# 1 .L # 'e' 6 ..0 k>..x. @ I7u è - fJ - N # è M AKING THE M OST 0J GLASGOW 'S CUI t 4 -IXRAL ASSETS: # The Creative City ank its culturalEconomy è @ * * @ @
@ F IN A L R E R O R Y 4 t'.
' ' @ x. $.b ' A:a a ' M ay 4.9** * < %p'' '- @ ': y. : .ï * / * C O N T E N T S @ @ @ 4 ' .. ï @ @ a) C re a t i v i ty b) C i t y c) 'rhe Creative City @ P.u T II: @ D EAT TN. G L SECT OR: PEC ES, -1-il (2 lNi 121 65 , 1: (:1 1- 1 (:!t' (: (2) As NT (: IEI'-I- E; kluNïx 65 1! (: *1- (:) 1y-?t 1. 21k E; 65 15 65 69 Az vf1E.'NrTr 65 ...... 3 :: è lR e C 11 li azr 1 ti e s 0 f tit e (: tl 1 tll r a l S e ct o r...... -.-...... 3 3 a) The ceneal imm rtance of rapid product ianovauon @ b) Sym bolic value ' c) Quality of work and levels of pay # d) Trans-sectoral linkages * 3 . a) Arts for ans sake 4 b) Arts for #bs/image sake c) n e 'Cuitural Industries' approach d) Cultural poli % and urban regeneration * e) n e 19% s: tewards a cultural planning model f) Condusiorus @ Assessm enB: Infzastucm re Scales, Production Chxlr!q and Rmlkings.--.e.-..--..gY a) Ceneral * b) Visual arts and crafts c) Th e a t re d) Film and the audio-visual sector 4 e) M usic 61 Design * Glasgozu: n e Creative Citg and its Cultural Econonty 2 4 CON-I-ENTS @ ' * , : @ * a) Cultural criteria for assessing creativity @ b) Broader criteria for assessing creativity @ 2. a) Ineodudion: towards a new culture of indus> and services b) Obstacles è c) Awareness raising pro> sals d) n e College of Building and Printing and the Constnldion Industzy @ e) Other initiatives Czeativity as Resotzrcefulness: Skategies to Exploit Local Culhtral Resources---lu @ a) A trade based cultural foreign policy b) R ience as culture @ c) FCG I and gastronomy as culm ral resource d) Sophisdcated surveys for pl4ce marketing and a databank on im ages of * Clasgow 4. Building the Czeative City: Ex' perim ents for a Creative Society and Po!icy...... -.12.8 5 N urtatzing Czeativity: Pol terj Towa' rds a. Skategy for Education, 4 Training and the D evelopm ent and M anagem ent of Local TZent.....--...... -...129 è @ @ * è 2. * * * @ @ 4 * f @ ,1 @ EXECU TIV E SUM M AR Y @ The heavy investm ent w hich Glasgow has m ade in culture in recent years is not being fully exploited because of tradidonal approaches w hich do not @ recognize the width and breadth of culturai opportunity. M aking the m ost of G lasgow's Cultuzal Assets is a study on how the @ m om entum created by the Year of Culture can be taken forw ard and be è m ade to benefit Glasgow 's economy. To m axim ise the potential and im pact of cultural activities it is im portant to view arts and culture as m ore than m erely a collection of events, show s è and festivals for consum ption. Each cuitural sector such as design, theatre, film , the visual arts and m usic is alsq an industry, w hqre goods and @ services are produced, where products are boujht and sold, where supply and dem and operates, value added is created, and w here support servicés and structures are needed right through from production to @ consum ption. 1 k. * A key elem ent 6f both arts and culture is close association w ith creativity and skilis. This in fact creates vqlue added in vazious form s - econornic, educativez social and civic. Im portantly, the artistic attributes can be used @ to the benefit not only of those few sectors defined as the arts. They can be used additionally to the benefit of a1l industial sectors in the City. In that process industry's capacity to perform well on a broader front can be * Substantially enhanced. R71is is an im portant conceptual shift for policy * m akers to understand. As m ass m arkets fragm ent and niche m arkets becom e increasingly @ custom ised and im portant, the value of creative and designed com ponents in production are ever m ore im portant. @ H osv can Glasgow m eet the challenges of those opportunities? An anatysis of the relative strengths of Glasgow 's arts and cultura: scene 4 reveals: The City is strong at the level of generating ideas and projects across 4 the cultural sectors. It is undoubtedly a City w ith creative potential. * This creativity needs to be turned into production. It requires # people, resources and production capaddes to aid the transform ation of ideas into m arketabie products. 'I'he City lacks a @ sufficiently large class of cultural entrepreneuzs abie to identify, m anage and contzol the resources to the benefit of Glasgow. This applies particularly to m usic, theatre and film . There is also a @ weakness in term s of training particularly in the area of new m edia. @ (E) l a s#o :z1 . Fn e Cre J: tfr e Cf t y urld it s Cu 1111 ra l Eco tl o rrl y 4 # EXECLJRVE SLAtNLVRY @ # *, * yk-hile Glasgow has dram atically increased its national and international im age and status through cultural investm ent, the 4 City has a major weakness in drculation and marketing. This m eans Glasgow's culturai product is not sold as w eil as it should be outside of the City. Agents, agenciesz distributors and m iddle m en 4 either do not exist in sufficient num bers in the City or are based elsew'here, for exam ple, ën London. In short. com m ercial circuits are under-exploited and under-developed. As a consequence talent, # skills and prçfits leak out from the Glasgow econom y. # @ The built infrastructure - theatzes, concert halls and m useum s - is com parativety strong for the performins and visual arts, but iess so 4 for design. @ Glasgow vies with M anchester and Birm ingham as the UK's sacond cultural dty. M anchester is stronger in the fiim' , aud.io-visuai and @ m usic sectors, but Glasgow scores better in term s of the visual and perform ing arts and design. Birm ingham scores high in m usic and @ prestige perform ing arts. Yet, Glasgow's internztional cuitural @ profile is far higher. Glasgow is w eak in the electronic media, the needs of its film and m usic industries are largeiy unaddressed. These sectors are where * ultim ately reproducible and profitable products can be generated. * W hilst the Ye& of Culture has helped to im prove the situation substantially, there rem ains a long way still to go. To an extent Glasgow 's @ cultural program m e has been m edia driven rather than m arket oriented. Public sector agencies in the City have recognised the contzibution that arts and culture can m ake in general, such as its contribution to urban @ regeneration, dvic pride and social bonding, but they have not yet realized * Lhe potentia) of arts and culture as industries. As a consequence, support m echanism s devised by econom ic developm ent agencies - such as advisory services - have not been geared to è the needs of cultural operators. These are usually sm all, fluid establishm ents with a high input of innovation, not operating like ciassic * sm ail firm s. - . Throughout the report 90 proposals are directed at the diversity of bodies 4 concerned with arts and culture - be they azts organisations them selvesa the private or public sector. N ot all of these proposals can be dealt with a11 * at once. Some are focussed at changîng aw areness and m indsets, others cut across the arts as a w hole and m any are art form specific. @ To harness Glasgosv's potentiat the Glasgow Developm ent Agency should focus on developing a 'Creative City Strategy' and six showcase @ opportunities. Gl 5 # asgow: The Creqtit,e City and its Culfurcl Econamy EXECLV IVE SUALM ARY @ @ * .GDA should set up a tim edated Cultural Industries Developm ent U nit, 4 staffed w ith appropriate specialists to incease the capadty of the various ajencies b0th within Scottish Enterprise and elsewhere to respond etfectiveiy to creativeiy and culturaily driven projects. Linked to this Unit 4 shoutd be a 'Creative City Venture Capital Fund' to initiate larger projects in a risk taking capacity. # The six key regenerator projects will reveal the 'Creadve City Strategy' in practice and em body in their im plem entation the thinking of this report. * They w ill act as role models for others to em ulate in appropriate fields. è They are: * The Tram way @ * The College of Building and Printing @ # A M edia Resource Centre * An enhanced City H all * * An integrated Arts Inform ation and Ticket Seliing Centre * 1993 - The Year of Design @ The initiatives are concerned with: @ Production and product and enhancem ent * Skills replenishm ent M arketing and m arket research è * Consum ption # * Trading support * * Spillover effects into other industries @ U rban regeneration and urban design @ @ Im age @ * Tourism im pact * @ 6 4 G lazgow : The Creative C':'ty zlzJif its Cultural Economy EXECLNQVE SUNDZARY * @ è' (. The Tram w ay @ The Tram way shotzld be conceived of as an lntegrated Cehtre for the . Perform ing and Visual Azts combining Production, trqining and perform ance/exhibition with supply services located nearby. By focusing a ' 4 range of activities at the Tram w ay a critical m ass could be achieved. If the level of activity can be generated the Tram w ay could becom e a creadve * hub of a creative city. ' , è t..J The College of Building and Printing The College is an undiscovered 'gem ' right at.the heart of the dty. 1ts role # and projection should be reassessed and its primazy contribution to the creative city project is in skills replenishment and enhancement. Here are * the available skills - from craft m asonry and carpentry to graphics - required to train m ore artisan type individuals for the increasingly niche'd * and design criented m arkets of the future. * A M edia Resource Centze/ G lasgow Film and TV Centre * The audio-visual industries are At the cutting edge of new com m unications technology and closely linked to the em erging knosvledge industries. The sector needs to be seen to be higher on Glasgow's public agenda. The proposed Media Centre project should be pursued with som e vigour. It should act as a visible public face in the city * centre housing kay related organizations such as the Scottish Fiim Council, a Scottish BAFT'A and the Scottish Training Trust. It m ight also house a Glasgow Film Com m ission, have screening faciiities, and an area * for sem inars and conferences. On an expanded m odel it w ouid include training spaces, a studio and gn outpost of the m tztti site Scottish Fiim è School now being discussed. 4 A n Enhanced City H all @ The function of City Hb11 should be reviewed in the context of makng it the heart of the M erchant City. Given its fine auditorium , m usic should be a particular focus arotm d w hich a num ber of activities, possibly m usic # related, can be agglomerated. @ @ A n Integrated Centre for Arts Inform ation and Ticket Selling This is prim arily concerned w ith circulating inform ation and increasing @ the m arketing capacity of the city, It should be located at a central point, Glasgozo: The Crzatiue City Jrlt;z its Cultural Fconomy 7 * EXECLM N'E SL'NLNLYRY è @ * for example, Stiriing's Library in Royal Exchange Square. The building g' ' ' m ay also house an arts m arketing agency which m ight involve itself not @ only with basic m arketing services such as m ailing list Provision and bulk distribution (preferably on a sub contracted basis), but also strategic issues @ such as market research, overall projection of the arts and monitoring. * 1993 - The Year of D esign - the new staging post @ The International Design Congress in Septem ber 1993 w it.h 3,000 delegates î . J is a major opportunity for the city to launc.h various initiatives with a high profile. It could be the next major staging post for the dty. The conference must not ju'st be an event as an end in itself, but the launch # pad for the celebration of design and m anufactuzed goods in a11 their @ contexts, a. trade fair for Glasgow produci. ' @t . # @ * * @ # è # 4 , è @ @ 8 * Glasgow: Thr Cre/lfz?e City and 1'lJ Cultural Economy EXECL-FIN-E SL . Y * @ @ staking the m ost of Glasgow's cuitural assets @ Sum m ary of recom m endations 4 The recom m endations h4 this report are of four tyyes: Awareness raising issues. Concerned with changing the m indsets @ and perspectives of policym akers. 'Fhe GDA should seek to adopt these recom m endations as policy perspectives and play an active 4 role seeking to educate and persuade other actors in the city. * Crossectoral recom m endations. The GDA should take on boazd @ these recom m endations as part of their policy stance, how ever, direct involvement will have to be judged on a case by case basis. # @ Sector specific proposals. GDA'S involvem ent depends to w hat. extent it directly helps the broader creative dty strategy. @ @ Recom m endations dem onstrating Glasgow 's capacity to be a creative city. These are of direct concern to the A gency and, as they 4 are effectiveiy demonstration projects, active involvement and # encouragem ent is essentiai. è O rganisation The GDA should set up an initiaily tim edated unit called either * 'Creative Cëty' Developm ent U nit or Cultural Industries Developm ent Unit, perhaps over three to five years. The Unit should include staff with a strong cultural industries expertise. It * Tk'ould not work in isolation and would seek to educate and raise ass-areness, persuade o-thers to shift the em phasis of their budgets @ and to initiate demortstratiork Projects. ? 7 The Unit should have z Separate budget notionally divlded into tw o @ parts. The first concerned w ith m ore day to day issues such as publicity and awareness raising and the second part should be seen è as a 'creative city/culture industries venture eapital f'und' to initiate the larger project-s and to respond to future ones. 6 The approach of the Unit should be to help the cultural industry sectors to help them se:ves. It should kickstart its work by a. series of sector brainstorm ings. Its m ain functions are to do w ith è investm ent, consultancy and advisory services, stim ulation, @ promotion and deaiing with special events and projects. 4 Glas&ow : The Creative Cily and its Clzllural Economy 9 # SLI%EV U Y OF RECONLM LNX ATRONS # 1 @ I ; * 4. There is a lack of co-ordination between the GD A, SDC, GDC and SRC in the cultural developm ent field and the GDA should take on @ the role of co-ordinating city wide initiatives. D . The GDA should encourage GDC and SRC to pursue their own cultural industries strategy within their econom ic developm ent è initiatives and to work closeiy with it. GDC'S econom ic deveiopm ent will also be a funne: for tnitiatives that w ould com e @ up through its DPAV departm ent. In addition, once GDC'S cultklrai industies work has been strengthened and an arts developm ent section within DPAV is in place, a stzong basis exists for GD A to # build up 'collaborative advantage' and to share effort. @ B. The Creative City Strategy # 6 . GDA should adopt a 'Creative City Strategy' w hich is the concept that w elds togekher and takes the diversity of concerns raised in this * report forw ard. It utilizes the power and potential im pact of activities involved in culturai production and 'develops these * sveithin a wider context. This allows for greater and m ore profitable interconnections, crossfertilization and enhancem ent of ideas and * projects. The GDA should institute a 'think tank forum ' in order to 4 replentsh the ideas bank around the creative city. Initiatly this m ight invoive GDA officers, khe consultants w orking on different aspects of Glasgow 's future, and others as appropriate as outlirted in @ the GD A business plan. It should be supported by sectoral and crossectoral brainstorm ing sessions within the city. A focus of these peopbe's involvem ent should be to contribute to a 'Creative City' # publication, An additionai objective should be to help develcp an organizational ethcs and culture open to innovative and creative # opportunities. 4 One vehicle and focus for pubticizing ideas around the creative dty should be an irregular, interdisciplinary 'Creatiye City' pubïication publicizing Glasgow 's approach with exam ples of best practice b0th è frorn Glasgow and abroad. This should be distributed as w idely as possible lnduding to an international m ailing list. è The prom otional strategy for the 'Creative City' should have two * parts w hich should be fully im plem ented by 1993. The creative city slogan shouid becom e one of the general them es for the city's prom otion. This w ill invo:ve a subtle @ change from highlighting Glasgow as the culture city to creative city. It Tsrill lm ply a m uch w ider set of connotations @ G lassow : The Crea ti's'e Ci ty J):ff !'ls Cultura l Economy 1. 0 è S L-N DZLA.R Y O F R E C O NLM E 54 ;DA T1 O N 5 * Jr @ è linking to innovadon in the arts, econom ic, social and political fields. @ b. A more specific prom otion aimed at particular targets. In Britain there should be an em phasis on entrepreneurs who @ m ight set up in the city. Abroad the targets are w ider inciuding not only entrepreneurs, but also public sector decisionm akers in fields Glasgow w ishes to target (e.g. those @ concerned with social and economic innovation). 4 1 . C. Key Regenerator Projects # The GDA should set up and follUw through a'lim ited num ber of key regenerator projects to reveal the 'Creative City' strategy in practice. These will be major initiatives, requiiing additional * resources, w hich seek to em body in their im plem entation the thinking of this report. They wiil act as role m odels for others to * em ulate in appropriate fields. ' 11. The GDA shouid ensure that in combination they-touch upon a1l * the cultural sectors investigated in this report. In concept and im pact they go much further than sim ply being about culture for * culture's sake in isolation. They should address: 4 Production and Product @ Skilis replenishm ent and enhancem ent * Consum ption * @ M arketing and maiket research @ Trading support- * Spillover effects into other industries # Urban regenerahon and urban design * im age @ Tourism im pact 4 bqe propose 6 regenerator projects: * 12. The Tram w ay The Tram way shouid be conceived of as an integrated Centre for the Perform ing and Visual Arts combining produdion, training and @ Performance/exhibition, with supply services Iocated aither within the buitding or nearby The m ain elem ents w ould be: @ * Rehearsal areas @ Production studios, for exam pte, for scenery m aking * A more inform al perform ing arts 'training centre 1. '1. G lïzsîrc):.tl ; rhe Creatiue Cf ty a?:d its Cullu rl l Ecorl/my * q SL-NLM ARY OF RECONLM ENX ATIONS @ @ The location fo: a BUZZ type lnitiative - a business advisory service fo: the arts - linked to an arts m an'agem ent trainiag centre @ Perform ing and exhibition spaces as at present Enhanced catering faciiities 13. 'Fhe College of Building and Printing The College is an undiscovered 'gem ' right at the heart of the cttyz the GDA should enter into discussions w ith the College to assess its role and contribution to the 'Creattve City' project. Their primary contribution will be in skills replenishm ent and enhancem ent as they have the availabie skills - from crzft m asonry and carpentry to graphics - required to train m ore ardsan type individuals required for the increasingëy niched znd design oriented m arkets of the future. In collaboration with the College the GDA should set fn motion a skills needs audit for the 'Creative City' project to clarify @ hoXvk- needs and resources m atch. ) @ 14. A M edia Resource Centre/Glasgow Film and TV Centre The GDA should w ork with other interests in the city, and espedaliy * the Scottish Fiim Council. to get a m edia resource centre off the ground. A t a rninim um it need only be a public face in the ctty 41 centre for key film and TV related organizations such as the Scottish Film Council, a Scottisl-t BAFT'A, the Scottish Training Trust, The centre shouid include screening facilities and areas for sem inars and * cortferences. On an expanded m odeï the centre m ight inciude li traëning spaces or a studio and it could even be the location for one of the outposts of a m u-lti site Scottish Film School being discussed. @f .1 An enhanced City Hall as the heart of M erchant City * 1 o'- The GDA should review the role of City H all in order to enhance its functicn for the city. W hatever is decided should be a prim e focus. è Currently used &à a m ulti-purpose venue for m usic perform ances, m eetings of clubs and voluntary associations and as a m inor conference centre, it has one of the finest auditoria for cham ber and # orchestral. m usic. W ith suitable upgrading of overall facilities City H all could becom e a lively heart of the M erchant City. # A inte rated centre f or arts inform ation and selling' tickets n g # The weakness of arts m arketing coutd be substantially overcom e tf there w as a strong central point for seliing tickets and providing arts 4 inform ation. An integrated organisation based ideally at Stirling's i 2 @ Gla sgo w : The Creatfue CI' t yt;l n d 1' t .ç C u l t u r i:l i E c o n c' m y SL'NLNI..t11Y OF RECQNIM ENDATIONS * * ) @ library in Royal Exchange Square could meet the objections of the arts com m unity voiced against the lim ited ticket selling operation in Candkeriggs and at the tourist cffice, It could aiso be the point w here @ city bus tours m ight start, in this w ay it w ouid, over ti'm e, achieve a 4 strong identification. This office could also be the base for the arts m arketing outfit proposed, w here databases are am ended, m ailings and bulk distribution arranged, Where slide archives m ight be kept and where # artists an' d visitors from outside Gtasgow wou:d find their first 4 contact point. t @ 17. 1993, 'Fhe Year of D esignc he New Staging Post The GDA should ensure that the 1993 International Design Congress with 3,000 delegates in Glasgow is more than just a conference. It @ should be the next major staging post for the city and provides the opportunity to build around and present to the public the evidence 4 of the strategies proposed in this report. It should be the launch pad for the celebration of design in a1l its contexts. Program m es related @ to design could either be launched or take a higher profile in that year. * The Design for Real conference projected for 1990 should be revived to w hich should be added an exhibition and sales m arket of Glasgow products as well as products from abroad. The city itseif should be è projected as a stage for design reflected by environmental im provem ents such as in street furniture, tem porary public art @ structures and lighting fnitiatives. @ D. A w areness raising stqategies related to the cultuzal * industries 18. The GDA should apply the conceptual fram ew ork proposed which è focuses on the im portance of 'creativity' and 'skill' em bodied in arts and culm ral activity and w hich can be applied to ai1 sectors of 4 the Glasgow ecopom y. 19. The GDA shculd adopt the cultural planning m odel outlined in 4 thinking through its involvem ent w ith the cuïturai sector. Its distinctive feature is the way in w hich a cuitural perspective @ becom es a defining fram ework for broader strategy and policy. The Agency should apply the culxlral developm ent toolkit @ proposed and adapt, monitor and refine the infrastructure scaëez vaiue chain and policy anaiysis charts through use. @ 1. 3 4 G laszozo: The Crea tive City unfl its Cullural Econom g St-stbtrtrtY OF RECONLM ENX AIK NS # @ E. Crossectoral recom m endations related to the cultural industries @ 21. The GDA should seek to ensure through its own programm es and by its influence on others that a balanced developm ent of lnitiatives è occurs along the chain of production from ideas generation, production, marketinj and consumption, this would in particular * address the problem ln the area of marketing/circulation. The GDA itself, and through its iniluence on other policy m akers, è should seek to. ensure a balance betNveen support for the tzaditiona: i . arts and the aew m edia. @ 23. The GDA should seek m eans of addressing the relative w eaknesses in the field of new m edia in the City. Discussions w ith the Scottish @ Film Council should be initiated as a. prim ary step. 24. Through its ow n initiatives and its lnfluence on others the GDA * should seek to balance lejs high profile and often invisible infrastructural initiatives, such as artists exchange schem es and @ business advisory services, with the occasional high profile flagship project. The objective should be to increase the economic health of the sector as a w hole. As the cultural sector predom inantly cansists @ of small entities, branding devices such as 'Cultural Quarters' or 'M edia Centres' can m ake a m ass of sm all initiatives appear to be of * flagship status. Giasgow's rnajor weakness is in the area of marketing and @ com m ercial drcuits. The GDA should as an initial step encourage t'ne Perfonniztg and Visual Arts Departm ent of the City to explore the feasibility and effectiveness of an Arts M arketing Agency. This @ m ay initially deai w ith sim ple issues such as the astablishm ent of databases, bulk distribution and so on. Discussions should also be @ heLd with sctor interests from ai1 cuitural areas to explore possible further ftm ctions and costs of a num ber of enhanced m arketing 4 projects. 