the r le that the s can pla in this n s e respects it is i icult t un erstan the reas ns r this t nl ur pean but als internati nal e perience str ngl suggests that hate er ther bene its e el p ent a bring irtuall n ther areas the ec n can c pete ith it in ter s e pl ent creati n uall i p rtant is the act that a large pr p rti n the bs an ne e pl ent create in the sect r g t unger pe ple
hile the lu ur g s sect r in the Russian e erati n hit a rec r in ith R lls R ce apparentl ha ing its best ear since it starte ing business ith Russia the nu ber Russian nati nals tra elling t ur pean estinati ns r ppe b bet een an
si e r the ec n ic c nte t an b i usl a ecte b it the general internati nal p litical situati n has n t been help ul either here are ultiple reas ns r this the ain nes s ell n n that the nee n enti n here n the rthern i ensi n c nte t it as er p siti e that earl in the r ic uncil inisters resu e c perati n ith rth est Russia hich ha been br en in anuar an ga e s e in icati ns hat the i e iate uture pr gra e ul be lth ugh there ha e been changes an it is n t ‘business as usual’ but “minimal activity” at an icial le el the general ai s an b ecti es re ain the sa e s e ne pr ects are being e el pe an h pe ull in re p siti e p litical ti es things ill e el p urther ulture is n t e plicitl enti ne in the ne pr gra e
he i p rtance c perati n bet een the rth est Regi n an the i er altic regi n sh ul be in e eryone’s interests i true partnership can be achie e l t e tre el g r has been ne in this respect thr ugh acti ities an initiati es s alrea enti ne has as its ain cus an pri rit r pr ects an un ing pr ti n e el p ent an the c nnecting e el p ent t ther sect rs n t least t uris he challenge is t i enti clearl here this instituti nal p lic pri rit intersects ith current Russian e erati n e eral le el cultural p lic n the ne han an ith regi nal republican in the case Karelia blast an unicipal p lic in the rth est Regi n n the ther t is uite un erstan able that the perspecti e n e el p ent an the egree attenti n it sh ul get ill i er epen ing n n t nl the le el at hich p lic is being a e but als n speci ic ge graphical c nte ts an l cal pri rities
34 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? ountry e ort – ussia
ere are numerous contra ictions surroun in evelo ment in t e ussian e eration inclu in in t e ort est e ion an t etersbur w ic is in t is conte t t e main ocus ometimes it is t e result o lac o awareness lac o nowle e or even o venial i norance on t e art o oliticians an lanners sometimes it is or a let ora o ot er reasons many istorical or t e result o t e country s establis e a ministrative tra itions or t e recent an current cultural olicy ramewor ronically in t e ussian e eration even w en uite serious investment is bein ut into evelo ment it is not reco nise as suc or e am le t ere is not a sin le mention o s on t e reasonably e tensive website o t e t etersbur ulture ommittee yet it as a rants sc eme w ic by local stan ar s enerously un s bot events inclu in w at woul be consi ere elsew ere as events an innovatory ro ects w ic as inclu e uite a lon term commitment to entre reneur trainin or e am le t rou initiatives o t e nstitute or ultural ro rammes an ot er c annels
e main t rust in olicy terms o cultural tourism in t e ussian e eration is erita e tourism an events tourism t e latter o ten meanin estivals articularly in t etersbur w ic is very muc romotin itsel as a estivals city an articularly in relation to music ere is a ara o owever t at w ile trainin an rawin on e erience rom ot er ort ern imension countries seems to be value an ursue t ere a ears to be no estivals association in t etersbur nor in t e ort est e ion ere also seems to be no national estivals association eit er ere ave been attem ts to e lore an launc suc an association bot in t etersbur an t e ort est e ion but t ey ave a arently aile because o lac o interest or commitment t t e same time contact wit t e innis estivals ssociation a arently im resse ussian estival irectors an mana ers et er t is inability to come to et er is art o a national ‘zero sum game’ mentality an un evelo e ost oviet ability to un erstan ‘win win’ relations i s or somet in else is unclear
similar issue seems to be resent in terms o in ustry an ro essional re resentation an romotion o t e various sub sectors e a vertisin in ustry w ic as mentione earlier is well establis e an mature as its re resentative bo y as oes t e ames in ustry to a certain e tent but t e ot er sub sectors o not seem to ave reac e t at sta e assumin t at woul be a normal course o evolution ere is o course in some areas t e continuin lar ely unreconstructe creative unions li e t e eatre or ers nion but scant evi ence o t e emer ence o in ustry or ro essional members i or anisations w ic ave been so crucial in t e evelo ment o t e creative in ustries in so many uro ean countries not only as lobbyists but as artners an su orters o central re ional munici al an local lanners an overnments in evelo in olicy in rastructures an eco systems