26. The GDA sbould actively w ekcom e, and consider supporting, any * initiative ihvolviftg the publishing of a Glasgow based high profile internationally oriented independent arts and culture publication. The objective is to encourage cultural debate and increase Glasgow's 4 s' t a t us . @ 27. The GDA sbould encourage and, if appropriate, be directly involved in the developm ent of sector spedfic directories, such as for m usic ' @ or design services, along the lines oi Film bang, 28. The GDA should actively support the setting up of an arts/culture @ business support service along the tines of BUZZ (Business Glaszow : The Creltipe Cfty arld its C'uzlurf:l Economy 1. 4 4 SL'NLM M N OF RECONLM EN-DAU ONS @ ; * Support Services for the Cultural Industries) run by W ASPS, w hich @ exists in Edinburgh. ' ' @ 29. As the Careers Advisory Service needs to increase their fam iiiarity w ith thè cultural indvustries the GDA in collaboration w ith SE should establish cultural industries induction days to bridge the * know ledge gap. An audit of tzaining protision in the cuktural sector should be * undertaken ày the GDA irk collaboration with GDC, to establish E w hether there are sufficient access opportam ities'and ladders of * opportunity in the sector. This m ight lead to sector advisory i ) .f services such as that being proposed for m usic in Liverpôol called @ M FDAS (M usic Industry Development Advisory Services). 31. The GDA should enter into discussions w ith GDC to explore w hether there is a need for a centre of excellence for the # m anagem ent and trairting of cultural m anagers and policy m akèrs such as exise in Liverpool, Leicester and N ew castle. Such an 4 'institution' m ay indeed be an appendage (at the m inim um even sim ply a course organizer using outside tutors) to an existing # ' organisation or departm enk w ithin Lhe university or polytechnic. 32. Service providing organizations such as W ASPS should be actively 4 and m aterially assisted b.y the GDA to increase their capacity of 4 becom ing self financing and creating incom e stream s. 33. The GDA in collaboration with GDC should develop a long term property strategy for arts and cultural organizations so that these @ organization's property needs are safeguarded and they do not suffer from the increase in property values that they them selves @ help to create. * F. Sector specific proposals w ithin the cultural 4 industries The 'pfslfcf grts: * 34. GDA ln collaboration with GDC should review m arketing for the visual arts. No venue/gallery has a designated m arketing officer, As @ a consequence, Glasgow exhibitions are underreview ed. 35. The GDA, in collaboration w ith partners,should explore the # possibility of m ounting a substantiai internationally recognized and w ell m arketed exhibition each year. Ideally this should be # contem porary art. @ Glasgow: The Creative City and its Cultural Economy 1. 5 4 SL-NILN'LARY OF R ECO5LNf ESJD ATIONS è ! * è GDA should actively explore with appropriate partners how the financial situation of W ASPS can be stabilized to safeguard @ Glasgow's recognized facilities for the future. ' 37. GDA should argue for the m aintenance of the artists exchznge * program m e as this keeps up profile, fosters new ideas, spawns ad hoc spin off developments (the Beriin/Glasgow connection) and @ keeps Glasgolg networked. 38. GDA should encouraqe GDC to set up a central office/contact point to distribute infonnatlon on available resources in the visual arts. è Form erly the Festivals Unit provided this function. 4(: ! 39. GDA should encourage GDC to continue the Arts in Parks initiatives of 1990 cn an annual basis as a m eans of ensuring that # nevvcom ers have easy'access to exhtbidon opportunities. 40. As the locai/regional m arket to support visual arts product is 4 lim ited the m erits of a Glasgow Arts Fair should be explored by GDA /GDC and the visual arts comm unity. @ Tke perfo r'/nfu,g arts : * 41. The G DA should exptore qn enhanced future role for the Tram lvay, possibly as part of an urban regeneration package for the area. * 42. In discussion witk DPAV the G DA explore the possibility of creating a nesg tradition with an annual event of originality in the @ M ahabarata/ship league. TMs m ay be part of a festival of innovative theatre. # The G DA should encourage the DPAV to undertake a review of training needs in theatre. spanning RSAM D and Perform ance * Exchange. This will help GDA decide w'hether a 'perform ing arts training centre' attached to an enhanced Tram w ay is appropriate. 4 GD A should encourage DPAV to review rehearsak space needs of the performing zrts com m unity, G DA with its property expertise m ay be able to respond once the assessm ent has been m ade. è - The GDA should consider the recom m endations cf the SDA study 4 on set building artd scenery production, and encourage the setting up of a facility available to the wider perform ing arts com m unitp @ along the lines of Cardiff n eatrical Services. 46. The GDA should seek to raise aw areness w ith its partners of the * possibiy profitable links' betw een theatre com panies and film and video companies to encourage multi media projects. @ G laszow: T'he Creative c'lly and its Culturat Economy 1. 6 4 SL-NLM ARY OF RECONLM D O AU ONS * TJI: audio v isual sector. 47. It is in Glasgow's particular circum stances advisable to encourage @ the setting up of a m edia centre. n is can act as a focal point for film culttire in the dty and Scotland and specifically be a new location for the Scottish Film Council (K F) as w ell as other film è related organisations and events. It will provide the support structure to develop Glasgow Film cuiture in term s of seminars and m agazines and so on. Even if a m edia centre does not get off the @ .; ground a visible city centre locztion for SCF is essential. @ 48. GDA should reviewz with SCF, A/V. access and training facilities in ; : . ; the city with a view to assessing its role in a new m edia centre. @ 49. G DA should ensure that discussions on a m edia centre include provision for alternative or locally produced m aterials - videos and # film s. 5O. The GDA should encourage GDC in its reorganisation oî the * cultural departm ent specifically to appoint a Director of M edia as som eone who could drive the sector in the city. TM s would he:p # legitim ize the area and give activity a. focus. 51. The GDA should lobby GDC to consider setting up a Glasgow Film è Com m ission or appoint a. Glasgow film officer to support and supplem ent the work of Scottish Screen Locations. èq 52. The GDA should m ake a concerted effort to address the problem of attracting Channel 5 to the city. As a starting point urgent @ discussions should be held with SCF and other interests based in the city. #, 53. The GDA should explore the possibility w ith SCF and other actors of setting up a high level film studio to m eet the dem and being # generated by the activities of Scottish Screen Locations. 54. The GDA/SE shoutd consider whether investment in fiim making è itself is w orthwhile, perhaps on a first in first out basis, given the downstream m ultiplier effects. To m axim ize these benefits would è require a dep ee lf contract com pliance for local Iabour. ' '' '' G DA should encourage SCF to sponsor a publication focussing on # Scottish film culture to foster debate and raise aw areness. @ The nllfsfc sectov: @ DO. G D A should encourage and actively support the m usic industry to create a ScotEsh directory. @ Glasgozo: The C'realfz': Cily and its cultural Economy 1. 7 è S L-NLM -M IY OF R ECOSEM END ATIo N5 @ # A range of educational program m es at different leve:s concerned vs-ith understanding how tHe lndustry w orks and how to Set up in # business is essential. Nfls-f's program m e is som ew hat lim ited in that it only deals with people up Lo the age of 25. GDA should * actively support initiatives generated from w ithin the industry, è 58. G DA should explore with m usic interests w hether there is a role for the Agency in overcom ing the w eakness in the area of technical skills such as sound engineering. This m ight invotve expioring @ the developm ent of a high level sound engineering course put on è in association vvith m usicians. 59. As the m anagem ent, pram otion and distzibution areas are the greatest w eakness, the GDA should enter discussions with m usic è interests in the city to explore whether it is possibte to encourage a major music wheeler/dealer to base their operations ln the city. @ 60. The GDA shouid be positively disposed to the developm ent of N eNv M usic W orld as currently Britain's only industry showcase/sem inar è jamboree. This is a relatively cheap way of keeping Glasgow on the m usic industry m ap, circuiating industry know ledge and reducing @ the learning curve for the Glasgow m usic scene. 61. GDA should note that there is a shortage of venues in the range of @ ether the Agency can in principle be up to 300 and estabtish wh. helpful given its property fnterests. 4 G DA should note that creating a broking service rather like a film @ com m ission w ould be beneficia! for the industry 83. A m usic resource centre is not seen as a priority aë the m om ent. è 'Tile desiglt sector: 64. The GDA should encourage the estabiishm ent of a design show case, # displaying both Glasgow and foreign m ade product with an associated library, archive and bockselling function. The sholvcase 4 need not be a new building and could be tagged onto an existing building such as the College of Building. @ The GDA should adopt an active policy of attracting roie m odel firm s to set up in Glasgow . One obvious target is Cassina, the 4 Itaiian licensees producing M ackintosh furniture. Their m anufacturing m ethods, approach and attitudes w ould effect the @ com petitive environm ent in furniture production and they w outd becom e a role m odel to em ulate. Their high tech and flexible production system s and culture of experim entation w ould show @ Glasgow com panies known to be extrem ely conservative another w zy of operating. @ iow: Tâe Creative Cflg and i ts Culturai Eco ncl my ' 18 C; Iasg * SLD LM .-VRL' OF RECONLM ENDATIONS @ @' ..1.':bb * 66. The GDA should involve itself in the program m ing of events surrounding the major International Design Congress in 1993 to é ensure thyt Glasgow establishes itself as a design conference and exhibition' s nodal point. @ 67. W ithin the GDA'S budget for cultural initiatives resources should * be m ade available for a bursazy system to subsidize Glasgow @ # designers to attend key shows such as in Cologne, M ilan or V alencia. ' ' ' 4 The G DA should consider whether it should be actively involved 1 1 - in the setting up of a Glasgow based internationally oriented design è publicatiom this m ay initially be part of the publication 'Creative City' proposed later. @ GDA'S public purchasing policy shoktld reflect a real concern wiyh design. GDA should encourage other agendes to adapt a sim ilar policy. This w ill naturally involve hard choices as such products are 4 likely to be m ore' expensive. For instance, the lobby and offices of Barcelona City Council have exam ples of the best design the city can @ offer. 4 70. The G DA should initiate an audit of production capacity and technical resources in the' design sèctors and appropriate m anufacturing sectors with a view to preparing a productive è' capacity register. 71. The GDA should lobby that existing design aw areness program m es @ undertaken by the Design Council are targeted to potqntial sm all batch producers and itself seek to prom ote a cuiture of flexibility in the production process through sem inars and courses aim ed at # m anagers of sm all batch m anufacturihg industries. è GDA should set up an advisory board to aw ard prizes for products $ that m eet certain high quality and safety standards. * , ' j 73. GDA should instigate the setting up of a prototype development fund, proposed ip your Design lnitiative Report, possibly through a @ Public/private jartnership. ' 74. G DA should encourage the creation of outlets for the distibution of 4 designer products through azts, cultura! venues and tourism outlets as w ell as through depar> ent stores. GDA 'S roie should be to è com m ission an audit of pcssible distribution outlets w hic.h could lead to the discovery of further design oriented outlets. * The GDA should kickstart the establishm ent of a directory on a1: @ kinds of design services available locally (eg. graphic design, interior Glasgow: The C'reullipe City arjjï its cultural Economy 1. 9 4 SL-NLNL-VRY OF RECONN EN DATIONS * # *' design and product design as well as fashion and crafts), to encourage additional use of local designers. è G. A w areness raising proposais that help foster the * 'creative city' notion 76. The GDA should, wherever possiblez focus attention on and @ encourage success in ceating consum er products. A proactively conceived, organized artd spedfied program m e of awards targeted at è different audiences such as sm ail firm s or schools highlighting, for 1 ' exam ple, household goods, should be instituted. @ The GDA/SE should develop an explicit policy to encourage' com panies to develop R & D lines as today's clqssic w as yesterday's @ experim ent. This policy should be supported by a prototype ' developm ent fund, m arket research advice and 4 inventor/implementor linkages. 78. In order to redress the status problems of engineers and @ technologists SE/GDA shquld publish advocacy literature aimed in particular at schools. The objective is to make the creator of products a fole m odel - creating if possible the cult of the è engineer/technologist. 79. The GDA, in collaboration with Glasgow M useum s, should copy # the M anchester M useum Services idea of an ''art in production'' @ prize. In order to address the lack of fam ilëarity w ith industrial and artistic processes GDA should initiate discussions w ith the key educationa: # establishm ents in the city aim ed at defining student and pupi! @ projects to bridge the knowledge gap. l 81. The GDA, in collaboration with SE, Should develop a policy to encourage activitie.s w'hic.h com bine skills concerned with m anual @ . : dexterity and those linked w ith new technology to deve:op products that are 'a lim ited edition of the proven core' - a hand @ m ade and high tech strategy. A stazting point could be the organisation of an educational program m e taking the form of a series of sem inars during which practical dem onstrations of # successful best practice would be discussed. 4 82. Such a long term educational program m e w ill only w ork effectively if it is linked to a funding m echanism that enables prospective producers to take their ideas further. GDA should sym patheticaiiy * view applications of this type. @ Glasgozv: rhe Creatiue Cïty and its Cultural Sconorrly 2 0 è S L-S'LM A.R Y OF RECONLNf EAT ATIONS * t # * 83. GDA should undertake a short survey of w ays of harnessing the hobbyist and investigating what skills, potentials and products are @ m ade by them , in order to assess holv they could be brought back into the real econom y and m ade useful to it. @ 84. As there are increasing exam ples of artists becom ing prototypers the GDA should heip publicize exam ples - perhaps in the Creative City publication proposed - of w here artists have successfully broken # through the arts/lndustry divide, so that they can act as role m odels è for others to follow . ' 85. The GDA should develop a 'Trade Based Cultttral Foreîgn Policy' for Glasgow , which w ould com prise of a num ber of elem ents, 4 including: ' ' @ Strategic twinning as a m eans of bringing' resources and contacts Lo Glasgow . è b. Using international netw orks as a w ay of prom oting G lasgow linked to prom oting Glasgow as the venue for cultural @ conferences. C. Enlarging the poot of Glasgow expertise by developing @ Glasgosv as the UK centre for cultural conferencing. As a l corallory it would be necessary to reserve ptaces for * Glaswegians at such events in order to enlarge on the pool of Glasvvegians who can opqrate internationally. @ d. Using the Eurociticp network as a vehicle to prom ote the objectives of the creative city programme. @ The BP sponsored 'Dome of Discovery' project should be used as a project to Iink 'science' and 'culture'. The university in partnership 4 with the GDA and an institution (perhaps the School of Art) could launch presentations, tatks or sem inars. These could show the links betTv'een the two worlds, through the view ing and discussion 4 of 'borderline' cultural products such as video art, com puter @ graphics, holography, electronic m usic and so on. 87. As food and gastronom y are cultural resources the GDA shouid pursue a high value added, niche m arketed food and assodated # services strategy. The objective is to slipstream Scotland's good food im age through Glasgow . An action program m e to exploit the è Petential of food as a cultural resource should include: * a. A fact finding mission by GDA/SE officials to discover how ether cities im plem ent these policies. @ 4 G Ir.ISJIINzJ The Cregltir/e City Ilad its Cultura 1 YJ:/rl/r?1 y % 1. SL-NLM M : OF RECOSm END ATIONS @ # * An anatysis Qf current gastronom ic standards and training facilities. @ C. A programme of short courses and demonstration projects aim ed at im proving standards. * A n im aginative audit of exploitable food resources in d. Scotland's rura: hinterland. # e. The establishm ent of new or the adaptation of existing start up funds and business advice services for new com panies in 4 the fields of food preparation.and packaging. è A cam paign to prom ote Glasgow eating establishm ents and gastronom ic products in Britain and abroad. @ 88. Glasgow should organize com parative conferences in its areas ef strengths, such as com m unity business or housingg and consider setting up aa international think tànk of social and political @ scientists (the Glasgow laboratory) to m eet in the city to discuss advanced theories of social dynam ics and poiitical organisation and @ apply them to concrete projects in the city. 89. The GDA should encourage the carrying out of sophisticated è surveys for place marketihg and a databank on irnages of Glasgovv. It may be appropriate to involve the 'Quaïity oi Life' Group at @' Giasgow University in such a project. 9O. The GDA should encourage the university, trzde unions, locai @ authorities and other departm ents vvithin the GDA and SE as w ell as schools to hold discussions and do projects concerned with the @ creative city debate. This will help to nurture creativity and help develop local talent. @ 4 @ @ è @ @ G lizszozu: Tbe Crzative cfty arlii its cultural Economy 2 2 4 SL-SLNLYRY OF RECONCNfENX ATIONS * l * ' Y ' () (t t' @ PREFA CE é In the course of our study into the various sectors of Glasgow's cultural .econom y w e reàched an im portant conclusion. Existing m echanism s of pubiic sector analysis and support m ay in fact be counter-productive in @ helping develop the culttzral industries. H ow far this extends to è intervention in other sectors of the econom y is not a rem it of this report. The logic of our argum ent is as follow s: * An officer or consultant is asked to prepare a sector audit, for exam ple, in ; !'':) m usic, as sector econom ic.s is a tested branch of local econom ic @ developm ent. The resulting audit iooks at strengths, w eaknesses and gaps and assesses where and how to intervene. W hile an objectively true picture of what is going on in a given area m ay have been established it is è at the ''how to intervene'' stage that problem s begin. These can be of 4 è First, the gaps and needs of the m usic sector reveal, say, a need for venues or m anagers. Som eone com es forward and offers to fill the gap. But are @ they the right person and has the public agency, usually w ith little experience of the cultural industies sector, the right people in position to make a judgement about them? Public sector support might then be @ given to an inappropriate person/group with potentially bad effects on the sector. For example, Tennents support (although private sector) for *' E 'y; venues and iive acts in Scotland, based on analyses and reports commissioned jointly with the public sector, has had a whole series of doTvenstream effects that m ay Ycl regative in the longer term . They @ include: Increased expeda'r. . ' 7ay for bands (not a bad thing in and of itselo and many venues cit. . - 'k' not being used for live acts any m ore. But once Tennents sponsorship goes (as it m ay well do shortly) the ' # expectations for pay remain (remember there is only so m uch, perhaps E200, extra revenue to be m ade in pubs for iive m usic on a dam p Tuesday è night), and the venues that w ere once open for live events won't open up easily again. @ Second, there is a tendemcy for public agencies to propose that w hich they know they can reproduce. Thfs m ay or m ay not be a good idea. For è exam ple, as m ost agendes have property related experience m anaged workspaces are popular and viewed as useful. W here this idea at tim es becom es questionable is in the notion of the catc.h a11 building as a centre @ for a1l activities in a sector. A m usic resource centre, m edia centre, design or fashion cenëze. 'Fhe idea is perhaps in one lea.p to create an Italian @ industrial district vvithin one building. Every major city in Britain has proposals for a m edia centre. Birm ingham , Liverpool, M anchester, @ Edinburgh and so on. W here have they actually w orked and could the m oney have been better spent ? @ # Glasgozv.. The Creative tnly and its Cultural Economy 2 3 P R E F .4 C E @ @ * Third, general business advisory services are adopted in the cultural industries sector without the necessary adaptation. Traditional notions of business planning are not always applicable in the cultural sector a.s m uch @ goes by t'lair, insight and im agination rather than say m arket research or business analysis. The sector is notoriously unstructured, individualistic. * t-iexible and self renewing as are al1 creative and R&D fields of w ork. Therefore, a typical dem and to produce a 3 year business plan for, say, a nex-k' furniture designer m ay be difficult and, indeed, a questionable # demand. It is more a question of trying to pick winners and having t8e people in place who can make the judgement to do so, as well as a polic fram ework that allows for risk taking. Cultural operators are basically # risk-takers and if the public sector wants to becom e involved it needs to 4 becom e a risk-taker too. Is this possible? Through the m any checks and balances, pubiic accountability and internal procedures there is a strong attem pt to squeeze risk out. And, indeed, @ according to the current m odus operandi public agencies could not operate @ otherw ise. Lastly, there is a tendency for consultants and advisors and try to be ciose Lo their clients' m indset svhich restricts the range of ideas and possible @ solutions that they conceîve of as possible. Glven that the pow ers, scope and resources of public agencies h. ave shrunk, so has their ideas base. This @ is the reason why, particularly in the pubiic sectorg consultancy reports are often based upon similar assumjtions and idezs and therefore corne up 4 vvith the sam e, often unoriginal and not necessary workable solutions. For bodies such as the GDA to intervene effectively they w ill have to @ rethink their role. This w ill effect 2 key areas. The need to create a support fund for the cultural sector that is # probably institutionally separate from the m ainstream program m e. This shouid be allocated an annual budget w ith m inim al report @ back duties in tine intervening period. This will allow officers to invest with a degree of discretion in a risk taking m ode. 4 The need for the fund to be m anaged by people w ith an acute understanding of the cuttural industries so that they can engender @ trust and collaboration from the culturai com m tm ity. Up till norg this has been a major weakness when the pubtic sector has involved itself w ith culture. The dash of cultures and m odus * operandi between public sector bureaucracies and cultural entrepreneurs has sim piy been too great for effective working. @ W hat might be feasible is for a good officer/m anager to be backed up by sm all sector steering groups (e.g. in design, film , theatre etc). The members may indeed work part time on specific projects on * behalf of the Agency. Indeed, there m ay also be an anim ateur from within the cultural sector who has the credibility to convene @ appropriate m eetings w ith peop:e in the cultural industries. 4 G lasgopg: The c'rcntfpe c'ity and its c'xlturtld L'ccnomy 2 J.l P R E F A C E @ i # @' IN TR O D U CTIO N @ The G lasgow region of the SE asked Com edia to investigate 4 areas: How to m axim ise the potential of the arts program m e generated by è the Year of Culture with a spedal em phasis on how this potential could be m ade m ore produc:on oriented. It w as accepked that by definition the year had concentrated on consum ption - on events, # perform ances.and so on. To explcre the potential of those areas defined as the arts and # cultural industries, both the' pre-electrordc form s such as theatre, dance, mim e as well as post-electronic form s such as the audio- è visual sector and m usic and to help define how these can be analysed. @ 3. In the context of 1 and 2 to 1ay out and analyse w hat it m eans for Glasgow to be seen as a 'creative dty'. as this ts one branding device, è am ongst others, that the Scottish Developm ent Agency and its successor organization in the citp the Glasgow Developm ent @ Agency, has identified for Glasgow . J. To assist the Director of the Festivals Office as appropriate in his 4 strategic planning. The challenge of the brief is to create a fram ew ork for thinking that Allow s @ the Agency coherently to think acoss the diffuse and som ewhat vague areas called the 'arts', 'culture' and 'creativity'. If such a coherence and conceptual ciarity can be created the AgenG will have at hand a pow erful @ set of tools Tvith which to devise policy that can add value to the Glasgow # econom y. Scottlsh Enterprise is aware, ln.general term s, of the potential power of è those activitîes that have a strong crective ccm ponent, but because they have not been analysed across tite sector as a whole, som e significant insights have been lost. ln fact, a large num ber of sector studies have been è undertaken, com m issioned by different departm ents w ithin the SE, m zny of w hich reach sim ilar conclusions. But these sim ilar conclusions have @ not been jointly discussed, b0th within and outside the SE, and thqrefore perhaps less has been achieved. Tney indude w ork on the m usic, audio- visuai and design sectors. Each of these study area.s condudez for exam ple, # that there should be a centre: a design cente; an audio-visual centre; a m usic centre, O ur task is not to duplicate what has already been done and è to judge in detail their recommendations. Instead, our focus is on strategic directions and on m aking recom m endations within these. @ Our m aterial is conceived of as a tooi kit that can be adapted and used in different ways. It concentrates on ways cf thiakinp and seeks to provide @ form ats, particularly in the cultural sector assessm ents, which atlow the SE è C Iusgozu: The C'relll't', City Jzlzl its Cultural E conomy 2 5 INK RCDUCU ON @ @ 4 to dedde priorities, and policy lrkstzuments which allow judgements to be m ade in di/ferent sectors. The form ats can be updated as and w hen 4 circum stances change. * The report, therefore, has 5 parts: Part I provides a conceptuai fram ework and set of defirtitions for thinking @ through w hat creativity, creadve dty, the arts, culture and c afts m ean. Part 11 is spedfically concerned with the cttltural sector and has 4 sections. The first deals w ith the peculiarities of the cultural industries, the second with trends in the cultttral econom y, the third w ith developm ents in post w ar cultural poticy thinking and, finily, a long detailed section outlirdng # our' assessrhent of the following cultural sectors - visual azts artd c afts, theatre, film and the audio-visual industriesz m usic and design. It also # provides a ranking for Glasgow in term s of Britain, Europe and the world. Pazt III is concerned with stzategies for the c eative city and looks at ways è of harnessing creativity to ëhe econom ic sphere, the sphere of (:7.11 ture and to the sphere of Glasgow's society and policy. @ Part IV is concerned w ith defining an appropriate m echanism to help @ push the range of approaches and recom m endations suggested forw ard. Part V describes the developm e'nt opporturkities that can m ost effectively # harness the creative potential of the city to the benefit of its econom y. There are recom m endations in Part 11 w hic.h are sector specific, those in * Part II1 are concerned with the cr' eative city and Parts Four and Five outline strategies and recom m endations w hich pull together the cultural @ aspects and broader creative issues invoived in the report. The report attem pts to take off where the Year of C uiture ends. '199Os' è m ain achievem ents, am ongst others, w ere to em pow er a range of organisations to put on their own events and to reëease their potential, to create an international perspective for a wide range of Glasgow cultural # people, and to put Glasgow onto a num ber of international m aps. But the 'Year' has successfl ly happened, and the city m ust now m ove on and a è subtle change from titinking of Glasgow as the dty of culture to thinking of it in broader term s as the Creative City should take place. @ The report was w ritten by Charles Landry. * @ @ è Glaszozu: n e Creative Cflg and its Cultura l Econo rrly 2 6 INJ ROD UCU ON @ @ * @ * @ @ @ @ @ @ @ PA R T 1: @ C onceptual Fram ew ork @ @ @ 4 @ @ @ @ @ è @ # @ PA R T 1: * C onceptual Fram ew ork * The term s 'creativity' and 'city', and their com bination in the phrase 'the creative city' need to be Pared dow n to their essentiat m eanings if w e are @ to help Glasgow m aximise its econom ic potential. @ 1. D EH M TIO N S @ a) Creativity @ Over time the notion of 'ceativity' has been hijacked by a narrow set of interests and activities. One' of the key consequences of this has been the * identification of 'creativity' w ith artistic genius. Creativity'as tite Azts @ According to this perspecdve 'creadvity' is seen as the Preserve of and viewed as synonym ous w1t.14 the 'arts'. H istoricily (200 years @ ago) this w as an accurate refledion. The 'arts' then w ere defined as a hum an attribute as 'skill'. W e c6uld talk about the art of @ gardening, conversation, fencing, the art of building, ironw ork, textile-m akinp and, im portantly, the art of m anufacturing. @ But 'art' now signifies a. particular group of skills, the 'im aginative' skills in writinp perform ing, painting, singing and so on, aim ed @ and Pursued by a special class of people - the genius's with exalted abilities. indicating a spedal kind of person. * These narrow ly defined arts have regretfully been institutionalised and legitim ised in institutions such as the 'Arts Council of GB'. @ Som e of the traditional arts such as gardening have in this process been relegated to being m erely hobbies. V m ething you do in your free dm e, som ething w ith 1ow status and w ithout im portance. @ M anufaduring and the processes involved in m anufacture are now intep reted as only work, signalling drudgerp boredom and m ere @ necessity. Sim ilariy, the artist m eant a skilled person, as did ardsam but soon @ the artist becam e associated with the special set of skills of the 'arts', relegating the artisan to technician and w orker. The sam e @ separation grew up between the artist and the craftsperson. This process has had broader consequences and has led to a major @ split between the arts and industry, to the disadvantages of % th as @ G lasgow : The'Creative City and its Cullurfll Economy 2 8 PXRT I @ @ @ creative cross-fertilization has inc easingly atrophied. It has bedevilled industrial and artistic policy m aking ever since, as the arts (defined as skill) are not seen as infusing everyday life in a1l its spheres - work, play and rest. 'Fhese inappropriate divisions have been institutionally cem ented and have exacerbated the situation. * There is an Arts Council, a Crafts Coundl, a Design Coundl, a1l dealing with sim ilar areas of hum an activity but not being sure how to integrate their w ork into the w ider econom y. N ot surprisingly, # a11 three instim tions are currently undergoing crises of identity and role; needing to ask questions as to where their rem its begin and * end. 6( The disdnction between the 'arts' a'nd 'ctzlture' in this report is that J the arts refer to a nazrower set of adivities related to the production and transmission of meaning ( largely proelectronic activities such @ as literature the perform ing arts, painting and 'sculpture). The definition of culture is broader and it encom passes contem porary form s and m edia, including fashion, desir , film and broadcasting, è electronic m usic. ' @ Creativity as Cullure The word culture has undergone sim ilar transform ations inciuding @ being first concerned with the 'process of hum an îaining', or 'a general state or habit of m ind'; second, it cam e to m ean the general * state of intellectual developm ent in a society as a whole, then tts m eaning changed to 'the general body of the arts' defined in an Arts Council sense; and lastly, a 'w hole w ay of life, m aterial, intellecm al * and spirim al'. The use of the w ord culture in the context of arts bodies veers uncom fortably betw een those activities now called the 'arts' and a definition of cultuze as a whole w ay of life. This leads to # a11 kinds of problem s in arts plarm ing and defenders of either position interpret c'ult-ure's scope accordingly. 'Fhe shifting uses of è 'arts' and 'ctllture' m ask a. wide range of ideological and political questions w ltich need not be gone into here. n ey concern questions of elite versus popular art/culture; community arts; # access and so on...,.... è Given the problems tltat the major art funding bodies have as to w hat is or isn't art, the word culture is inc easingiy faliing into the @ breach (e.g. Yeaz of Culm re not Year of the Arts). è iiil Czeativi: as Czafts The crafts, as w ere tl'te arts, tradidonally referred to a1i skill areas. * Over tim e, though, they have narrowed dow n increasingly to m ean a strange assortm ent of activities using dexterity and m anual labour. These activities are often concerned wit.h produdng @ Producà in pre-industrial and non-m echanical ways. Currently, the @ Gl 29 ' asgow : n e Creutipe City and its Culturul Economy . . PART I @ ...1 # # crafts occupy an uncom fortable half world betw een 'the high status arts' and the w orld of industry. n is is aptly seen when one com pares the w ay in which the Crafts Council of Engiand Pursues @ its objectives and how the SE tn Scotland has attempted to deal with crafts. In the form er, a somewhat rom antidsed definiuon of the ' @ craftsperson is eligible for support. n e person w ho executes the total work from conception to com pleted product. n e successful @ craftsperson w ho institutes a division of labour and m oves tow ards t . . t sm all batch producdon thm becomes ineligibl#. As a consequence success is penalised. @ The SE approach is not as Mdebound and intec rets crafts m ore as @ part of the econom p but largely the Pre-industrial Highlands and ; rural econom y. # iv) Redefining Creativity Creativity is an overused word witich is often applied to things @ which are not creative at a11 ( for instance, any im itative or stereotyped literary w ork can be called, by convention, 'creative * writing' ) In our view genuine ceativity involves experim entation; * originality; the capacity tp re-write rules; be unconventional; think a problem afresh with a new persj ective; the ability to think fro:n first prindples; to visualize and im agine future scenarios and @ solutions to problem s; to discov'er com m on threads am idst diversity; to look at Problem s laterally and w ith flexibility. It is @ these m odes of thinking that encourage innovation and development. It is a way of maximising ihe possibilities of any * situation, product or medium and of adding value to the results of hum an endeavour in any field. @ Creativity and skill Skill is the m ain tool for tansform ing creative inputs into products # and solutions. * Skill concçrns the understanding and Practical knowledge of the subject matter or materials acquired through training, method, * repetition, routine as well as through trial and error, In a sense creativity and skill are at opposite ends of a sim ilar * spectrum that provides the pre-conditions for qualitp excellence and innovation. @ The perspective of this report is that art is not a special categcry but the abiiity to creatively re-interpret the world and solve problem s @ through skill. The shift that needs to occur is from viewing * Glasgow : n e Creative city and its Cultural Economy 30 PART I @ # @' Giasgow as tite city of culture (basically the traditional arts) to the @ czeative culture (way of life) of the city. Rethinking the definitions of creativity beyond arts, culture and @ crafts wili be both liberating for many ardsts as well as the m ajority, especially in industry, who see the 'arts' sim ply as frivolous or # f reakis h . 4 ii City First of a11 a dty is an area defined by cler geographical boundaries, è and endow ed w ith certain 'natural' characteristics. @ ii) lt is also an artifact, that is a m an m ade envirönm ent com prising buildings, landm arks with a 'designed' layout of streets/squares and è necessary infrastructure. iii) A city is a com m unity of people, a living organism , endow ed with a * particulaz identityz it involves social dynnm ics - a dty is alsc a society - and patterns of econom ic activities and functions. A dty is @ also a.n econom ic structuze. A city is a place, a com m unity of people and a system of econom ic @ activities governed by a set of agreed prindples and regulations. A city is also a polity. @ * The Creative City Given that a city is a sodety, a.n econom y and a polity any strategy for * developirtg a creative dty invtlves the task of injecting creativity into a1l three dim ensions. A creative city, therefore, m ust be c eative in the w ay it runs its economy (a creative economy ), in the way it develops its social 4 dynam ics ( a ceative society ) and in the way it handles its political arrangem ents ( a creative polity ). @ * @ * * 4 Glasgozv: ne creatiue Cfty and its Clzftxral Economy 3 1. * PA RT I @ @ 4 4 *' i @ è @ * @ PA R T 1l: @ @ D ealing w ith the C uljural Sector: Peculiarities, T rends, Policy @ C oncepts an d Sectoral @ A ssessm en ts @ 4 @ 4 * # @ è @ @ * PA R T lI: D ealing w ith the C ulo ral Sector: Peculiarities, @ T rends, Pplicy C oncepts and Sectoral 4 A s s e s s m e n ts @ H aving ranged quite widely in order to recapture key term s from their jumble of meanings; we now turn our attention to the cultural sector. First w e describe 4 characteristics w hich dis:ngtzish the cultural sector 4 from other sectors of the econom y. Second we illuskate key international trends w hich are conditiorting the w ay the c'ultural industries are è' developing. Thirdly w e chart the stages arts and cultural Policy thinking has gone through in the postwar period and lastly w e assess the relative @ position of the various cultural sub-sectors in Glzsgow . 4 1. PECLJLIARIU ES O F TH E CULTURAL SECTO R * a) The central im portance of rapid Product innovation @ A11 consum er industries are concerned w ith product innovation , but only in the cultural industries is rapi.d product innovation a central condition of existence, The num ber of individual product lines that a cultural * industry - a publishing house or a record com panyzfor instance - produces has to be m uch higher than that produced by any kind of m anufacturing industry. This is because it is in the nam re of contem porary cultural @ products to have a very rapid consum ption turnover. For exam ple the yearly publishing output of a Collins is in the order of 5O0 titles each of # qs'hich can be considered as a prototype. @ b) Sym bolic value è Vvhen evaluating the im portance of culturai products poiicy m akers in addition to econom ic value - m ust take into account the fact tha.t cultural Production deals with sym bols, narratives and m eanings. It therefore # touches the realm s of the creation of idendties, values, im ages, Perceptions, opinions, passions, em otions, consensus. Cultural * production in other words has im plications which go w ell beyond crude econom ic calculations but ûre nevertheless of substantial indirect è econom ic im portance. @ @ * Glasgcw. n e crectfpe City and its cultural Economy 33 P .u T EI @ # @; Quality of work and levels of pay As noted, cultural production has to to do w ith the creation of new * sym bols and m eanings. As a conseqpence, p'aople engaged in the cuitural arena often believe that they are more likely than people involved in @ other kinds of econom ic activities to have scope for self expression and self fulfillm ent. Therefore they aze often willing to accept worse conditions of pay than those obtainable in other sectors. Low pay is a key @ characterisdc of the sector, even g it m ust be noted that there are dram atic dichotom ies in the sectors pay s% cture. For exam ple of the around 10000 4 people w ho claim to be w riters in Britain only a few hundred can m ake a k . ' decent living. Among these a few, such as Catherine Cookson, Jeffrey 4 Archer or Frederick Forsyth are millionaires. Leaving aside the question of pay levels, we think that this set of beiiefs - ' * w hich is particularly strong in the traditional arts seitors - contributes to m aintaining a falsely spedal statts for the ardst.. A good baker, t'utle!'y m anttfacturer, plum ber, law yer or accountant can surely also find * possibilities for his/her own self fulfillm ent if the general cultural environm ent encourages them to respect their ow n professions. * @ d) Trans-sectoral Linkages Creative artists often work acoss different cultuzal fields. A m usidan, for @ exam ple, m ay perform at a live orchestrai concert at one m om ent, then as a recording studio m usician in record producdon and later as a m usidan involved in a film score. A grapbic artist m ay produce advertising copy, @ later pictures for individual sale, or produce covers for records or film publicity. @ The creative products them selvo are now also not confined to one m edium , m ost are m uld-m edia ideas: the book of the play, the film of the * book, the record of the film and so on. Tl'tis is the process of m ulti-m edia recycling. Underpinning this convergence and recyding is the way the 4 culttzral industries them selves are being lirtked to and shaped by the developm ent of the com m unicadon, com puting and 'knowledse' è industries. Sim ilarly it m ust be understood 1 at there are linkages betw een the 4 am ateur and the professional cllll-ural sector, as w ell as betw een the subsidized and the com m ercial xctor. For exam ple, am ateur rock bands are the breeding ground for the constant renew al of the professional rock * scene. lt is further argued that d:e subsidized arts perform im portant R&D and training functions for the com m ercial sector. For instance, W est End theatres rely on taking over the successful repertoire of @ subsidized theatres in London and elsew here in Britain. Sim ilarly the BBC is one of the major training grounds for television workers in the * com m ercial sector. # Glassozu: n e creatLve cftg and its culzurul Economy 34 PART L @ @ l . @ . 2. IN TERNA TIO N A L TREN D S IN TH E CULTU RAL @ ECO N O M Y ' . . There are a num ber of international trends within the cultural econom y @ vs'hich will determ ine the scope and type of intervention necessary and possible w ithin Glasgow , and the nature of appropriate strategies. These #, include in brief: n e recogniHon that creadvity is a valuable asset, not only by the large m ulti-national cultural industry conglom erates, but also other 4 industries. ' 4 The shift from w ritten com m km ications to audio-visual com m unication, linked also to telecom s and com puting. @ iii) The internationalisation and m onopolisation of capital, espedally in areas concentating on reprodudble goods, both software and @ hardware. It is argued that in 10-15 yeazs there M .II only be 10 major cultural industies players in the world. (Tîme/W arner (records, * publishing, cable, film); Sony (Colum bia, CBS); Bertelsm ann; Hachette; News Corporation and so onl. These conglomerates are multi media not single media. In the 'major cultazral industzies - for @ exam ple, m usic, - the m iddle range players are often finding it dîfficuit to compete internationally. n ere is a tendency, therefore, 4) for a scenario to unfold of a few big com panies and m any sm ail. As a consequence there is a significamt danger posed to national and @ regional cultures: hom ogenisation, standr disation and the threat of m id A tlantic m onoculm re. @ v) The dom esHcation of culture and leisure, m ak ng culture an individual rather than collective experience. This can pose threats * to city m anagezs w hose political use of culture has been developed with an em phasis on proelectronic m edia. è , 7 vi) n e penetration by m ulti-national com panies in ever expanding areas of culture, m oving beyond film , TM, m usic and publishing to @ advertising, design and design consultancy. 'rhe logic of the dynam ic is tlut a11 areas of artistic creativity w ill be vacuum ed into # large firm s. vii) Profitability is kept up through m uld m edia recyclinp syndication 4 and franchising. This highlights the value of brand nam es, genres, characters, and consequently the im portance of copyright and intellectual property; in short, tHe transition of the creative è industries into a copyright industry. @ viii) The perform ance of the hit and blockbuster and decrease in choice. As the m arketing and distribution part of the production chain take 4 Glaszow: n e crzative City flnfi its clzlturul Economy 3 5 @ P-A-RT 11 @ 4 on an increasing proportion of costs and profits, it is increasingly only cost effective to put the whole of this m achinery tnto gear for è major products. This means entry costs for new creative products becom e m uch greater, and leads tp a decline in innovation and è research and developm ent. The rise oi the prototype becom es apparent, see, for exam ple, in film Superm an 1, 2, 3, 4) Ram bo 1, 2, 3; Halloween 1, 2, 3, 4, 5, 6, ; Jaws 1, 2, 3, 4. *; l Im portantly, these trends are only tendendes and whilst ''the * m onster m ay be getting bigger'' a dialecucal perspective is necessary (... for Glasgow to take its advantages. M a11 industries need innovation and creativity to survive, this can provide a focus for @ Glasgow 's future prospects - 'Glasgow the Creative City'. In addition, the difficulties encountered in global m arketing show up som e of the possibilities for the city. Global 'brànd ceation struggles # w ith the need to create local, culturally spedfic adaptations, as only relativeiy few brands, Coca Cola, M acDonald: or cars and hi fi, are è actually successful. * 3. TH E H ISTO RICA L EV O LUTION O F CULTU M L # PO LIG TH IN KIN G # $Ve can identify 5 stages in the evolution of concepts of cultural policy. O ur Prinnary em phasis is on Britain, but given that the debate is now * international in character, exam ples from N orth Am erica and W estern Europe are incorporated. ' #) a) A rts for arts sake * The ''arts for arts sake'' phasezeprevailed in British arts policy thinking until the 1960's. This is the phase where the arts are argued for because of their educational, civilizing,and ennoblin? value There was a è concentration on the subsidised arts. and on the notion that art w as the product of individual genius, in danger cf contam ination by contact w ith * com m erciai forces. The cultural sphere w as therefore seen as com pletely divorced from the econom ic dom ain. In this context the arts w ere seen as a narrow range of activiies and its public support w as conceived within # restricted term s. In this stage the art.s are defined in traditional and rather narrow term s. The definition tended to exclude contem porary and è popular cultural form s like electronic m usic, 1'V, Photography, fashion and design. @ A further developm ent of this position in the course of the 1970's, chiefly in response to the em ergence of the com m unity arts and ethnic arts @ m ovem ents, w as the em phasis on the im portance of the arts as a vehicle for social integration, particularly in urban areas. 4 Glas&ow : n e Creative C'fly and fts Cultural Economy 36 @ P.u T 'I1 @ h an em phasis w as not enurely new in British 'arts policy thinking suc . since it had inssired eovernm ent and m uniciral cultural poliw initiatives @ in the 1840.5, in-resoon-se to the urban unrest o-f etat decade- T h'is ted to a . first w ave of civic l'ibraries m useum s and other cultural facilities. @ , @ b) Arts for jobs/image sake t This is the stage in w hich the ''econom ic im pact'' of the. arts is underlined. * In this context awareness grows about the em ployment and im age benefits which ''the arts'' can bring. Econom ic fram eworks and organisations begin to involve them seives in the discussion. W e m ight call this stage ''arts for @ jobs sake'' or ''arts for image sake''. @ This shift of attitudes - which broadly took place in the first half of the 1980's- w as brought about by very different, indeed .conflictinp political forces. The first was Thatcherism which, by reducing/freezing public @ subsidy for the arts, forced arts instihztions to develop new advocacy argum ents, w hich soon cam e to M clude issues around econom ic im pact @ (the im portance of fiscal contribuEons such as VAT and so on), The second im portant influence w ere the initiadves taken by radical Labour local authorities such as the GLC and Sheffield City Coundl, w hich began * to develop industrial strategies for different sectors of the cultural econo m y . @ This phase usually involves a m apping exercise and audit w holly restricted to the perform ing and visual arts, m usic, publishing and @ broadcasting. It include.s adding up and calculating existing cuitural resources both directly (in term s of num bers of people em ployed, and @ turnover generated) but also whenever Possible estim ating the indirect benefits in term s of dow nstream industries. @ Culture in this context is seen as a m agnet to support the tourism , catering, convention and retailing industries as well as contributing to business relocation and general im age creation. M any econom ic im pact 4 studies restricted sim piy to tMs aspect of enquiry have been undertaken b0th in Europe and the USA, and a large body of academ ic w ork exists and @ is supporting or challenging its m erits. Suffice it to say that the cultural sectors previously have been looked at in isolation or not at all. A s a 4 consequence they have appeared to be sm all or insignificant. By looking at % the cultural area as a total entity the sheer num bers involved becom es . : apparent. This on its own is a powerful and Persuasive argum ent. It lets * poiicy m akers, dedsion m akers and business know that the arts sector is m uch larger and m ore im portant than they usually im agine. Presenting these facts is itself a pow erful advocacy tool. On their ow n these figures * give no indication of how and where to intervene, they provide no guide to strategic direction. In this stage the arts are defined in traditionai term s @ but inciude both comm ercial and non-com m ercial aspects. 