ime an ot er constraints i not ermit a visit to t e e ublic o arelia but w at a been an is oin on t ere in relation to evelo ment was mentione re uently an very ositively e eneral icture o evelo ment is t ere ore very con use
otwit stan in t e contra ictions over t e ast i teen years t e creative in ustries in t etersbur an in eneral ave evelo e t emselves an t ere are reasons to be ositive e state sector institutional conte t is increasin ly ta in notice o t em an in or e am le t e resti ious i er c ool o conomics in t etersbur will be in to o er a course on esi n mana ement t s oul also be note t at w ile t e t etersbur ommittee on ulture seems currently to esc ew s eci ic mention o t e creative in ustries t e t etersbur ommittee on nnovation oes not ave similar in ibitions an is now bot ta in an interest in t is enomenon an rovi in su ort resumably artly because o t e increasin ra ility o its ori inal e clusively in ustrial base an t e nee to evelo new areas o t e t etersbur economy
atever t e olitical or economic ositionin o t e creative in ustries in t etersbur t e social im act may in t e uture in retros ect been seen to ave been a slow burnin ame c an er or at least t ree reasons irst o all it is c allen in t e lin erin oviet an ost oviet o icial e inition o culture w ic was in act rein orce in t e latest version o national cultural olicy o culture bein con ine to
35 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o n r e or – ia
eri age ig re inema an rein en e o re i an er a e ara eri e ar in a w a e ini r o re oe i re w a i no one e ini r o re i no re e ini r o re oe no o rea i e in rie a o g a oe no mean i o o e em e e era ministry’s o i ion on ma e ain e a aren ne o e e er rg ommi ee on re o wor ire wi o er o ma e e rea i e in rie area a riori in e on e o e ran ing o e i a e ra a i a o e ian e era ion an a ra en re o wor a re an no a m e m i
e e on rea on e e o men in re ro e ma e een o a e een a ow rning game anger a i i e a i ing e rin i e an ra i e o o om in on ra i ion o e ian ra i ion o ‘top down’. i ‘top down’ ra i ion o o r e rea e e i o e i e a i i w i i o e arg e a a e an oe a a ma or ro e in e ian e era ion ongoing e e o men a an aina i i ri e e m rooming o o en ma o i o r e ro e a in o ing o ng eo e an in e o w a o e erme ra an rea i e in rie a i i i e ing a new mo e or i i engagemen o ia mo i i a ion an o a ra an rea i e e e o men
e ir rea on i a e a e o man an o ia a i a i ar ing o e n er oo in e on e o an e o ing on em orar o ie an aring e onom in w i e ra an rea i e in rie w a e er e age o eir e e o men are o en ea ing e wa wi inno a i e rea ion o an er an orizon a emo ra i ne wor a e on gen ine ommon in ere
e om ara i e re i ien e o e rea i e in rie in e ian e era ion wa een in e wa e o e inan ia ri i an a o g e re en on e i n e an a ime o i i e o i e a or rea on e on e e or i e i e rea ra orr ion a o or e e e o men i a ing a e ro g e e or o e rea i e in rie em e e an wi ri a e e or in ere ro i ing e mo or
e er rg i o we en owe wi o i ori a eri age a e an re n an in ria a e a e a a i o grow rea i e er an egin o e a i rea i e in rie e o em i ge ere i owe er o a o i an a ima e i e wi a no er e w i on i o a ia e i o er i a on er a i m a on ine e er ing in o i in ria era e or an orizon a inno a ion w ere or er e ween e or are me ing an o own manage e ora i m i a ino a r in i o in ria era
n erm o o ri m e er rg in ar i ar e a enge i rning e o en ia in o e onomi rea i ie or ing o e a iennia or onomi or m ra e an o ri m om e i i ene e or e ian e era ion ran e r in e wor in erm o e e i ene o mar e ing an ran ing o a ra o ri ran in erm o go ernmen riori i a ion o e ra e an o ri m in r o n r ran ra eg ra ing ma e e o n r n erm o mar e ing an ran ing i i er a egi ima e o e a e w e er i a re er orman e i re a e o ra i iona a e an on in o emen in e e om e i i e area an ina i i o arne w a e e in e o n r o ro e
or onomi or m e ra e o ri m om e i i ene e or row ro g o or onomi or m e ra e o ri m om e i i ene e or row ro g o or onomi or m e ra e o ri m om e i i ene e or row ro g o
36 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? o ntry port – ssi
pp ndi . y do m nts nd so r s
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38 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? untr ep rt – ussi
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39 NOTES NOTES NOTES NOTES The content of this publication is the sole responsibility of PROMAN and the Implementing Partners for this Contract of the PROMAN Consortium and can in no way be taken to reflect the views of the European Union.
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