4 G lï: sgow . n e creatiue cfly and ïts cultttra I Econom y 3 7 * P..VRT 11 c) The 'Cultural Industries' A pproach This is the ''cultpral industries'' phase. A t this point concern shifts from a. relatively static and quantitative concern w ith num bers tow ards m ore @ dynam ic 'sectoral' approach to the industries in question. At this stage the question of definition of which industies are (or are not) ''cultural'' becom es of greater concern and poiicy tends to becom e b0th m ore detaiied, @ , intensive and expensive in resources term s. Taking this stage 3 approach m eans taking an econom ic view of culture 4i ( j g ' l and interpreting certain areas of culture as industzies. H ow ever, in order to harness their potential it is im portant to adopt a w ide definition of w hat @ 'culture' is and the resources it presents. n e distinction betw een high 1 arts and 1ow arts or populist and elite arts aze unhelpflzl, as are strict * boundaries betw een comm ercial, am ateur and subsidised arts. These status and credibility issueg are im portant because they inhibit the creative developm ent of ideas and policies. The arts are not only about ''the opera è going classes''. Traditionallyathe cultural ipdustries, therefore, include those sectors w hose primary function is to do w ith the transm ission of * m eaning. They include: the perform ing arts (theatre, dance, m usic etc); m usic (ciassical, popular, folklore); # the visuai arts (painting. iculpture); the audio visual sedor (film , television, photography, video); è the publishing sector. è They also include those sedors where the creative input is a secondary but crucial rneans of enhandng the' value of other products whose @ m arketabiiity and effecuveness would otherw ise be lessened, such as: design and industrial design; è the graphic arts (induding advertising). Lastly, im portantly, they abo include the craft sector, often negtected, # w hose skills, ideas and m ethods of working are crudal in helping the cultural area to develop. Im portantly, it w ill be noted that the cultural 4 industries include both pre-electronic m edia such as dance, as w ell as post electronic m edia such as recorded m usic and television. è Finally, the cultural industries approac.h is popular because it involves the 'arts' w ay of thinking which is largely concerned with an expressive, é sensuous and sym bolic form of reasoning, as contrasted to m ore rational, instrum ental and utilitarian approaches. These w ays of thinking chim e vvell w ith deep seated structural shifts w ithin European society, as quaiity * of life issues and the need for innovation m ove to the fore. @ As a cons:quence, the botm daries of the sector could extend endlessly, to include, say, architecture. W hi1st arts trained people are essential to the è G laszow: ne Crea tiue City and f ts Cultural fcprlomy 3 8 # P.'%RT U @ * ss'ell being of these disdplines, they ar'e usually excluded in cultural industry discu' ssions for reasons of pracucality and o cause their contribution is pot a prim ary one. * There are additional concepts which allow policy m akers to ask Pertinent questions of each sector. They indude: @ i) The 5 spheres of the Production chain O nce the range of acdvities has been broadly quantified, it is è necessazy to analyse each cultural sector along its producuon chain from ideas generation to production and m anufacturing, through to 4t . : distzibution, m arketinp exhibition or sale and its im pact on audiences. W e call tM s chain the 5 spheres. n is process allcws gaps and opportunities, strengths and w eaknesses to be identified, It # allow s tite City to assess the key determ inants and operating . dynam ics of these industries, and to assess issues such as educaion, è training and labour needs, as well as leakage of talent and skills. It providœ a fram ew ork for cultural policy and econom ic @ developm ent. 4 The infxastrucfure scale This grzdes eac.h sector aicording to a scale fzom 1 to 10, whereby 1 describe a situation of m irdm al activity and 10 a sophisticated @ cultural econom y. Both 1. and iL are desc ibed in great detail in part 2 of this report where we use these tools to assess and analyze the @ state of Glasgow's cultural econom y. # The value added chain As we look across the 5 spheres from generating ideas to production è and providing product for an audience m oney is earned and spent at each stage. W hat we need to assess is how m uch is earned in Glasgow and spent there: thus contributing to the developm ent of * Glasgow 's econom y; and how m uch is earned and spent outside, (and is therefore lost from the local econom y). n ese lost revenues * and expenditures can be considered as ''leakage'', and represent a critical econom ic and policy issue. # To take an exam ple, Glasgow prides itself on its 'creativity' and ideas, but often the person who paints the original picture, writes 4 the original story, has the idea for the film or invents a song, only gets a sm all proportion (often less that 109) of the total incom e. The m ore substantial 'downstream ' profits, the other 90Tc, are m ade by è agents, lawyers, distributors, Production houses, m any of w hom are based autside Glasgow. @ 4 Glasgow: n e Cxeatiue Cfly and its C'lzllrzruz Economv 3 9 @ PART II ' % x-.C-.)' * The glam our m ight be associated As-ith Glasgow and m ay stick with the City, but it is not m uch use to the m aintenance of its 'creative èi people' w hen m ost of the real and 'unglam orous' m oney m aking goes on elsew here. * For exam ple the recent spate of Glasgow populaz m usic bands that have m ade it on to the nadonal scene are m angaged by London * based agents and contacted to London based record com panies. L!'t general they rehearse and record outside Scotland and their tours are organised by outside prom oters. n eir ideas ai'e tuzned into 4 profitable com m odities and their copyright m anipulated to create value added ouside of Glasgow. W 'hat rem ins is the afterglow that these are 'Glasgow bands', but their popularity has not in real term s @ helped to create an econom ic infrastructuze for the m usic industry @ in the city. T'ne sam e logic can be seen in the visual arts sector, w here in @ contast to the m usic scene key painters at least now live in the city. The agents and galleries of painters such as H ow son, Cam pbell are London based thus contributing to London's GDP and not @ Glasgow 's. Sim ilar exam ples apply to the film sector, theatze and design. @ In conclusion, the concerns of the Agency should not be narrovvly defined, because its influence over w hat actually happens in culture @ would then be artificially constzained. Equally, the Agency has to be concerned w ith issues going beyond the perform ance and exhibition * of w orks of art, and should include questions of training and education. @ In the cultural industries phase of analysis, culture and arts are è quite broadly defined but essentially still set in an 'arts' fram eTsrork. # d) Cultural policy and urban regeneration The recognition of the econom ic im portance of the arts brought about by è econom ic im pact and by the developm ent of cultural industries strategies laid the foundatiqns for the em ergence of integrated ( social, physical, economic) cktltural policy led urban regeneration strategies. These # strategies were deveioped, particularly dkzring the second haif of the l980's by cities which earlier in the decade had undergone significant processes of è deindustrialization. The best exam ples in Britain are probably Sw ansea, Bradford, Birm ingham , Sheffield and Dundee, in addition, of course, to @ G lasgow itself. An im portant inspiration for these dties cam e from the Am erican @ experience of the 1960's and 197C's. In a num ber of A m erican cities, notably Pittsburgh, Baltim ore, Boston and Lowell, a significant consensus 4 Glasgozu: ne Creative Cfty and its Cultural Economy J1 0 PM T EI @ @ @ had em erged around the im portance of ci tural policy led initiatives. The interests of arts organisatioms looking for new hom es and funding 4 coalesced w ith those of m ayors attem pting to relaunch the im age of dosvntow n areas and of devdopers w ishing to use the arts as a m eans of @ adding value to developments in central districts. Interesting form s of partnership em erged around the concept of m ixed use developm enttyfxD) and cultural districts in which the arts were com bined @ w ith a variety of revenue producing uses ( retail, office and so on ). In Pittsburgh a cultural district w as created tiggered off by support from * the H eirtz Foundation and taken forw ard by a public/private partnership 4 the Allegheny Conference on Com m unity Developm ent. Low ell, regarded as the first US industial dty based on cotton and textiles, vvas a city in decline and initiated 22 heritage projects concerned with # refurbishing w arehouses to c eate m useum s, heritage and visitor centres, shopping and restaurants. This is packaged as an urban cultuzal park and @ has been a success in tourism and im age term s. The impulse in Baldmore was trigjered off by the city council in the late @ l950's through the creation of mixed use deveiopm ents, follow ed by a pragram m e of architectural com petitions and the estabiishm ent of @ aesthetic criteria in planning to increase quality. In the 196O's and 197O's . the em phasis shifted to creatinj parks, promenades and a series of anchor projects such as a Conventicn Centre, a World Trade Centze, a Scienca # Park, Aquarium and a festivals shopping com plex developed by the Rouse Corporation fed by a lively culturai anim ation program m e. * In Boston a cultural district stzafegy was puzsued based around prestige cultural institutions. This was supported by a festival shopping strategy @ and waterfront developments around Quincy M arket. * It w as therefore recognized tlfat the arts acted as people m agnets, m ade the streets safer by inceasing their use, revitalized the avening econom y and Created a styiish am bience. in return for a11 these benefits, arts * organisations w ere in m any cases rew arded with a share of the profits generated by com mercial developm ents w hich w ere used to form non- @ profit m aking trusts for cultural developm ent. Im aginative form's of cross-subsidization such as those pioneered in the @ U SA have unfortunately not yet been introduced in Britain for a variety of reasons. First, UK developers ( mostly London based national com panies ) @ by and large are less com mitted to their locality than their US counterparts. Second, local authorities are often frightened of scaring developers off by putting forw ard new types of dem ands and @ arrangem ents. Third, not a11 local authorities planners are able to use persuasiveiy the arts in urban regeneration argum ents. W hat has been * im ported are pottcy models em phasizing the contribution of cultural poiicy to tourism development (e.g. Bradford ) place m arketing ( e.g. 4 (; la sgow: The Crea tfre Ci ly artff its Cullngra/ Econom y 4 1 ' @ PART EI @ @ Giasgow land place m aking through public art and percentage for arts strategies (e.g. Swansea and Dundee ). They are of 4 types of benefits flowing from this approach - econom ic, physical, social and sym bclic. Each of them has how ever controversial 4 im plicatidns. ' *2 Economic: A significant amount of new jobs and wealth has been created, .4 particularly in ccmsum er service industzies related to attendance of cultural events and cultural tourism. M any of these jobs' are characterized, 4 hoTvever, by low pay, 1ow skill content and poor legal rights and w orking conditions. The quality of jobs ceated tends to be better in cities which è have balanced œ nsum ption with production oriented strategies. ( e.g. cultural tourism developm ent with cultural industries ). @ Physical: Cultural policies have helped im prove the aesthetic quality pf the urban environm ent ( e.g. thzough public art Program m es ) and to * attract investm ent for the regeneradon derelict or underused buildings or districts (e.g. Digbeth in Birm ingham ). The dow nside in som e cases has been the rises in property and rents following the designation of certain @ areas as culturai zones w hich has caused genkification, displaced existing residents and enterprises and squeezed out precisely those arts uses which @ m ade the location desirable in the first Place. Social: Cuitural anim ation in dty centres has considerably increased @ perceptions of safety. It has 'also brought about a revitalization of pubiic social life w hich in principle can be a factor in enhancing social cohesion. @ Hovvever, cultural anim aùon has tended to focus on dty centres at the expense of outer and other peripheral areas. Increasing poverty and spatial segregauon by social class, com bined w ith the deterioration of @ public transport services, has excluded m any residents of peripheral areas from participating in the city centres' culturai renaissance. * Sym bolic: W ithout doubt cities such as Bradford and Glasgow have considerably benefitted in term s cf both their self perception and external 4 im age from îgr 's cultural developm ents. TM s has encouraged greater pride in the locality and helped attact inward investm ent and skilled personnel. However, it is argued that the sym boiic use of cuiturzl policy è in som e cities has m asked undertying grow ing social and ethnic Polarizations. The em phasis on heritage and nostalgia which is visible in # the image many cities are projecting cam moreover, create an ideal type of the city's developm ent which stifles innovation. Finaiiy the question is, @ w hose im age ? H as the local com m unity been consulted about the dty's new public im age or has local identity been m anipulated by professional @ place m arketeers ? To conclude, there is a danger in cuitural policy-led urban regeneration @ that the side effects of the strategy are m ore im portant than its actual 4 Glzlssow .. The crexlire city ,zr,zf its cvlhzrf,l Economy 4 2 @ P ..YRT 11 # è im pact on culture and cultural Production. Indeed som e argue that cultura è has been com pletely overlœ ked in this approach. For instance, there is a risk that polides aim ed at developing opportunities fo: cultural consum ption will get Priority over the nurturing of * innovation in actual cultural production. There are also problem atic im plications invotved in the participation of leading local cultural sector @( actors to urban regeneradon coalitions. A 'what's gx d for business is good :.' ':, for the city' ideology m ay prevail, thereby severely lim iting the ability of the cultural sector to perform its kaditionat function of' citicizing the @ urban stam s quo. 4 e) The 1990s: tow ards a cultural planning m odel @ In the urban regeneration approach cul> re is seen as a resource to be exploited for economic. physical and' sodal developments purposes, hince @ the danger of it becom ing a secondary concern. Cultural planning is an intellecm al and professional disdpline @ governing the process of identifyinp developing, m anaging and exploiting a city's cultural resources. n e distinctive feature of tt is predsely the w ay @ in w hich a cultural perspective becom es a defining fram ew ork for policy and strztegy, It invotves a process of m onitoring and acting upon the econom ic, cultural, social, educational, environm ental, political and @ sym bolic im plications of a city's cultural resouries in order to inform the form ulation of policies and strategies, cutting across the public and private sectors' different institutional co' ncerns and different professional @ , disciplines. @ $Ve believe that in the 1990's policy m akers should m ove tow ards the adoption of this approach, which has considerable advantages. lt * com bines lessons from the cultural policy experience of Britain, other Svest European countries, and North Am erica. @ From Britain w e can learn about carefui m onitoring of audiences for cultural products and general m arketing techniques, as w ell as @ about industrial skategies for the cttltttral sector. From the rest cf W estem Europe we cart highlight best Practice in @ the lirtkins of science and culture as well as between art/design and m anufacturing industry. Other interesHng pozicy lessons m ust be @ noted in the fields of cultural anim ation and innovative architecture/urban design. @ @ From the U SA the m ost im portant lessons concern the developm ent of public/private partnerships for cultural @ deyelopm ent,the financial m echanism s they adopt, as well as good exam ples of place marketing and tourism developm ent. @ Giasgow: ne Creative City anfl its Cullurcl Economy tl 3 @ P..U T 11 F * J ' ' w e are not aw are, however, of a dty anyw here that has taken this @ approach on board in its totality. By adoptl g this approaciu Glasgow Policy makers would therefore be making a fold siatement of the city's creativity. This will not be easy,since it will involve a lengthy persuasion @ and com prehension process and wiil require reaching a cansensus across different institutional actors endowed w ith different perspectives and # priorities. * Sym bolic sphere Econom ic sphere Political sphere è k è CULTURAL Environm ental Social sphere <---> RESO URCES/ * --> sphere @ PERSPECTIVE @ # Training and @ Educational sphere Arts/cultural sphere vocational sphere @ 'Cultural resources' is a broad concept, based on Raym ond W illiam s' è definition of ''culture'' as 'a particular w ay cf life, w hich expresses certain m eanings and values not only in art and learning, but also in institutions and ordinary behaviour'. 'Fhe notion of cuttural resources, therefore, can * encom pass the follow ing elem ents: è n e range and level of skills in the pre-electronic m ediaasuch as the perform ing and visual arts and also in such contem porary 'cultural industries' as film , video,broadcasting, photography electronic # m usic,publishing design and fashion. è 2. The structures and skills for the m anagem ent and developm ent of local talent and for the distribution and m arketing of products in @ the fields listed above. The presence of peculiar and specialized products and skills in @ Particular form s of crafts,m anufacturing industry and services (jewellery, ceramics, cx kery etc). # Glasgozu: ne creative cfly and l'ls cuttural rccrlorny 44 P-.U T EI @ @ 4 4 . The vibrancy and attractiveness of the 'out of hours' econom y of @ the citygw hich encom passes qualities like the following: diversity in the provision of shoppinp culturalzleisure * and entertainm ent facilities (including restaurants); ii) the attractiveness and legibility of the city's public spaces; @r h' l tii) local traditions of sodability; ' iv) good physical,economic, visual and psychological # access for residents and visitors to the city's facilities. H istorical,artiséc,architectr al,archaeologici and anthropological è heritage (including local traditions,accents and dialects). 6 . Urban lands'capes, landm arks and am enitiesgsuch as park system s # and w aterfronts, created by hum an intervention. è External and internai perceptions of the city,w hich are constituted by the sum of cultural representationszm edia im ages and @ 'conventional w isdom '. $Ve shall now proceed to describe how culm ral resources can be used for @ the developm ent of strategies in the 8 spheres outlined above, by providing exam ples of different' applications: # 1. Econom ic: Cultural industries stategies; links between art/design and po:icies for m anufacturing industry; tourism developm ent strategies; @ links betlveen m edia industries and research in advanced telecom m unications and im age/m usic recording technology. M ore * general:y, Nvidening the horizons of econom ic developm ent strategists. 2. Sym bolic: Place m arketing strategies; dvic pride rebuilding è programmes; monitoring media images and c'altural representations of cities. Enriching the place m arketing tradition by creating the opportunities for local identity to em erge and for local people to intluence 4 the external im age ceation process. 3. Social: Com m unity rebuilding program m es in areas of social stress and # cantlict (e.g. comm kmity arts strategies); use of cultural anim ation to enhance pubiic sociability and perceptions of safety in the urban @ e n v i r on m e n t . @ 4. Environm ental: Urban beautgication staëegies; use of cultural policy to attract investm ent to run down areas; and to attract people to underused parts of the city. To influence professional planners by m aking @ them m ore aw are of how cîties are acm ally 'lived'. @ 5. Political: Com bination of cultural poiicy with experim ents in two way com m unication between the local state and the citizens; use af culturai # GlasIow: The Creatiue Cf ty anJ fts Cultural E'concmy 45 * PART U @ # policy to com m unicate with disaffected or m arginalized sociai groups (e.g. the young, ethnic groups, residents of oute: estates ); and to raise è expectations of the quzlity of the urban experience. M ore generally to raise the status of the debate about cultural resources w ithin the political * e n v i ronm en t. 6. Educational: Imbuing educational program m es w ith an aw areness of # the city's m ultifarious cuitural resources and their possible im plications and applications. ' @ 7. Cultuzal/Azts: Renewing the philosophy of intervention in the . arts/cultural field by learning from and being influenced by the other 7 @ spheres, and by explodng the potential of resources that are not norm ally regarded as 'cultural' @ 8. Training: Focusing on the creation, replenishm ent and upgrading of skills required by the consum ption and production sides of the sector. @ Im portantiy, arts t'raining is recognised as crucial in im parting life skills which are transferable to non-arts jobs. * @ 9 Conclusions Y9e sum m arize in briefest the cultural policy background abroad and in @ the UK in so far as it is of relevance to Glasgow . in the USA cultural m licy argum ents have'largely rem ained stuck at the * econom ic im pact stage . ln part .tl'tis because there is no tradition of intervention in local econom ic developm ent. N um erous cities including @ N ew York (1983), Boston, Los Angeles, Seattle and so on have a11 com pleted econom ic im pact studies on the arts. They have tended to define the arts in term s of singing, theatre, dance, painting and m useum s è and the objective of every 'self respecting' city manager is to acquire the big 4 for their city. A city branded orchesta and concert hall, an equivalent * Perform ing arts com pany w ith perform ance space to m atch, a national museum and a major visual arts centre. @ In Europe the picture is m ore diverse and is conditioned in large part by the m ore generolzs funding environm ent for ctlltural activities. In' the M editerranean counties such as Italy and Spain dties (with a few ' @ exceptions ) have not a.s yet developed cultural industries strategies, but are fairly sophisticated in the areas culm ral anim adon and urban @ beautification. However as the fiscal czisis of the state is beginning to m ake it difficult to sustain increased public investm ent econom ic @ argum ents for the are are taking root at b0th the local and national policy l e v el . @ In France, Germ any and H olland a greater em phasis in national policy m aking has been on the protection of national culture against m id - * 4 6 G la sqçczt': The Creatiue G ty anii i ts Culluraî zconomy * PM T H @ @ Atlantic m onoculture and hom ogenisation. As a consequence quite sophisticated policy and support structures have developed especially ln è the areas of new m edia such as fiim and even publishing. The concept cf the cultural industries is current and indeed the recognition of the pow er 4 is seen in the appointm ent, for exam ple, of a m inister for rock in France. A t a city level cultural industries policies are possibly less w idespread than #,, the UK. Typically cities such as Frankfurt Have pursued cultural t ' ' industrial policies indirectly, w here their extensive m useum building strategy (14 new museums along the bank.s of the Main ) is Part of a project @1 to re-im age the city so that it can m aintain its position as a finandal centre t ..' and challenge the hegem ony of London. Over the last few years 14% cf @ the city budget has been spent on culturally related m atters to inc ease the I . perceived quality of life of the dty. @ W hat is m ore com m on is to think through the cultural industries in term s of new technology w ith cities such as Cologne, Stuttgart, N im es 'and @ Grenoble ali developing m edia or teleparks as part of a new technology strategy. * In the UK discussions on the cultural industries started in the GLC in London from the m id 198O's onwards. Their concern w as to refocus discussion of the arts away from discussion of subsidy to discussion of # producéon and tradeable services. This skategy cotzld not be fully followed through. Audit work took place in sectors such as film and 4 publishing and the GLC'S investm ent w ing GLEB set up a 'cultural industries unit' to im plem ent strategy. The key focus of their w ork w as on m arketing and distribution initiatives as it w as recognized that London @ w as generating ideas and product ( often dizectly or indirectiy supported by the public purse) that sim ply weren't reaching their m arkets b0th at hom e and abroad. It supported, for exam ple, a book distribution netw ork, an # independent record label distributor, stands for the independent film * industry in Cannes. W ith the dem ise of the GLC these developm ents cam e unstuck. The cultural industries m om entum w as then taken up by a range of other # t;x cities. è Birm ingham looked at the cultural industies initially from the point of view of the audio visual sector. After an extensive audit it set up a M edia @ Developm eht Agency funded by the public and private sector, with a brief ta cover A /V and m usic. The stzategy w as linked to the developm ent of a m edia zone ( effectively a cultural quarter) in a run down part of the city è centre, thereby the arts were being linked to urban regeneration. In Parallel a num ber of other initiatives w ere pushed forw ard including a @ design strategy focussing on urban design and public art as w ell as an explicit city policy to attract key arts organisadons to the city culm inating @ in the m ove of Sadlers W ells to Birm ingham . 4 G lasgow: n e Creative City and I. ls Cultural Economy 47 P ..YRT 11 * # * sfanchester is well endowed in some cultural areas es/ecialty A/V, music and advertising and the m arket has reaffirm ed its position as the northern @ cultural centre. On the other hand the city's policy m achinery is less lv-etl established. The city has undertaken a cultural industzies audit and has com m issioned reports on the A/V sector but given the fisca.l crisis of the * city no substantive public sector based initiatives have been set ën m otion. Cultural poiicy developm ent in Newcastle has been led by a concern to @ develop a regional A/V economy based on taining. Pivotal in these developm ents has been the N orth East M edia Developm ent Council * (N' EM DC) which has sought to lirtk the independent film sector to a growing A/V economy. The weakness of tikis approac.h is that it is unstable in the longer term reliant as it is on EEC funding. M ore recently @ various city lobbies have been pushing the interests of m usic to public attention in an attem pt to develop a credible m usic infrastzucture. * O ver the last 2 years in Edinburgh the Departm ent of Estates and Econom ic Developm ent hàs taken the culturai industries area into tts @ rem it. Recognizing that the Festival w as not generating enough spins off into the local econom y it has on the basis of an azts audit established a * business advisozy sezvice targeted at the arts - BUZZ - and m ade considerable headw ay in pushing Edinburgh as the iocation for Channel 5. The thrust of the city's thinking is to establish the link betweeen the @ cultural industries, new m edia .teclm ologies and science through initiatives such as a m edia park @ Lîverpool has a strong reputation in the cultural field and as a city is very w ell endowed with cultural resources. However, although the city has @ probably the best cultural industies policy docum ents in the UK little if anlrthing has occurred, bar the interesting appointm ent of a film liaison @ officer for the city. Its potential strength in m usic is ham pered by a severe lack of m anagerial talent, its visual arts tlagshipj are not supported by an underbelly of active artists in-the city, its interesting and extensive theatre @ provision is under threat of collapse (see the Piayhouse needing to go into ''adm inistration'') and reliant too m uch on tim edated Urban Program m e funding. M ost im portantly the leaderships in the city have not been able # to create a com m on agenda for c'ulm re and recognize its vital rote as an * urban regenerator. Sheffield's departm ent of econom ic developm ent has worked for several years w ith Sheffield Poly to develop a cttltural industries poliû'y for the # city. 1ts m ain initial focus has àeen on m usic and the developm ent of the A VEC site. The area also includes the successfui Leadm ill com plex, a * m usic venue with a range of arts related office spaces above. Adjacent is the huge Kennings factory, w hich is being turned into a m edia centre and @ office space. The w hoie area is now branded as a cultural industries quarter. The developm ent is ied by the city councii who have set up the m unicipally owned Red Tape studios at the core of the project. However * it has engendered the com m itment of internationally known bands such @ G ëtz sgoTtp .' T'hE' Creative c'ily arltï its cxllurc l Economy 4 8 P.,tRT H @ # * as the H urnan League and Com sat Angels who have set up Studios within the com plex and who use local talent for thetr record sleeves and so on. è The latest project is to launch a national centre for popular music to provide advisory services, archives and a centre of excellence. @ Sheffield in contrast to other cities sees its initiative in a Long term perspective and has harnessed the cultural com m uhity to play an active @ part ( inciuding finandal ) in the process. Bradford has used the ads for urban regeneration throujh a flagship è strategy. n is included the refurbishm ent of the Alham bra Theatre, w hich initiated the revitaiization of the azea and the establishm ent of the @ highiy successful N ationai' M useum of Film Photography and 'I'V These have been linked to the development of the city's tourism plans. A m ore @ industrially based cultural policy has not yet been puo ued. Bristol has over the last 10 years becom e a westerly m edia centre as * com panies and agendes have spilled out of London. 1ts profile w as heightened by the actions of a key developer w Ho pushed 2 key w aterfzont projects - the Arnolfini and W atershed. These landm ark developments, * natural m arket forces and the perceived quality of life of the dty have m ade the city attzactive to photographers, artists and independent film production companies. Ls strong on design and the A/V sector. The city @ council has not played &ny leading role in encouraging policy initiatives. @ Cardif f has projected itself over the last few years as the 'media city' and to som e extent this is simply hype. However it has som e basis in reality given the Success of using nationalistic argum ents to create SC4 w hich ts @ based in the city as well as. projecdng Cardiff as the capital of W ales. This has requtred the setting up of a whole w elter of m edia com panies both @ production and post prY uction to supply the very specialist needs of SC4. This dem and has also spilt into areas such as advertising w hich in turn @ have created dem and for graphic and other services. Scotland m ay look at W ales w ith som e envy and can learn som e lessons, 4 w hich is why the location of Channet 5 has a potentially im portant roie, particularly if there are local production ar eem ents. Glasgow could strengthen its position in a. sim ilar way if the notion of Gaelic TV and * Program m ing takes hold. If it rem ains m erely a headquarters location its im pact on the local m ltural industries will be tessened. @ In the discussion of Gl%gow' cultural sectors in the next section we will adopt the cultural industries approach outlined as stage 3 above. Our @ discussion of strategies for the ceative city w ill be based on the definitions @ outlined at the beginning of this section. @ 4 Glasgow .. T-ke Creatiue W ly and its Cultural Econom y 4 9 @ PU T U # # A SSESSM EN TS: INFRASTRU CTURE SCA LES, PRO D UCTIO N CH AIN S A N D RAN K IN G S @ 4 Introduction O v'er the last few years as the 'city' has com e back into focus a concern has deve:oped with city positions in our changing urban hierarchy. M any @ studies have been initiated which seek to establish objective criteria by lv'hich to judge relative city performance or ranking. Two types of study in è particular exist. The first is exem plified by the Glasgow University approach to indicators of urban quality of life induding issues such as availability of hospitals,receational facilides and so on. H aving found @ out what people were concemed about they tried to establish 'objective' statistical m easures. The other type is m ore concerned w ith indicators of @ econom ic perform ance. ' These rankings to som e degree treat the city as if it w ere a firm operating @ in a com petitive context, and naturally this amalogy can only go so far. In the rankings and infrastructure scales that follow w e have brought * together our own know ledge of how sectors operate and checked these vvith peer groups within each cultural sector. The section should therefore @ be view ed w ith these provisos. In addition, tesdng m eetings w ere held w ith Glasgow specialists in each. of the ctzltural sectors. People w ho contributed to these assessments are listed in appendix 1. * This part of the report aim s to do 2 things. @ To provide the Agency w ith a conceptual tx lkit to assess the state of the different cultural sectors. W e envisage em bellishm ent and @ redefinition of the system through use. @ To provide assessm ents-of the state of the G lasgow culm ral scene. In assessing the state of the different sectors of Glasgow 's cultural econom y vs'e introduce the concept of 'level of infrastructure'. W e grade the 4 industries on a rating of 1 to 10, w hereby 1 m eans m inim al activity and facilities tow ards l0, which m eans a fully integrated industzy structure * vsphere strategic decision-m aking, com m unications nodal points and value added services are located. W e then look at the key quesions that need to be asked of each industry on the basis of the production chain. Finally we * com pare Giasgow 's position vis-a-vis other centres in the UK and abroad to assess its relative position and m ake a series of com m ents and @ recom m endations for each sector. The charts outlined for eacà sector are similar and may appear repetitive, @ although they vary in detail. The reader m ay therefore w ish to focus only @ en our general chart and sum m ary conclusions. 4 Glasgow: The Creative City and its Cultural Economy 5 0 P.VRT (1 @ @ ' ' *-gJ a) G eneral @ O n this scale the positions m ean: Very basic activity, m inëm al facilities or support services. N o public @ visibility of the culm ral form . Activitp if it exists, is subm erged, am ateur or part-tim e. No public sector encouragem ent. # The beginnings of a local industry and self consciousness by those active that they constitute a sector. Som e m ovem ent towards ' # viability and som e encouzagem ent from the public sector, but no overall strategy, jom e recognition by the m edia (press and television). A few local entreprenettrs can push 'c eators' on to the # first ladders of opportunity through theiz contads (usually 1ow level) at creative centres (e.g. London). Still no division of labour, a @ m usic m anager, for exam ple, would also be the prom oter, perhaps own a venue and provide legal advice. Som e galleries, A/V 4 facilities, design sm dios, sm all regional publishing houses or recording studios. Aspirations basically regional. Headquarters com panies w ould use agencies outside of the dty. Leakage of talent * still very strong. ..1 1:. M uch m ore pressure for recognition by those active in their # respective industry. A greater num ber of higher quality faciiities such as com m ercial galleries, sales outlets or l4. igher level recording #' 'studios, A greater m arket dem anding local services in term s of. say, corporate video or graphics. M ore venues and entrepreneuriai * activity. This is the ''take off'' level. Leakage of talent balanced out and beginning to reverse.' @ 5/6. Cities w here a certain level of autonom y has been achieved and individual creators can begin to m eet their aspirations w ithin the @ city. support infrastruciures such as music publishing, legal services, auction houses or advertising services based within the city. Connections to Europe and the USA beginning to be credibie. è Evidence of existing success m ay provide a m agnet for others to em ulate and stay in the dty. A level of co-ordinated public @ intervention is usually introduced. Leakage of talent reversing. Recognition of the im portance of the industzy in both pubiic and @ private sectors. Capable of nurturing 'creators' so that they can m eet their aspirations largely w ithin the city. Support stzucm re for @ activity available right acoss the 5 production spheres from ideas generation, to production, circulation, delivery m echanism and audiences/market. City capable of having credible links to foreign @ countries without needing to go through the centre (London). Creators live and work in the city and a large proportion of the value added retum s to the city, such as through production and * Post production, m anagem ent and adm inistrative services. The city 4 Glasgou): T'he Crtative City and its Cxlturf:l Economy DM1 4 PM T il @ M * iS Xlh. ddrictor Of talent, but 5ti1l lacks a few high levei resources to (e'> @ fulfill its potential. ' The city ij known for the cultural activity on both a national and international level. in its ow n right it is an attractor of talent and 4 skill. Has pracécally a11 fadlities, and is nearly self-sufficient. H as the headquarters of im portant m edia/cultural com panies and has @ acczued m ost value added services. f 1 0 . A virm ally self-suffident city for a cultural industry; is an attractor @ of leaked talent and the locadon for the self re-infordng c eation of $ (. $ value added. Has high level fadlities and international flagships, @ and a11 types of necessary professionat services. Is a centre for t : strategic decision-m aking about an industy, capable of com peting equally on an intem ational level. Linked to the above w e assess sectors from the point of view of the * production chain. This invotves thinking about each sector as 5 spheres. * It is important that the City makes a judgement about whether Glasgow is stong or w eak in each of these spheres. Below w e m ake è general com ments about Glasgow 's position under each cultural sector w e m ake additiona'i com m ents for each aspect of the production chain. It should be borne in m ind that each of those # com m ents is relative and related to w hat could lx expected of a city the size and im portance of Glasgow . N am rally there is aiw ays room # for im provem ent. * Beginnings This concerns ideas generation, patents, copyright, è trademarks, and inore general concepts such as creativity. G lasgow 's position: Generally strong in term s of creativity 4 and ideas generation, but lacks the capacity to harness these into tradeable copyright and patents. N evertheless the core 4 hum an and ideas resources for potential exploitation are available. # b) Production How is this 'creativity' turned into production? Are the è people, resources and productive capadties available to aid the transform ation of ideas into m arketable products? @ This includes: im presarios, m anagers, producers, editors. engineers as well as suppliers and m akers of equipm ent, film # or photc labs, sm dios, fram em akers, scenery m akers. In 4 Glaszow : n e Creutire City $:,:fi fts Cultural Economy D*2 # PART E .= @ * addition a training infrastructure is necessary to provide the ym appropriate skills base for each sector. @ Glasgow 's position: Relatively w eak. The dty lacks a sufsdently large dass of cultural entrepreneurs able to 4 identify, m anage and control resources to the benefit of Glasgow . However, the Year of Cultalre helped im prove the situation substantially by not only widening the horizons of # those active in culm ral produdion and increasing their capadt i es' b t also by uncoverin new potindal. N , u k è' evertheless particularly in the flelds of m usic, theatre and : : . film the need for m ore producers and m anagers to turn ideas into product w as stressed. The visual ardst is less reliant on # production resouzces com pared to other cultural sectors, but one of the m ost im portant com popents for production is studio space, and here the city has Particular strengths. In the # design area it w as stressed how dow nstream exploitation o' f 4 product ideas still occurred outside of the city. Gaps in training provision w ere identified in som e sectors * particularly those concem ed with new m edia - m usic and film, as a consequence there were also weaknesses in downstream supply services. In design and the visual arts 4 training provision is relatively strong with the existence of the School of Art and the College of Building and Printing. * For theatre the view w as expressed that m ore could be done for less form al theatre training, * c) Clra lation This concerns the availability of agents and agencies, # distributors and wholesalers (say in film or publishing) or m iddle persons, p'acxagers and assem blers of product. It also * includes what catalogues, directories, archives, stock inventories and m edia outlets exist to aid the sale and 4 circulation of artistic products. Glasgow 's position: This is a Particular problem area. In the è field of electronic m edia London has a stranglehold in the UK, w here networking and m arketing m ore or less inevitably has to go through London. It even applies to the # visual arts where a11 the agents and galleries representing the m ore fam ous Glasgow artists are London based. Even for è design products there is a lack of m arketing expertise in the city. The problem is less acute for theatre. W hi1st m edia @ reporting of Glasgow as a cultural city w as seen as adequate, the level of cultural debate w as regarded as superficiai. @ # Glasgow: n c Creative Cfty and its C'ultwral Economy 53 PART U @ @ . ''') * d) D elivery m echanisms * These are platform s.which allow cultural product to be consumed amd enjoyed, it is about the places they are seen, expelienced or bought. It m eans assessing the availabiiity of 4 theatres, dnem as, Y okshops, concert halls, -l-V channels and screens, m agazines, m useum s, record shops and so on. @ Glasjow's posltiom The bu-ilt tnfrastructure for cultuze activlties is relatively strone. In theatre, for exam ple, there è are venues of vazying sizes for different perform ance types t:..) (especially if the Tramway is retained and developed). Equaily with the new concert hall a further elem ent is in @ place for music pedorm ance. n e only gap noted w as for sm all m tusic venues up to 300 seats. In the visual arts there * were no major compiaints about gaps in provision. Although i - one m ay wish to see m ore shops selling designer gx ds Glasgow Ls lim ited by its catchm ent area and the leveis of @ ' disposable incom e w ithin the city. W hat is noticeable is that shops aimed at the tourist m arket continue to sell at tim es * low quality products stressing the traditional im age of the ' city. O ne w ay arotm d this m ay be to encotzrage gaileries to è sell the more intere ting Glasgow design products. ' e) A udiences and reception k. This concerns the public and critics and involves activities, such as' m arketing, advertising and publicity. It involves * assessm enl of issues such as m arket and audience research, as G-etl as questions of pricing and sociological targeting (e.g. young and old, gender and education). How good, for F4 exam ple, is Glasgow at getting people from different econom ic and social backgrounds to experience culture? Or how good is Glasgow at reaching foreign m arkets ? Glasgow's position: In spite of the criticism s levelled against è the Year of Culture exercise it is ctear that the internal audiences for the cultural events has expanded. Events such 41 as the 'Big Day' drew a m ixed sociœeconomic profile. Externally the Year and the publidty leading up to it has enhanced the city's international standing. This has in part been achieved by the range of Publicity cam paigns conducted by the city. N evertheless the opportunity w as m issed to * , create a culturally specific m arkedng infrastrucm re for the city to undertake Rot only m arketing but also m arket research. As a consequence the city know s less about its arts * audiences than it should. The current M yerscough research w ill only address this problem in part as it is tim edated @ research providing a 'snapshot' rather than being part of an è Glasgow : n e Creatit'e City rlz:zf its Cultural Economy 54 é P.u T 11 ('T @ * Ongoing institution. The best exam ple of such an ( .' '' organization is Cardiff Arts sfarketing @ W hen assessing cultural developm ent possibilities it is necessary to Provide a balanced set of resources aczoss the areas discussed. They # are al1 part of the cultural infrastructure. M anagers, m arket researchers, producers, suppliers of equipm ent are as m uch part oî the infrastructure as concert halls or theatres, w hich although # visible cannot function effectively without these other support 4 services. ' As a final conceptual tx l we present is a schem atic Policy Options Chart è; (Fëgure 1) for the cultaral sector, describing the level of intervention from l the w eak, cheap and relaively simple to the sophisticated and expensive. * In general term s, intervention should be balanced frqm supply to dem and. @ Com m ents * G lasgow 's overall Positi/n In overall term s, and this is gx d new s, Glasgow vies w ith M anchester as the UK's second city after London in term s of cultural industries è developm ent across a11 sectors. .M anchester in particular scores high in m usic and the A/V sector, with Factory Records and Granada being @ particularly strong players. G kasgow scores high - ironicaily, but on refledion not surprisingly, given @ its educational and industrial tradidon - in the visual azts, theatre and design. This strength in the pre-electronic arts can in principle be @ capitalized upon if linked for exam ple to a ' hand m ade and high tech' strategy outiined later. Im portantly it should be noted that the pre - electronic arts are to do with the one-off and semi reproducible product è vs'hich in direct econom ic term s has less potential than cuitural industries concerned with reprodudble products such as film s, records and so on, In 4 contrast to other consum er industries nearly eve:'y product is a prototype. They are though recognised as being m ore im portant in contributing to # the urban quality of life and in projecting the city as a stage. As it is the post - electronic m edia w hic.h are expanding as w orld wide industries it is crucial that Glasgow Positions itself as an im portant player. # Especially given the links between these cultural tndustries and the new è com m unications and know ledge industries. @ Glasgow 's w eakness in the electronic m edia The city should address its relative wezkness in the new m edia - fiim , @ m usic, com puter graphics and so on both at the production end in term s # Glasgozu: ne Creative c:' ty and fts Cultural E con o m y S 5 P-.VRT U @ @ f ) @ of equipm ent m anufac' ture (an exception is obviously Linn Products) and cultural product such as film m aking and in term s of consum ption w here @ it is argued that the film and m usic culture of the city is not sufficiently celebrated. ' * It is these sectors that can generate far greater value added for the city over the longer term . Their products include equipm ent such as hi-fi, sound and im age recording and playback equipm ent, as well as others related to @ as w ell as the film s and records that cultural photography and film . producers m ake using this equipment. Potential m arkets have increased * enorm ously over the recent yer s as the dom esticisation of leisure has m oved apace. Records and film s, for exam ple, increasingly set the fram ew ork and context of how we consum e culture and determ ines the * developm ent of our cultural practices. n ey are controlled by the m ass industries concentrated increasingly in Japan and the USA with some @ European firm s such as Phillips still involved. * Entry costs to these sectors is extrem ely high znd R&D developm ent costs can be m assive (see, for exam ple, high definition television ). The num ber of firm s rem aining in contention and capable of producing * innovations or inventions is steadily declining. Countries such as Scotland or Britain as a w hole aze Iikely to be the assem blers of such è products not the inventors. H ow ever, the m ulti-national m onopolistic groups are less involved in the production of accessories, w ith the result that sm ali to m edium sized # firm s, through innovation, can occupy an im portant econom ic space. @ This applies to photography w hqre, for exam ple, Barr and Stroud produces lensesg projectors, viewers or film equipment or music (synthesisers). These opportunities exist especially for niche and professional m arkets, è vvhere a. basic technology is adapted and custom ised. Turning to cultr al product whilst it is im possible to m ount an overall è challenge to London's UK hegemony it is nevertheless possible to put issues around audio visual culture m ore centre stage in debates around # the city's cultural developm ent and in term s of resourcing. * lt is im poztant tlzat Glasgow seeks a balance between its support for the traditional arts and those concem ed w ith new m edia. * 3. Glasgow's relative strengtits and w eaknesses along the production è chain Looking across the spheres of production the strengths of Glasgow 1ie at @ the level of ideas generation and the w illingness to take risks to turn ideas into production. There is now no longer any glaring underprovision in @ term s of ptatfonns for showing work except perhaps som e sm all scaie q'enues for m usic and the need for a design/craft showcase. There are a * Glasgow : n r Creatfpe City and its Cultural Economy DM6 * P.u T 11 * *: vs'hole range of perform ance spacu at different sizes and types as w ell as a plethora of gallery spaces. @ Glasgow's malor weakness - and ii t' qan lemportant one - is the lack of people and initiatives in the cirrulation azea. This m eans com m ercial è circuits are underexploited and underdeveloped. n ere are no m arketing initiatives ( 1990 was an ideal time to set one up) too little m arket research and there are too few agents, deal m akers, entepreneurs, sellers of * product. W hi1st Glasgow has adtieved art tm portant cultural m om entum Glasgow's tnfrastm duze only goes so far. n is m eans that 4 people can only fulfill their aspirations within Glasgow up to a certatn ( degree after which they need to use resources outside of the dty (e.g, 4t.. London for m znagers in music, or agents for ardsts). # 4. M oving up the scales As the individual points on the infrastructure scale represent general è characteristics it is possible for Glasgow to judge whether it is possible and/or desirable to try to m ove up fttrther on the scale given the city's * assessm ent of its relative strengths. ln some instances particularly at the lo:s'er levels a sm all input from , for exam ple, the public sector, can have a @ disproportionate effect, w hereas in ol er cases tHe effort to reach the next level is substantial. ' For exam pte. w hat often sdm ulate a local m usic econom y is the existence 4, ) of just one live venue such as originally the Hadenda in M anchester. This then can set the ball rolling for other investm ents such as on * recording studios and so on. These kind of initiatives are typical for levels 2, 3, 4 on our scale and m oving betw een them is reladvely easy. H ovs'ever, m oving from being a city of regional/national im portance to internationa: # status in say m usic requires m ore than a few recording studios. It would begin by leading world record-com panies locating in the dty, followed by 4 the plethora of professional, support and trade services. By no m eans an easy task. W e have graded Glasgow's position as we perceive it today, it is additionally useful to speculate what its potential could be. 4' j ': In terms of the visual arts Glc gow is in a good position to @ ' m aintain and develop its status, but it w ill rem ain around 5/6. : ( : However this will require som e additional public sector investm ent * in high profile exhibitio:u to keep the dty in the pubiic eye, or a t new contem porary arts venue w ith outreach and exhibitions and ss high profile but im portant other for the city to benefit from its lex è initiatives such as the artists. exchange program m e. The acquisitions epdqFm ent fund alxlocated to the m useum is an @ im portant initiative' in helpin'g t:. m aintain the city's Position. In tjrms of the production chain deveiopment is reasonably weli * rounded. Relative weakness-ij in tHe circuiation area where artists 4 Glassow: The Creative Jfly anékits fzdltzral Economy *t77 ' ' ' .. - .r @ PM T U @ * * C: N * l o ' QJ '* - c) co C.' #,, r c ( D œ m < c * e Z * œ b- E *( . - > m D? b 1* l 'f' ''V'$'N'' 552*9 1:1:1 41:11.k.:.).r, . 1.:.:.2.:.2q ?>/' /:'.$û< '6 h. 1,:. 5>; d*' FJ' Ji;>'' '.k '! '. :'. ;'k' G% ù'6'i'. h' ':? 'i .': Q :..b a2 .$ 3-. f .yh a .jl.'.1.'à. . XFJ.%. 6. 1:)). (21:1 $i. dp' r.i 6'.; . .4 ., 4>it.S*. s 4 Claqozu: ne Creatiue city and its Cullural Economu D* 9 @ P.u T U @ *. ('; v) In design Glasgow is allocated a stzong position of 6/7. This is based on a com bination of hype and realitp and encapsulates the ' é im portance accorded to initiauves from Glasgow Styte onw ards. W hi1st insufficient initiatives have ended up as tradeable G lasgow . products the export of Glasgow talent from fashion to architects has @ m oved apace and reaffimned from the point of view of the outside w orld Glasgow 's positlon. It is now essential for the city to build on this reputation and 1993, with the w orld design conference in the #(, city, is a useful staging post around which to agglom erate activity. è According to the production chain anaiysis the w eak points are concerned w ith the technical and m anual skills to turn ideas into 4 products, this affects the capachy foz Prototyping.. In addition there ! needs to be m ore show casing capacity tn circi ate ideas and Froduct as w ell as to sell goods; linked to this is the need for m ore @ m arketing oriented com panies to take up &nd propagate ideas (see 4 Figure 2). * 5. The special position of I-ondon Further questions arise from the rankings. The UK in contrast to 4 Germ any, italy and Spain though not France is not polycentric and as a 1 consequence a11 activities and strategic decision m aking have a tendency to go through London. The sheer weight and size of London, its historical role and its status even today as a world city m eans that in m any areas # there is an historical agglom eration of fadlities and activities that puts it in the prim e position. ln som e areas like m usic and fiim London ls a # recognised player on the world stage. W hereas in others such as theatre 1&'hi1st the city's m ass of facilities and support services are of w orld standard, London has lost its innovative edge, the sam e applies to the 4 visual arts. ' H istoricaliy, in order to keep its pre-em inent position London has scoured the regions for talent and in turn regional talent has been attracted to London. The re-em phasis on the city and locai econom ic developm ent is #4 challenging this neat paradigm with each city wishing to find ways of keeping its talents working for and within its own city. N'evertheless, as a consequence London tends to score a 10 on the chart e.g. i t is a centre of pow er and econom ic.s for the sector in question. # lm portantly, w hat this figure does not reveal is how lively, innovative, è interesting London is ( or rather is not) in each sector. That requires a different set of judgements of a more qualitative nature. @ $Vhi1st London by its sim pte m ass is UK's top dog city, in different sector; ather cities shine. For the last few years it has been M anchester in m usic, Bristol in design, Glasgow especially in the Year of Culture in theatre and * the visual arts. Glasgow 's com parators should be other second cities in the # Glasgow : The Creatiue Ct'ty and its Cultural Economy 6 0 è P.u T H @ @ UK, Europe and elsew here, as comparisons w ith first cities such as London, Paris, N e%v York or Tokyo create an imbalance. Ccm parators Tk'ould include cities such as Barcelona, Cologne, Rotterdam and Am sterdam . Inevitably, on a European or w orld scale Glasgow ts likely to @ be a ctlltuzal niche player, but im portantly, it is at least a player. The key role of tourism @. . Th e w ealth of activity' of ..1990'' will obviously not be m aintained F N evertheless as expectations have been raised, potendal explored and risks been taken - 1991 is still likely to lead to m ore Product than 1989 and è the period previously. Tourists and visitors w ill rem ain an im portant part . of any venue's visitor profile. In order to m axim ize this potential the arts/cultural comm unity and the Tourist Board should begin dismlssion 4 on how they can w ork together for m utual benefit. A key com ponent of such a s/ategy is arts m arketing and as a m atter of urgency the possiblè 4 functions and costs of an enhanced set up should be explored. An integrated centre for arts inform ation and ticket selling is proposed as a major project as a way of addressing this problemboth for tourists and @ residents. @ 7. The power of perception.and the im portance of m yth @ It is extremely difficult to assess objectively the true comparative position of the cultural sector in a city, In 1985/86 the PSI calculated direct arts and culture related em ploym ent in the w ider Glasgow region at 8000 people @ representing 1.2% of the employed populadon of the region. Taking indirect jobs into account this figure jumps to 14,735. Comedia has @ recently com pleted a study for the city of Liverpool (not M erseyside) and has calculated 3900 employed also representing 1.2% of the working population, a M erseyside brief Tvould have probably given sim ilar figures # to the w ider Glasgow region included in the l7SI report. H ow ever what is m ore im portan't is that Glasgow is undoubtedly in a stronger position than è Liverpool and environs although the figures m ight appear the sam e. @ S'vhat gives a city the extra is beyond pure econom ics and concerns the way in which arts/culture contribute to broader quality of life issues and the buzz of the place. Fröm the point of view Qf the peer groups w ith w hom @ w e discussed Glasgow 's position the im portance cf perception is crucial. The role the Year of Cultuze has played cannot be underestim ated. For exam ple in design or m usic there is probably less com m erdally viable * activity in actuality happening in the city than the perception would lead one to believe. M yth and perception are significant aids to develop the city @ as they give credibility to initiauves happerting within the dty or when Glaswegians attempt to do projects outside. @ 4 Glasgow : n : Creative C'ily and fts Cullurl:l Economy 6 -1 @ PM T U è 8. The policy optfons chart è' -' The objective here is to have a balanced provision from supply through exchange to dem and. By looking at the policy options chart a few poinës 4 are noticeable. First, Glasgow has achieved an im m ense am ount particularly on the 4,1 111C1- ,.t dem and and consum ption side. n e Year of Culture is its pure expression. . In order to stabiiize .the cultural sectors an em phasis needs to be placed on initia'tives particularly 'at the basic level on the supply side and @ distribution. 'Fhere are, for example, insuffident directories ( e.:, in music l : '.. . or for design services), and sector adapted business support services such as a BUZZ do not exist. @1 Second on the distzibution and networking side the city has been @ relatively weak. Coalition building and joint agenda setting has not developed, and there is no Glasgow cultural pian. Joint marketing and è, distribution netw orks even for basic activides such as bulk m ailing or joint mailing list creation are sadly lacking. These simple infrastructural @ areas are ones that the city should now pay attention to. Third understandably initiatives in the Year of Culture have largely been about consum ption and SDA and now SE policy in contrast (w ith som e # notable exceptions) has been m ore supply driven in areas such as sm all ' business advice services, aithough not specifically geared to cultuzal , *, industries firm s. @ Lastly given the expectations raised by the Year of Culture, the relationship betw een the cultural com m unity and the SE support structure is probably askew . The cultural sector dem ands now involve the @ m aintenance of relative highly developed cuitural organisations who have advanced in a festivals atm osphere. As som e basic infrastructure is *l g .' not !.'et in place in the city it could be difficult for the SE to respond to the needs of individual organisations, w hen infrastructural needs should t * take precedence. 1. ; j ' l @ 4( ( '. @ @ 4 ' GltLsîozv: 'rhe creatfre c'f ty arlfï fts culrura/ Economy 6 2 . v 4 P..QRT 11 @ @( '' E . j ' @ '5 5 4 2 -i 2- -.' J .1 6 -2 5 1 - !. .x : a *. $. r o. = @ ... > v z z ,z : a 1 e,x , .a: j: : 1 -.2 :u! 5>. 1 aj ,-v w 21 -r z ,- -a 1 t r a (. ..J o . = . j m xp.a k t -12 , j- -z 4: k x2 aL œ7' 1 :.z -; u N ' -.; .. :J = - # ia : .a z<, kx 3. t! ! '.' ë a -L , ..':. -1 .v -% j 1. . o. 'ë! 1- a-. .!a !x . t' :: .yma .r: kx (:g . = z . :G' .v a : a- oc .z .a -% * :7 u.. 'i v .z. .! u' zx a- 4 . u .:j. 3xt v=s *s j. . -:z xzu a.w- i.s x.3. za i<-z ak x ... a. e.; =2 E a. u. .-z .za a. .a k; q e s- '. 3 I # 9 z ' v -z ! :, : .z:$ k$z, x a aw: 4 =i ) . !. yk ë. o . . j .,j :q . , I . z - 64 a xy .' .1 =: .z e .t .$, ae .: : 'z 1 . - , .j' - a . s - w -1. a s' o ac o,. .1 .k gK .< <1 r a' g u,. .as . x, a .4 'z 'Q o '; = 'h' . : ; ' o a* *t s ., k Is t a. .:. :u z:)' .! . u. . z s .1. a. .:. ..j .at: =>. Qqw ' qk =: =- s-Q e' x 1 & u-'z l j . t z- I '.h .'a i- 7 =. q c . zl - u >* ,4 - r t.i ,,$ .; .z iei > '': .: ! & 1 t< t: *' . C è e 'I al â' I7 'i a -3 .l j '!Z x * ju aa . ..f 'r @ 5 Z 4 : t L c :-. 1 = .>: . ;. . jx S l i'z' , jq .-y .: r,1- e I . > w. è 0-l 1,$ .s.: 1j 4 * Glasgow: n a crtatiz,e city and f1.5 culturnl Economy 6 3 4 P.u T U @ *! 9, Flagships and staging posts versus cum ulative sm all initiatives * The desire of public agencies to enœ urage the development of flagships is understandable. They leave a visible m ark on the landscape, are ' assoc i ated with their funders and as' they are usually based on buildings @ are som ething the public sector world can handle and has experience of. @I ï But the SE should remember 2 imyortant things: First when r alysing the 1 v. arts and cultural budgets of major a6es in the UK we were struck by the *ë sheer am ount of moniei going into the upkeep of past building based . expressions of m unicipal m unificence. Thqse icons of dvic pride are now : t ' eating up high proportions of budgets the m ost extrem e exam ple of which could be M iddlesborough w here 85% of the budget is going on building @ m aintenance and only 15% on artistic program m ing. Glasgow 's reputation is only going to be m aintained by support of current creative @ activity and the buildings in w hich they take Place m ay be less im portant. Second it shoald be remembered that the vast majority of culhzral è ' lndustdes com panies are sm all - up to 10 em ployees, only a few are m edium sized such as the Citizen or Scottish Opera and very rarely is @ there a large scaie com pany such as Scottish TM. This m eans that support initiatives should be largely targeted at increasing the econom ic health of # this sm all business sector. N aturaëly flagship initiatives have their role but what this should be should be carefully analysed in each case. For example, in our judgement * support for the m usic sector should be based on a m ydad of sm all firm supports, as a large scale m usic rex urce centre w ould not add sufficient 4: value. O n the other hand in the A/V sector it m lght w ell be im portant to create a city centre 'm edia centre' type operation to signal to the w orld the @ arrival of Scottish film - This could house am ongst other organisations the Scottish Film Coundl as the instim tional flagship of Scottish film . ln turn in design the establishm ent of a design show case m igitt be im portant, but è even m ore so is creation of a sm all finn support structuze to enable 4 sophisticated sm all batch producdon. . ) .$ Nvhat i: therefore necessary is to balance seem ingty boring invisible infrastnzcturai iniiatives such as ardsts exchange schem es and business * advisory senzices with the occasianal high profile project. This is why cultural quarters are seen as attradive. They help brand and pull together è a ranse of sm all scale activities and give them a coherence that would otherwise not exist. Even the bar/restaurant/cafe can then be viewed as if it were a self conscious part of a developm ent when in fact it is m erely a 4 response to a criticai m ass em erging in an area.. Clearly the M erchant City is an obvious focal point,for a cultural quarter, but perhaps m ore for the * selling of cultural product. In production term s it m ay be useful to think of the adjacent area towards the V uth as a possible centre. * 4 Glassozu. n z, creative city ,Jzta its cxllxrul Econtlrny 6 4 @ P .u T EI @ # kçhere flagship and sm all initiatives can usefully be brought together is at specific staging posts when the wealth of overall (often unseen ) activity è can be celebrated through appropriate events. The m ost obvious next one is 1993 around design where sufficient time for projects to mature and be è planned exists. # Creating incom e stream s The grant m A ing structures of SE, GDC, Scotdsh Arts Council conspire to è force clients into a dependency reladonship. n e arts world appears less effident than it is as it can rarely build an asset base against w hich to @ borrow and create profit centres. n e banking and investm ent com m unity's lack of understanding of culttzral production further exacerbates this problem . The clearest exam ple in the case of W ASIDS. It is @ one of the m any organisations w ith the capadty of creating incom e stream s that can make it not only self-sustaining but heip fund other arts * organisations. @ 11. A property developm ent strategy for the cttltural sector * It is im portant to create the conditions for providing long term secure accom m odation for arts organisations. Frequently it is accom m odation problem s that threaten the existence of organizations. W ASPS has a track @ record b0th in finding and securing accommodation as well as in project m anagem ent. Through W ASPS Glasgow is in a potendally unique * position in the UK to solve its problem of iinding space for artists and craftspeople. But the logics of the various funding agencies and investm ent com m unity have com bined to m ake this im possible. A @ contribution to solving the problem couid be by m aking a capital grant to W ASPS. Currently the cost of W ASPS purchasing its four prem ises @ outright 'vs'ould be f 1. 1m . ' G iven its current incom e from tenants at an interest rate of 15% W ASPS 4 could in principle borrow Elm . W hat w e are nodng is that on rents alone SVASPS could neariy raise the resources required to purchase its prem ises. A lternativeiy, even a soft loan er sm all endowm ent to buy one of the * properties would allow them to use that property as the collateral to buy the others in stages. As the banking com m unity dœ sn't understand what # SVASPS is about, pazticulazly given their charitable status, they cannot at the m om ent begin the process them selves. @ H aving received a capital grant at the end of the process W ASPS w ouid have assets with which to extend their activities into, for exam ple, creating * a production based concentration of further workshops. W ASPS is one of the few exam ples of an arts organization becom ing com m ercially viable. As the areas in which W ASPS locates its prem ises are initially run down * their presence contributes to m aking the location m ore attractive and 4 Glassow : n e Creative City Izazï its C'/z//wr/l Economy 6 s * P.u T EI ( @ . z; * therefore valuable. As W ASPS can presently only negodate short to m edium term lee without long term security the value added to @ properties occupied by W ASPS accrues to developers. * b) V isual Azts and Crafts @ Explanation of tezm s used Sm all num ber of arusts living in the dty with little opportunity to 4 display; artists feel ignored by the local art bureaucracy; little or no showing space; m oribund art schx l and local gallery and no or @ under-resourced independent sector; no m arket and scant recognition for artists in m arket centes; w eak program m ing (entirely provincial and the persona! concerns of the curators with # little or no involvement of artists); lack of coordination and team spirit in the sector. @ ; Studio provision encouraged (com m unal groups) and m inim al interest taken by the local galleries; som e local infrastructural * activity in the design or related fields; som e local m edia interest; beginnings of collaborative and sugportive program m ing in gallery @ sector; involvem ent of aqtists in program m e and educational activities; m odest participation by local authority in direct 4 education and social prodsion in the sector. Active local authority gallery and/or independent space w ith som e * current exhibition activity including a recognisable tlagship program me appealing to the greater artw orld; viable com m ercial sector and entrepreneurial group of artists w hose w ork is purchased * by Iocal bourgeoisie at m odest prices; possibly a local m edia com pany or TV studio/.production house with sym pathy giving a @ Public profile to the activity and support beyond the elite purchasing group; national gallery provision in one or m ore fields. 4 5/6. Prom otion of general provision across the board in exhibitions and active local art school and independent sector; perceived good and consistent funding from a11 sources. M utually supportive and * reinforcing. Beginning to construct an international perspective and has at least one annual event w hich draw s in the international @ circuit and ensures visibility to artists from collectors and dealers; m edium scale dealer could relocate and use the dty as base because @ of connections and supportive group and local m arket Coordinated and m ut-ual support throughout the sector w ith @ reinforcing contact from b0th public and private galleries. Active art m arket in both the dealer (promotion of artists) and auction * hoklse areas creating an active collector base which recognises local 't and international talent, Perceived spend w hich keeps artists in the @ (J lassow: n: cr:vtfz'e cfly and its cuflxrql Economv 6 6 P ..VRT EI # @ @ com m uni ty; peer group recognition for the curators and artists through regular visiting to see and to ptzrchase; exhibition Program m es would prom pt regular visiting from the internationai @ art w orld and encourage local talent to be carried into international m arkets w ith som e return to city; accepted as an im portant 4 Production area for new and changing ideas; a full international player and im portant Euzopean player; how everz full recognition of artists and galleries probably stiil comes from visibility in major art @ capital (London/New York) . 9 . Assum es virtual self sufficiency w ith full facilides for visitors and è coordinated activity in a11 visual art sectors. tm portant private sector groupings with sufficient purchase pow er, high powered, @ internationally recognised dealers and auction houses. H igh level headquarters activity in public and private sectors and @ national status for m ore than one art form area; im plies ' infrastructural support throughout the sector and strong @ com m itm ent from a11 sectors to a com m on goal. M ay only be achievable in a rich city. * Production chain * Beginnings Is there a groundswell of arts activity and artists ? * Com m ent: W ell developed * Is there sufficient form al or inform al arts education? Comment: No major problems @ + Are there resource centzes to encourage beginners to get into the field ? ' @ Com m ent: N o dedicated centre exists, how ever a range of com m unity arts initiatives exist across the dty that can in principle fulfill som e of that function. Central office/contact point required 4 to distribute inform ation on available resources * Are there easy access (iisplay opporturtides (e.g. art on the railings) ? Com m ent: M ost venues have vetHng procedures, although a11 W ASPS tenants have autom atic right to display in their shop. The # Arts in Parks initiatives of 1990 shouid be follow ed through on an * annual basis Production @ Is there adequate studio provision ? * Com m ent: Yes 4 6 lasgow : n e Creative c'ity and ft.s cultural E'couorrly 6 7 P.&RT 11 @ @ Are there sufficient artist m lterial suppliers ? Com m ent: N o problem s noted @ * Are there gx d fram ers and other support services in the city ? (e.g. sheet m etal for sculptors) @ Com m ent: N o large problem s noted Circulaùion/D istribution @ Agents? . Com m ent: N ot suffident or w hen they exist not operating at high è enough level * Professional services - e.g. in tansport and insurance ? Com m ent: Som e w eaknesses noted # * Local m edia interested in the artform ? Specialist m agazines? Com m ent: The m edia criticized on a num ber of occasions and lack è of specialist m edia lam ented. Events reported, but lack of a cultural debate * Are there prom oters and packagers of exhibitions ? Com m ent: They exist but their role is dim inished through lack of @ funding + A uction houses ? 4 Com m ent: A uction houses and branches of London com panies exist, but Glasgow not big enough market for sale of major works @ M eeting piaces for discussion and sodalizing? Com m ent: Lots of generai m eeting places, but no dedicated arts @ cafes. @ D e 1 i v e r.y A network of galleries for show ing and selling work at different 4 levels? Com m ent: Yes * Galleries and m useum s as role m odeis and show cases? @ Com m ent: Yes Print and poster outlets ? * Com m ent: Som e, but it w as argued there could be m ore @ A udiences/M arkets Is there a large enough local/regional market to support the product * either as view ers or as purchasers ? @ Glasgow : n e Creative G l'y and fls Cultural Economy 6 8 PART EI @ * Comment: M ajor problem from Purchasing point of view , though not as view ers @ Is product addrtysw d. at the different consdtuencies w ithin Glasgow ? Com m ent: Broadly agreed that quite wide range # The visual arts scene in Glasgow presents a contrasting and interesting picture. In term s of fadlities for artists, especially young ones, to live and @ w ork Glasgow is an excellent locadon. n ese include: n e Print Studio, W A SPS and Sculpttzre Studios, w hc e several hundred artists are based. 4 Equally there are approxim ately 1000 craft workers active in the dty It is relatively easy to set up and there is a support system of inform ation and contacts. This supportive environment for producers, which has allow ed * several new artists to m ake their nam e is not yet m atched by a sufficiently international artistic program m e of the galledes . Although the existing artists exchange programm e is im portant in maintainlng international # crossfertilization. @ N atuzally Glasgow rate highly in term s of provision of gallery space (Kelvingrove, Hunterian etc) but not in term s of im portant contem porary @ show s. How ever, Basel, for exam ple wl'tic.h probably has less infrastructure in terms of gallery space has a far m ore active contem porary exhibitions program me, the sam e applies to the program m e developed by @ the Art School and its associated gallery and the m useum s in Frankfurt. The difference is not only in term s of available funding but also in term s of am bition and acceptance of the curators by the coterie that m anages the # international art world. As a consequence Glasgow artists can be confined to a relatively provindal and regional position and find it difficult to * achieve the sam e interrtauonal status as their Germ an counterparts., as w ell as having less opportunities to see foreign work. (The sam e is even true of London and Paris but to a lesser extent). Also the major European @ cities a11 have im portant art fairs, although art fairs are not everything and m ay decline in fashion they are at the m om ent nevertheless im portant, @ and m ay be one way of exploiting Glasgow talent. G lasgow does not feature in w orid term s; again dom inance of other cities # is due to the depth of institutions and curatorial abilities linked w ith the m arket and active arhst participation. The leap le table has changed * recently as major players such as Madrid and Los Angeles have created major galleries, enticed artists and cuzators and used art fairs to bring the # art m arket to them . @ The 5 key areas w here Glasgow should act are: * Stabilize the financial situation of W ASX to safeguard Glasgow 's @ recognized fadlities for the future. Although Glasgow is w ell Provided in UK term s, supply has created its ow n further dem and, @ especially for those at the bottom end. This last group is usually # G 1<1 q ow : n e Creative Gt'y and i ts Cu Itura l E'conomy 6 9 P .XX T 11 @ # @ only able to afford around E2-2.50 w hereas the going rate is around 0 .50-4.50. ' @ * M aintain the exchange program m e at all costs, this keeps up G lasgow 's profile, fosters new ideas, spaw ns ad hoc spin off * developm ents (the Berlin/Glasgow connection) and keeps Glasgow netw orked. # + Review marketing for the visual arts. No venue/gallery has a designated marketing officer. As a consequence Glaskow exhibitions # are underreview ed.-such a review shotzld also exam lne the possibilities of selling m ore Glasgow art in and outside of the city. è + A ttem pt to m ount a substantial internationally recognized and w ell m arketed exhibition each year. Ideally tM s should be contem porary @ art. * Exam ine the possibility of setting up a BUPZ (Business Support @ Services for the Cultural Industries) in Glasgow . This would help not only visual artists, but others in the cultural industries field. * @ @ @ @ @ 4 * # @ # @ 4 Glaszon): n e Creative City and ils Cultural Economy 7 0 è PART H @'f > .v 'T y ) @ T H E V I S U A L A R T S A N D C R X F T S @ BRITAIN * Ljverpool 4 @ Qdinburgh a/4 Newcastle 3 4 Manchester 2/3 Bristel p ../3 . @ Cardtff 2 Oxfort 2 @ Southampton 2 * EUROPE Cologne 7 M adrid 6 * Lcndcn 5 Paris 5 * Amsterdam 4 Frankfud 4. .: . * ' '' ' Barcelona 3 '. : . * Basel 223 Zurich 2/3 @ G 1 a sg o w r y /. /r)lu/w-xrvx @ W ORLD New Ycrk 971 Q Colcçne 6) 4 Los Angeles &6 Madrid 4/G * London 4/6 Paris 4 # Chicaago W6 Berlin 3/4 * Frankfud 3/4 @ Amsterdam Sydney 3 @ Tckyo g GlaKcw )jC'', V'1 4 C 1'1%ZO'u2: T'hf Creil tiL'e Cily Jrld its CullNrq l Ecottlmy 7 Y @ PART II # @ c) Theatre 4 N o building based theatre Provision or local encouragem ent and grant giving structures for am ateur dram atic's, com m unity or * educational theatre activity. Occasional toufing groups with w eak provincially oriented program m ing perform in non-dedicated venues. No independent initiatives in areas such as in puppetry, # m im e or dance. 4 2/3. Som e local interat in performing arts, mainly through am ateur groups, Som e enœ uragem ent of s assroots adivity - e.g com m unity Plays or theatre in education and som e involvem ent by the local è authority in dired educational and social provision in the sector. Perhaps existence of a receiving house with litde acdve or @ adventurous prop am m ing. 4. Dedicated performance spaces available and recognition of the * potential contribution of the perform ing arts. Local rep or sm all non building based theatre com pamies exist possibly linked to a * m ulti m edia arts cenàe. Beginrtings of a floktrishing am ateur and sem i-professional perform ing arts scene encouraged by the local authority and audiences. Existence possibly of theatre in education @ or youth theat're com panies. Connection being m ade to the national scene and som e independent entrepreneurial theatre * activity. Perhaps local dram a school or university or poly courses. 5/6. Perform ing arts provision exists in different areas from production * and receiving houses, studio theatre provision and various com m ercial circtlits including pub drcuits, N ational and @ international per/ ective develops perhaps through encouragem ent and support of one off events such as festivals. Active independent com p:nies based in the city, w ith dram a school @ ( or equivalent ) providing a seed bed for future Lalent. Existence of fringe, innovative and m ainstream perform ance spaces, m any * support service.s available. Coordinated and active theatze provision across m ost sectors * supported by funding agencies and local m edia. W ell developed ladders of opportunity through education and training to independent performing companies to flagship projects either @ m ainstream or irmovative. W ealth of activity attracts perform ers and com panies to set up in the city as dty program m es geared to @ national and international com panies, this increases the learning curve of local talent and encourages them to stay. T14e city has one @ to one relationslnips with other major centres. Support services ( such as scenezy making, m anagem ent com panies or agents) in @ general provided from within the dty. 4 Glasgow: n e Creatiue Gly and its c'u/lxral Economy 72 @ PART U * ' @ f' j 9/10. Iqigh status international perform ing irts centre w ith venues of al1 @ kinds but also a centre for creativity through agglom eration of independent operators from different parts of the theatze sector. Plethora of com panies from lazge to sm all providing scope for * interchange and ferdle intellectual exchanje. Headquarters of internationally renowned theatre com pam es and perform ance arts related bodies e.g. ITC, as w ell as dram a schx ls. H eadquarters of @, m anagem ent com panies, agencies and prom oters and centre for exchange with other perform ing arts m arkets. # Production chain è Beglnnings k Evidence of small groups/troups setdng up ? Com m ent: Yes, particularly in 1990 @ Starter courses, infornial and form al educational program m e available ? * Com m ent: Haphu ard at the inform al end, needs to be strengthened. Key area for intervention è + Rudim entary rehearsal facilities avilable ? Comm ent: Described as problem area @ Easy access venues ? # Com m ent: Ye-s, sufficient spaces available Production * A vailability of directors, producers and anim ateurs ? è Com m ent: In prindple yes, but very funding dependent H igher grade rehearsal facilities ? @ Com m ent: N ot sufficient 4 Scenery and set building capacity ? J Com m ent: Discussions started w ithin the Agency on overall Provision should continue as problem s noted in the sector * Circulation/D istribution è Availability of prom oters and m anagem ent com panies ? Com m ent: Relative w eakness * Reporting by m edia of activities ? Com m ent: General reporting fine, but level of debate still @ rudim entary. The m edia itself needs educating on m erits of culture * Glasgow.. ne creative cfly and its cullxrrl Economy 73 @ PART 11 @ @ * M arketing services for the sedor: especially bulk distribution of ; . .' A. print and direct m ail ? @ Com m ent: Area of w eakness * Are there good links betw een theatre com panies and film and video * companies to encourage mul; media projects ? Com m ent: N o, im portant area for developm ent # D elivery * Are there sufficient venues of varying types and sizes to m eet the 4 diversity of perform ance needs ? Com m ent: Broadly sufficient in com parison to rest of the country è good * A udiences/M arkets Is the product of stlffident standazd to be toured ? * Com m ent: Yes @ * Is the local catchm ent areâ large enough to supply suitable audiences or are tourists ess& tial to provide additional revenue ? Com m ent: The w ealth of product c eated and Potantial revealed in @ 1990 m eans that if m om entum to be m aintained exporiing product and im porting tom ists essehEal. * * Com m ents Glasgow entered the Year or Culture w ith a solid reputation in som e areas of theatre and perform ing arts. The national and international reputation # of the Citizens w as a skong contributing factor and laid one foundation stone. H owever, this flagship w aj based on a seedbed of other initiatives 4 and com panies such as 7:84 and Com m unicado w hich had grow n up from ! sm all beginnings. Prior to 1990 M akabarata relaunched not only Glasgow * onto the international stage but also the Tram w ay as a m odern, m ulti ! purpose perform ance space. * Substantial additional resources thx ugh the Year of Culture achieved 2 m ain things. First, it enabled existinp at im es dorm ant and undiscovered Glasgow talent to em erge. Second, Qte intem ational program m e of the @ year raised expectations, created role m odels, developed am international perspective and exchanges. It m ea:ts that Glasgow now speaks and deals è in theatre term s on an equal basis with its European sister dties - Rotterdam , Frankfurt, Barcelona and Brussels. @ The key issue is w hether an equivalent perform ing arts budget can be m aintained for 1991 onw ards to ke p up the m om entum that the Year of @ Culture generated. Alternatively, a num ber of initiatives w ill close. 4 Glasgo'tv: ne Creative City and its Cullzl-'l Economy 7 4 PART H @ ' @ @. l. . :' 1 Loaked at from the point of view of the production chain, the Glasgow @ assessm ent groups concluded that there is a ferdle sub-soil of ideas and talent that has bevn found outlets at a num ber of levels. They include The Citizens w ith the highest subsidy per seat h't Britain, excluding the 4 N ational w hich still has widespread international respect, but is nevertheless rooted in the com m unity. A num ber of repertory com panies such 7:84 (Scotland), W ildcat, Comm unicado. These com panies have @,. outgrow n the fringe and attract larger audiences than w ould be expected * for com panies of this type. A large num ber of non-estabiished companies (say 12-15) that a11 struggle @ from production to production, they include, Raclium Optic, Clyde U nity f Theatre, N ew Stage Theatre, M usic Theatre Scotland etc. O ther groups such as Theatre Around Glasgow and the N ational Youth n eatre are also * significant. The existence of this w ide range of com pany types som e of whom are flagships in their own term s shows the degree to which ideas have been turned into product. 1990 in particular released a plethora of * initiatives w hich could com e to fruition on the basis of relatively sm all sum s (e.g. E4-6,000 subsidy per prodpction), and which can have a * disproportionately large effect. An im portant fo'cus from the point of view of the SD A , and its successor 4 the G D A and SE, should be the arca of training and education and the link betw een new ideas and how these are ttirned into product. Im portantly, # this training should be seen in the context of the em erging theau'e especially given Glasgow 's aspirations as a creative city, rather than historical form s. Therefore a review of w hat KSAM D at the traditional * end of theatre tzaining and Perform ance Exchange run by and on behalf of professionals could contribute should bç. undertaken. The SE m ay, for # exam ple, consider w hether a 'perform ing arts training centre' attached to the Tram w ay providing classes, sem inars and other sezvices across the @ spectrum from the rudim entary.to the m asterclass is appropriate. W ithin the perform ing arts com m unities both w ithin and beyond # Glasgow such an initiative would have a range of sij nificant effects as a 'binder of talents' and a focus for bringing in' outside expertise as a m eans of creating national and international exchange, For this type of project the è Centro d'Estudis i Recursos in Barcelona is a very useful m odel to bear in m i nd . ' # Associated w ith the above is the question of rehearsal spaces. The city has a lack of dedicated spaces in spite of the m ass of space available in the city. è Again, this brings the Tram w ay into focus. Beyond the centre proposed above it could also provide rehearsal space. In addition w hilst the dty has 4 a sufficiently wide range of venues across size specifications ( from the Kings to the Tron and n ird Eye ) the Tram w ay is im portant because of its @ flexibility, sheer size and developm ent possibilities. 4 Glassow.. The Creative c'fly and its Cultural Economu 7 5 PART 11 @ @ ? * By focussing on the Tram w ay as a centre of attraction it m ay be possible to create a critical m ass of activity concentating on the perform ing arts that could w ell over tim e begin a culturally 1ed urban regeneration process in @ that area. The Tram w ay would be its first flagship and around it a w hole host of producdon based activiKes could occtlr. Im portantly this @ developm ent could be culturally significant and is not city cenke based. The Citizens plays a sim ilar role in its locadon. and has added an ext'ra @. . dim ension to the neighbourhoods around it. n e c itical m ass argum ent involves tw o sets of issues, not only activity w ith the Tram w ay itself, but also the w ay that it could over the longer term encourage spin off acdvities outside. Beyond the obvious cafes and bars, support services # m ay in the longer term be encouraged as well as adors com ing to live nearby. It would be im portant to investigate how people involved in è activities in the Tram way could be encouraged to live nearby otherw ise the building w ill m erely rem ain an island in isolation. The Tram w ay * could develop as 'one creative centre for the creative dty'. Finally if theatze activity is to be m aintained at levels approaching 1990 the * question of set building amd scenery production com es to the fore. The SE already possesses a study assessing whether Scottish Opera's facilities can * be developed into a Glasgow/scotlish wide resource. In our judgement this w tluld be a positive step, but are sceptical that it can be developed @ under the leadership of SO . Key point for SE: @ Ex' plore an enhanced future role for the Tram w ay, possibly as part @ of an urban regeneration package for the area. Explore the possibilil of creating a new t'radition with an annual @ event of the originality in the M ahabarata/ship league. This m ay as part of a festival of innovative theatre. @ # * @t * @ @ * Glasgow: n e Crea tive City and f ts Cultural Economy 7 6 P..NRT EI @ # 4 T H E A T R E @ 4 @ è BRITAIN London 9 è G l a Sg OW ft:v ''N?âîF:'h7l)7>7$1:zh7'f1).7à>R?i1 $*.7J27= 1:3*7. ï, Yoëhsto! .! dE i,z.%.. . );.j .;>..w .z. p.t k.Lqu;4ks.;.;.k.L 1ui:.:.:.).j C. r;. .:.L.((. 2.; .2 1).rëv.t%jE .;XE!C ),â.etj4!à...1 ., Edinburgh 6 @ Liverpool 5 @ M anchester 4 B'Irm ingham 4 * Cardiff 4 Bristol 3 @ Newcastle Leeds/Bradford 3 # Nottingham a @ EUROPE Amsterdam g London 9 Paris 8 # Frankfurt 7 è Roderdam 6 ' .hlamburg 5 .. # Brussels s Barcelona 4 * Turin 4 ' 4:51 I 15! :5;(44 (:) h?s/ p(b$r>s'v'.7.iy. . p-r1 1: 4kku tk:y. pzts: g;.?4l!pv '$ jy.jz'. *.1. 1;-.4yë.'@ë fZt!J8'.!-.I(.i-y-.!.'1l 4 ., è @ @ 4 Glaszow: ne Creative City autï its Cultural Economy 77 @ PART H j' * # d) Film and the audio-visual sector è A udio-visual infrastructure 0.5 = iCity without any sizeable a/v players as yetbut w ith som e m edia 4 nfrastructure, a degree of vision and lots of, aspirati on . @ dCity with at least 1 major 'I'V base, plus som e vision and' regional out, but all this rather narrow ly based and not ve 3 in tl ry visibïe. Of the 4 tis group, Leeds is hom e to YTV and a BBC base plus h strong arts/culttkre scene and as a film f a few aspiring independents has a estival, the Northern Film school , è b , and a good regional capital usiness/professional class on witich to build th . Bristol is in about noe dseapmthe pinl atche. Liverpool has Mersey Television glus a big ego, but @ e sector and a very poor w ider busm ess and political en vironm en t . * In football speak, this is the low er half of Division 4 . In a1l 3 cases there is scope to gain prom odon , Li , but a long slog is required. If @ verpool got (25 it would move up into bottom of Division 3 . @ 2 City w ith ITV and a BBC base , plus som e degree (but not very m uch) of a wider range of a/v businesses . O f the 3 dties in this # : rade ,Birm ingham has a slight edge in te'rm s of relative proxim ity to London, a strong 'I'V duo in Central and Pebble M ill tevel of , a good-ish m edia vision aw areness/events etc @ , but this is off-set by lack of m ore general 'cultural' atm osphere &nd the general state of the city in environm ental term s @ . By contrast, Glasgow is not so strong on its II'V side but has a very good BBC presence, som e vocal independents , , a lot of general # vision, very strong presence on wider cultural front and is the headquarters of the Scottish Film Council . . N ew castle has both ITV and BBC bases but neither of great quality; a 1ot of m edi è and visi a aspiration not m on, but in fact very narrowly based and not very inspiring; uch else in the rest of the a/v field * . Also, the w ider culture is rather thin and 'resonal'. In football term s, this is the 4th division # Gl . Birm ingham and asgow are both in the top half of the division , w ith a chance of prom otion into Divtsion 3 if they raise their gam e v . Glasgow has a @ ery good chance of this by virtue of its chances for C5 i . N ew càstle is n the m iddle of Division and looks like staying the @ re because it has no star players nor the resources to buy them . @ è Glflsgoztl) n e Creative c'ïl.y anJ il PART EI .5 Cultural Economy 7 8 @ ' . .it'y w ith substantial regional cluster of a/v activity, espedally on - the netw ork TV side, plus independent producers and fadlities; a (gnificant freelance pool; a basic level of 'm edia-strategic' wareness and policy, a 'regional capital'; a major regional art house/m edia centre. ' w ardiff and M anchester are about on a par Y cause of different strengths and weaknesses. Cardiff has 3 major 'FV companies (M C, '' BC, H-I'V) w hereas M anchester has only 2, but M anchester ' srobably has a larger independent px l, artd produces m ore w ork of , network significance (Coronation Stzeet, W orld in Action, Clothes how, Capsticks Law, etc). M ost of Cardifês work is 'world fam ous ln Wales'. Manchester has better linkayes Io other sectors e.g. m usic, and greater depth and range; it ls aIK the zrtd dty for ad gencies, Cardiff has w on m ore autonom y on the . language/national front, but this is not yet of great effed on wider TJK. ' @ i,L )football term s, both cities are at bottom of 3rd division. * lanchester is a team of slightly faded glorp rather com placent but ' ,ith som e good players. It will escape rel% ation, but w ill probably not rise in ranking because of com placency and lack of strategic islon. Cardiff by contrast has dragged itself up from 4th divïsion ia S4C, has m ore aspirations, and could in th4 long term overtake M anchester if it got its film act together, and w as m ore . mbitious /im aginative. As part of this, it should woo the - iverpool/Redm ond axis to its north, to tanpt independents etc avvay from alignm ent with M anchester. It also needs to revam p the Ranagem ent and im age at Chapter, which is not as lively/visible as <'ornerhouse. z'op dog city at a national dom estic level. Full range of a/v sectors; - -Q. and strategy centre for TV networks; similarly a full range and ' '''J se for regulators and relevant goverrcnc t departments; HQ for a1l the relevant trade bodies, press, critics; HQ for ad agencies and '-om m ercials production; prem ier conglom eration of independent 'roducers for TV, corporate video; HQ for al1 video Publishers and m ost wholesalers; HQ for a11 a/v 'cultural' bodies - i.e, BFI, BAFT'A; ' v IQ and location of all important fiim studios and TV facilities; HQ i 3r all a/v related trade and exchange wii other m arkets; premier site of US and U K film releases, i.e. key first run dnem as, largest onglom eration of art-house venues, locadon of NFT'; HQ and ncation of film labs, tape duplication, etc; HQ and listening post of US majors and other a/v companies regarding I.JK and Europe. In Dotball term sg London is top of the 1st division. @ 1 ' ;' : 'J-ke Cre a tir e Ci ty and l't.s Cu I t'zlrl l Econ om y 7 9 # ' @ è Production Chain è Beginnings * * W hat is the quality of local writing ? Com m ent: Evidence of good quality writing availabie @ * Are there outlets for new w riting on local radio ? -!'F.h Com m ent: Indifferent, but im proving @1 + Outlets for young dired ors on television ? Com m ent: New program m e form ats such as N aked Video @( increasing opporturtities as is increased quotas for independents . * Are there mechanisms for script and project development ? # Com m ent: They exist but lim ited because of budgets * * Are there basic facilities for non-profit and avantgarde w ork to be fostered at the local level? @ Com m ent: N o sustained effoit * Is there an emerging A/V disG ssion culture? * Com m ent: Less than w ould be expected * Are there A/V access facilities ? # Com m ent: N o coherent across the board provision, gaps at various levels although a num ber of initiatives underw ay # Are there media training projects ? @ Com m ent: Possibilities exist Particularly at RSAM D t ' Production @ + Are there adequate broadcast standard film and video facilities (production and post-production ) ? è Com m ent: Provision is grow ing, although now no film processing è$ laboratories Is there a jufficient pool of A/V skilled labour ? # Com m ent: Grow ing now roughly 400 com pared to 50 10 years ago. + Are there adequate media production services ( lighting, cam erasz è portastudios, photolabs, film processing, telecine, duplication) ? Com m ent: W here it exists gx d, but not broadly based @ Circulation/D istribution * Are there film and TV distribution com panies ? Com m ent: N ot at sophisticated level 4 Gla.bqo'ul.' ne Creative Cfly and its Cultural Economy 6 0 @ PXRT H @ 4 Are there film prom oters, m r keteers and im pressarios ? @ Com m ent: One or tw o of significance, should be m ore * Are there regionally based 'FV m arkets or trade fairs ? @ Com m ent: H ardly anything, # D elivery * ls there a local '1*V com pary or regional headquarters ? @ Com m ent: Yes * Is there a range of exhibition outlets from m ultiplex to arthouse cinem as ? @ Com m ent: Good provision Existence of film festivals sem inar prom am m es or events ? * Com m ent: Celtic Film Festival otherw ise not m uch * Are there film or m edia m agazines ? * Com m ent: N o @ Is there a cable franchise operator in place or planned ? Com m ent: Yes, but rum oured to be in difficulty è A udiences/M arkets @ * W hat diversity is there in term s of video rental ? Com m ent: Conventional fare,not m uch diversity @ Are there library or other outlets for alternative or locally produced m aterials ? * Com m ent: N ot in any significant vvray Are there local opt out program m es ? 4 Com m ent: Beyond news program m ing nothing significant. è Com m ents # ln film and television m ore than any other cultural industries sector it is difficult to perceive of a dty stategy. 'Fhe w eakness of Scotland vis-a-vis @ London is so overwhelm ing that the response needs to be seen at a Scottish level. Distribution, finance, m arketing and sales and high level # Production facilities are a11 based there. Glasgow can sim ply not com pete. These probtem s of dom inance are exacerbated by the unequal funding @ arrangements between the British Film Institute ( BFI ) and the Scottish $ Film Coundl (SCF). Rather than receiving llFo as w ould be appropriate @ X 1llS&ON7.' The Creqtiuf City and it5 CNllNrfll Ecùnomy 6 1. @ PU T U @ : è. '. l the council only receives 5% , thereby restricting its scope for intervention. The reasons for thts are com plicated and to do w ith historical arrangem ents As the Councii is now an independent entity with funding è(' from the Scottish Office Education Departm ent it could be argued that a fresh start could be m ade 4 . The future frapnentation of the SE will m ake a coordinated film response from the Agency m ore difficuit. @., z . . ., . 7. t' Furtherm ore throughout the Year cf Culture film had a low profile and @ was not linked (the European Film Awarcls aside lfirm ly into the overall ) ! J program m e either in its ow n tenms or as a m eans of creaung m uld m edia @ g spin offs. In geneal it is observable that film has a far lower profile in cultural debates as compared to other cities in the UK. In syite of the fact that Glasw egians are som e of the m ost avid cinem a goers ln the country @ . As a consequence film has no institutional foothold in the council, there are inadequate ftmds for script and project development (although the @ Scottish Film Production Fund has som e m ipim al resources) and there are few access and taining opportunities. It is possible to produce high @ standard film s in Scotland but there is not a skilled labour force in depth, w hich w ould only com e about if more w as m aterial w as produced in the region. The sam e applies to m edia produdion services. In the # distribution area the control of Lqndon is Particularly m arked. The key starting point needs to be an encouragem ent of film m lture in general 4 w hich in turn can lead to the developm ent of a11 kinds of initiatives from the sm all such as establishing interesting video rental outlets to large @ Projects such as lobbying for Channel 5. The existence of SCF ln the city is a useful asset but it needs to be far more hl1 profile. @ As the sector is inextricably interwoven w ith new technoiogy and its creative uses there is a stzong potential link to new industrial products, w hich is w hy the debate about Channel 5 is so im portant @ . The SCF could be the industry's project champion particulrly if it can differentiate itself from the BFI approach w ith its concern largely to do film culture. This è would require the council to com bine a concern w ith cultural questions w ith industrial issues and effectively m aking itself the industry @ spokesperson and trade body for Scotland. The establishm ent of Edinburgh-based Screen Locations is an im portant 4 starting point as it signals to the world a.rt attem pt to a/ract film ing to Scotland. In its srst few m onths this has already been successful, claim ing to have atlracted 4 major feature films to Scotland. One weakness already * revealed is the lack of studio provision in Soctland, w hich m eans that crew s have to travei as far as Birmingham . n e recent dem ise of Blackcat @ Studios has exacerbated this problem . The organisation should therefore Over tim e help develop dem and for services, skills and resources w ithin @ the region. è Glasgow: ne Creatire Cfty and (ts Cultvral Economy 8 2 PAR T (1 @ # * O ther issues the SE needs to be concerned with indude: @ it is in Glasgow 's particular circum stances advisable to encourage the setting of a m edia centre. This can act as a focal point for film culture in the city and Scotland and specifically be a new location for * SCF as w ell as other film related organisations. and events. It m ight even house a part of the proposed multi site Scottish Film School being discussed in various drcles. Even if an expanded m edia @C . centre does not get off the ground a visible city centre location for (' SCF is essential. @ l .2 + The city should consider setting up a Glasgow Film Com m ission or appointing a G lasgow Film O fficer to support and supplem ent the * w ork of Scottish Screen Locations. According to Liverpool's film officer he has in his second already attracted an addidonal f.z @ m illion of spending in the city. The dty should in its reorganisation of the cultural departm ent @ specifically appoint a Director of M edia, as som eone w ho could drive the sector in the city. This would help legiim ize the area and @ give adivity a focus. Addressing the problem of attzacting Channel 5 to be based in the @ city. Ironicaily the failure to focus on the A/V sector m ay inadvertantly help hand over this'prize to Edinburgh, w hich has @ m ade stringent efforts to secure the Charm el. The cliche of Edinburgh 's apparent complacency may backfire in this project. Although the shape of a future Channel 5 is unclear ( e.g. where @ will the film s be m ade) it is likely to create a series high tech, new jobs generating perhaps the critical mass to boost other industries @ such as advertising. Explore the possibility w ith SCF and other actors of setting up a high @ levet film studio to m eet the dem and being generated by the activities of Scottish Screen Locations. + The SE should consider w hether investm ent in film m aking itsetf is w orthw hile, perhaps on a first in first out basis, given the dow-nstream m ultiplier effects. To m axim ize these benefits would require a degree of contract com pliance for local labour. # O ther com m ents xe above table * The m ain point of the ranking is to bring out the fact that London is absolutely pre-em inent. Everyone else is very m uch an also ran, i.e. no @ one else is seriously close to London w ithin the U''K. A long w ay back are M anchester et al. @ 4 Glasgozu: The Creative City and its Cultural Economy 8 3 P.-YRT IR @ @ y O f note: * The m uld-layered depth and sîategic gzip of London, especially in 4 reladon to export, conkol of cash, and general agenda setting. * * The im portance of TV to the other dties is in giving them a toehold. W ithout a degree of dispersal in TM, elsew here w ould be @ now here. l # London has a alm ost total m onopoly on the film front (studios etc) - @ if w e ranked only on this sector everywhere else w ould be on about ) 0.01. * * To date, the returns from regional urban lobbying and 'strategising' have been rather small, and only affed degrees of relative position * within the also-rans (e.g. C5). Policy/developm ent 'noise' and shakers depend almost totally on the cente's patronage for their @ effect. Explanation of above ranking * 1/0.5= British cities with some a/v industry with potential, but severely blunted by lack of investm ent, dynam ism , hostility from London 4 and general chronic underdevelopm ent. * 2 = Cities with substantial a/v turnover acoss one or more sectors, plus various specific advantages. A11 are lim ited by the fact of English @ language dom inance of w orld m arket. n is ties local cham pions into dom estic scene w hic.h can be profitable but lim its m ega grow th prospects, Florida is Hollyw ood 'East' a 'right to work state' (no # union controls) with Disney/M cA /Rank studios/tours and M iam i Vice, plus lively film cop m ission in M iam i. M iam i also U S trade * and finance gatew ay to Caribbean and South Am erican m arkets, Toronto is: H ollywood 'N orth' m uch used as location stand in for è N Y and LA, strong m edia business support schem es, low er cost crew s etc. H am burg is the northern apex of the EC golden triangle, hom e of young turks of EC M EDIA program m es. Very strong and k w ell considered city support program m es, good m eclia infrastructure of festivals, EFDO office. M unic.h is tzaditional hom e of FRG film business, plus festival. n e sam e is true for Berlin, but # note that Berlin m ay move up list if it becom es FRG capital and East Ettropean cultural gatew ay and rediscovers links to USSR. Tokyo is è centre of Asian m ega m arket to rival m uch of EC. H om e of Japanese film business and of Dentsu - largest ad agency in the @ world. M adrid and Rom e: National a/v capitals. Bom bay: Indian film industry cente - m aking about 900 film s pa. A tlanta - hom e of * Ted Turner's CN N, plus 1996 O lym pics, and Southern US regional 4 Glaszow: ne Creative City anff ffs Cultural Economy 84 PART II @ * * capital. M exico: Latin 'supercity' with giant urban m arket and t stong a/v traditiorz - a 'sleeper' to w atch out for. * 3 = Paris is centre bf Frm ch a/v' pltls has oversight of French speaking @ Africa; has very well funded a/v support programmes and media infrastructure; has strong linkages to fashion, m usic, theatre. lt is agenda-setter for EC m edia policy w ith Germ ans; strong on # innovations in media tedmologï and general 'flair' in the : structures and ideas side of m edla business. Lim ited in the global * context because of Fmglish language dom inance of export producf.s t . , and branding. Film side no longer suc.h new w ave pace setters - see decline of Godard. W ill pic.k up a bit w ith new Eurox isney centre *t' and if M CA schem e settles there rather than East London. @ 6 = London is the home of the BBC - biggest broadcaster outside the U SSR; its ad agendes rival those in N Y; largest film and R'V è facilides base in W estern Europe; home to Tham es/LW T/C4; big duster of independents; but it has no dty strategy or vision for the @ support of film culture; pbor linkages to City of London. M edia infrastructure is weak and disorganised - i.e. taininp inform ation, general professiongism ; film business is at low ebb; export 4 potential is not very hot; too m uçh genteel am ateurism and inadequate investment at a11 sfages; also tendency to snobbish * disdain for popular and the m arket-place lim its earnings and grow th. @ 7 = N'Y is in 2nd place because it is where the US majors have their financial/strategy HQs; home to M adison Avenue; the 2nd @ ranking US cenke for film and X'V production; has a high profile and very well orgartised Filzp and 'FV office and m edia support 4 strategy. lt is the base for w eekly Variety - No 1 international m edia m ag; has a large and very strong film and -iN fadlities base; has strong lateral linkages to the financial sector, arts, publishing etc and 4 the East coast establishm ent; has a distinctive film profile via Allen, Scorcese, Schrader, etc; hom e of the alternative m edia è! ' business via AIVF; major centre for 'Off Hollywood' features via 1FIJ. # 10 = LA /Hoilywood is the world's No 1 centre for film s and TV (and 4 also pop music). Al1 the majors have their studios there; that is w here Daily Variety com es out; it has a 'brand' pow er w hich no one else can even get close to. Strategically at the heart of the Padfic @ rim and one of the w orld's fastest grow ing econom ies - California. The products of titis place have been exported to a11 corners of the * world since about 1914. Via the majors distibution networks the # Glasgozu: ng Creative Cfly ttnd fts Cultural Economy 8 5 PART II è # @ film s and m uch of the TV have an absolutely crushing quasi- m onopoly of dnem a and a large chtm k of 7'V in a11 the capitalist dem oc acies. A/V products are reported to be the USA'S 2nd biggest * export after aerospace. è A dditional com m ents @ * The extrem e im portance of 2 strategic fadors leqding to ranking on the global front in the control of disàibution and producdon in 4 English. W ithout BOTH , producers and cides are trapped in local/regional or at best nadonal m azkets. è * LA is alone in division 1. Division 2 has N Y and London. D iviston 3 has m ostly EC level players and other spedal contenders (e.g, Bombay, M exico). Division 4 is other UK English language @ speaking cities which m ight have a chance if they got som e m oney @ and their act together. * @ * @ * 4 # 4 @ è @ @ 4 Glasgow: ne Creative City and iàs Culluru/ Economy 8 6 PART II * # # F I L M A N D T H E A U D I O - V I S U A L S E C T O R 4 BRITAIN Londcn 10 * Manchester 3 @' Cardifl 3 :5 lT Birmingham 2 * Glasgow jmxyqs? Newcas tle 2 .' ' i è Liverpool 1 Bristol @ Leeds She:ield c.5 @ W ORLD Los Angeles * New York Uondorl 6 .' ': : :' (: i ' ' ' L @ ...... v. !:) :2t r'i 1!1 :Ej . ..:.. .r: .: .. F1Qéd3. 2 ; '' ':l i . . . ' : é : * Tcronto 2' Hamburg 2 ' i! L * !.; ' . Vtlnich 2 : *.:2'::' ': @ Be ii n 2 E è l': :1) ' Tokyo 2 ;.E :: 4 Madrid i Aome 2 4 Bombay 2 Atlanta 2 @ Mexicc 2 Manchester 1 Cardiff Birmingham c * .5 Glasgow :6615 @ @ 4 Glassow: n e Creative City arlfs its Cultural Economy 8 7 PART 11 * * .t' ' ' * e) M usic @ M usic Infrastm ctuze scale @ Very basic activity, m inim al recording facilities and 1ow level venues. Activity is 1ow prolile, a few am ateur bands. There is very little public perform ance. n e beginnings of a sm all local industry, a @ sprinkling of studios, p.a. comps and regular, sm all, live m usic 4 venues. The scene is locally clirected. Greater critical m ass and local m usic scene w ith lim ited circulation of discs by local bands. A wider range of bands, som e sem i è Professional w ith an occasional group getting a recording contract with a major. Better quality recording and rehearsal facilities; more venues of M gher quality so that big stars can visit the city and @ reater entrepreneurial actidty bo' th in term s of bringing bands in and selling bands outside of the city. Som e local m anagers have 4 links to creative centres and lim ited deal m aking capacity. Som e basic training provision. Links w ith local radio and som e lim ited * cross over with related a/v sector. 5/6. A certain level of autonom y achieved and aspects of a11 stages in the @ production chain represented. Presence of a lively m usic scene b0th for bands and spectators ) , vlbrant rtight club scene. M anagerial and * entrepreneuzial capacity preent and it is beginning to be possible for deals to be struck bypassing London. A range of independent labels exist and higher prohle venues, bands and sm dios as w ell as * local m edia support. Sem inar and training culture developing w ith links to polys and technical training establishm ents. @ 7/8. Recognition of the im portance of the sector nationally, attracting hojefuls and sector related work, a piace where bands want to be @ seen and w ork. Presence of good infrastrucm re from production to post-production, good links to other m edia and capacity to produce è high standard pop videos. Regular orders for tape duplication and disc cutting and pressing com ing from the dty. Location for industry sem inars and headquarters of largely m usic related * com parties. Availability of professional services , especially m anagerial and legal. Opm rtunities for finding w ork and being # trained ( usually on the job) at al1 levels . 9/10. The city is known for its music sçctor nationally and è internationally. It has high level facilities at a11 levels and flagship venues and is the headqum ers base for important media/ cultural @ com panies and a centre for strategic decision m aking. The city has accrued m ost value added services and is the location for a diverse * m usic scene with a range of entry points into the industry. 4 Glaqow: The Creative City and fls cuttural Economy 8 8 PART n * @ * The Production Chain @ Beginnings + Is there evidence of raw talent in the locality? * Com m ent: Yes Is there a local m usic scene as a seedbed for inform al training ? Com m ent: Yes, but this is inadequate to provide basis for industrial # developm ent of the sector 4 Aze there rehearsal fadlities? Com m ent: Facilities exist but not enough of suffidently high è quality * Basic non purpose venues (such as pub circuits)? @ Com m ent: N ot sufficient * Production * Are Lhere low -cost ''dem o'' quality recording studios? * Com m ent: Yes * * Are there higher v ade studios stlitable for finished m asters? Com m ent: Yes ' * Is there a pool of sound engineering talent and the possibiiity of upgrading skills ? * Comment: M ajor weakness Are there agencies supplying support facilities ( Pa's, lighting, # recording equipment ) ? Com m ent: Yes, but not qlways at the right level of sophistica'tion # As local m anufacm ring m ay be less im portant is there easy access to sm all-scale tape duplicators or disc-pressers elsew here in UK or 4 N orthern Europe? Com m ent: Access not noted as a problem @ Circulation/D istribution @ M anagem ent and m arketing com panies? Is there the deal m aking capadty to projed city musicians onto the national and * international scene ? Comment: M ajor area of weakness @ * Production com panies or fully-fledged record labels? Com m ent: Yes, but not of any significance * 4 Glasgozu: T'he Creative City and its fultural Economy 89 PART II # . '.. f @ M usic publishers? 4 Com m ent: N one of significance @ + Radio or TV stations w ith a policy of featuring local talent? Comment: Nothing of major significance è Local print m edia w hich cover or cham pion the m usic? Com m ent: M edia quite sym pathetic Are there m usic libraries? 4 Com m ent: N o D elivezy * * Is there a local netw ork for distibution of records and tapes? @ Com m ent: Yes, but com pany in difficulty Are there sufficient retail outlets? Are there altem ative retail * outlets? Com inent: N ot sufficient specialist outlets @ Are there adequate venues and prom oters for live perform ances? Comment; M ajor weakness lack of venues at small scale * + Are there local video prodûction com panies? * Com m ent: Yes A udiences/M arkets * Is there actually or potentially a large enough local or regional audience to support the m usic? # Com m ent: M usic production cannot be thought of in local term s m arkets need to be national or international @ Does sponsorship (private or public) play a role/have a role to play? Com m ent: G lasgow fortunate to have two large sponsors, although 4 w orries expressed about whether their spending will be effective in the longer term * @ C om m ents London is not oniy predom inant in the UK m usic scene it is also one of * the top 3 w orld m usic cities in term s of infrastructure. Its resources - both hum an and financial , facilities, agglom eration of talents w ithin various Pazts of the industry m akes it the centre of strategic decision-m aking. As @ noted 'London is so m uch the centre of m usic that you have to have a very good reason not to base activities there'. Indeed this concentration of * Pow er m akes it im possible to consider a stand alone city m usic stratep r. 4 (J lasSow. ne Creative Cflg and i ts Cultural Economy 9 0 PART U * j ' # This does not m ean that initiatives cannot be encouraged 4 , but they need to fit into the national and international context y ' . * Glasgow 's m usical profile, especially in pop, rests on the success of a num ber of internationally known bands inciuding W et W et W et and H ue @ & Cry. H ow ever, w hilst Glasgow was their launch pad and their original m anagem ents cam e from the city as their popularity and Potential grew , they are now m anaged and contracted to London based com panies. n e * deal m aking capacity for the groups to m eet their finandal Potential and artistic aspirations was not available in Glasgow . n is is a com m on story 4 for regional bands. It cannot be taken for granted that the raw talent that these groups once Projected is ever present. Its presence is much more likely to be cyclical # and based on the vagaries of fickle m usic m arkets. Glasgow 's infrastructure in term s of say recording facilities F , venues, . m anagem ent or wholesaling is m oderately good. There are som e training 4 facilities e.g. at W est Lothian College and at the John Logie Baird Cente, but the major weakness is in the area teclm ical skills such as sound * engineers. M ostly people learn on the job. W est Lothian has a limited budget and an intake of only 18 students per annum . Its focus is on how to understand the music business. n e R B Centre has a m ore academic è inflection given that it is part of a university. Its courses are taught in the context of the English program m'e. * Rehearsal facilities exist, but the'pattern is very trarusient w ith few places being able to keep up standards of presentation over the longer term . * There is agreem ent that there is a shortage of venues in the range up to 300. Traditionally the pub circuit has filled this niche, but as it is not very Profitable m any have dropped out. Ironically the Tennent's live m usic # initiative has exacerbated the suuation by raising the basic charging levels for m usicians and increasing expectations. In fact there is a danger that the @ Tennents initiative m ay fold. Rather than supporting bands the initiative could have been m ore effective if it had helped venues acquire technical support services suc.h as PA system s or iighting rigs, w hich w ould have 4 strengthened the venues and given them an incentive to rem ain live * m usic venues in the future. In production term s it is possible to produce records at an acceptable level, but m ost of the state of the art fadlities are outside of the city. How ever if @ high class engineers (and producers) are needed they have to be im ported from London. M uch of the best engineering talent resides in the bands them selves * , where people have learnt on the job. Indeed a high levei' sound engineering course put on in association w ith m usicians would be @ very helpful. * è Glasgow: 'J'he Creative Gjy and its cxllxrql Economy 9 1. P.u T EI * #' j . ,.c '.i There is însufficient dem and for a superstudio * , indeed anyone w ho can . afford this facility has international choice - the Caribbean , Los A ngeles y rr.-j and so on. ' # The m anagem ent,' prom otion and distribution area is the greatest @ w eakness. The deal makers and their associated m anagem ent com panies capable of w orking at an internadonal level are not available. It is essential by w hatever m eanq to attract either a 'star' to set up a record com pany in Glasgov or to f'md a m eans of getting a branch office of one of J the majors to locate in the dty. In this way other issues such as talent scouting, PR and other support services would be addressed. Im portantly #; the individual or the company would act as a role model for aspirants in the city to follow . @ Local wholesaling and distdbution of tapes is inadequate and unstable. In * term s of retailing beyond the m ainskeam outlets of the Our Price variety there are som e but not significant 'alternadve' retail outlets. W hilst video production com panies exist that could in prindple produce pop videos the bands that could afford the è .m If the Glasgow m usic scene is to develop an appropriate level of faciliues, resources and initiatives are .needed right # across the spectrum ' There is probably an overem phasis on the potential of the Scottish chart , @ as this is likely to largely duplicate the tJK chart apart from Scottish folk m usic w hich would have a p'eatei show ing but would not reflect the è overall interests of Scottish m usic fans. The SE and GDA should prim arily focus on supporting existing industr'y based initiatives * . These prim arily concern the activities of M usic Trust ën Scotland ( M IST ) , and New M usic W orld ( N M W ). The Scottish Record Industry Association ( SRIA ) also falls into this category but is not @ regarded as having fulfilled its potential in term s of encouraging m usic industry developm ent. This is v hy the other organisations set up . W hat @ is actually required and here the SE and GDA can probably not help is to encourage/bribe a major mtzsic wheeler/dealer at the Tony 4 W ilson/Factory level to base the' ir operations in the city. This would Provide the necessary role model for others to em ulate. Although concerped with m ore than the perform ance cf m usic @ , the role of City H all should be recortsidered. City H all has one of the finest auditoria for cham ber and orchestral m usic and if enhanced w ould give # G lasgow the m ost balanced yet of m usic perform ance facilities anyw here in the country bar London. In addiuon, City H all ads as a m inor conference centre, a place for political m eetings è . @ O ther initiatives worthy of pursuit include: * Creating a directory of the Scottish m usic industry * Glasgow: ne Creative Cl.ty and its Cultural Lkonomy 9 2 4 P-A-RT EI @: i t @ # + Creating a broking service rather like a film com m ission * Developing a range of educational program m es at different levels * concerned w ith understanding how the industry w orks and how to set up in business. M IST'S Program m e is som ew hat lim ited in that * it only deals w ith people up to the age of 7-5. Encouraging the developm ent of N ew M usic W orld as currently @ Britain's only industry showcase/seminar jamboree. n is is a reladvely cheap Way of keeping Glasgow on the m usic industzy m ap,. circtzlating industry know ledge and reducing the learning # curve for the Glasgow m usic scene. * A m usic resource cente w as not seen as a priority at the m om ent. Review the role of City Hall, recognising that it ias one of the finest # auditoria for cham ber m usic in the country. * * @ @ * @ @ @ * # è @ * # Glasgow: ne Creative City and its Cultural Economy 9 3 PM T H @ @r k..v @ M U S I C r ' 1 @: 4 BRITAIN London 10 Manchester 6 # Birmingham 4 : Liverpool 4 , . '--' ' - @ Glasgow F -s,$,. c>' . - .4.'X-..-... q. 6ï?.Irr!ll.7.;a-.t-4'. .$' ï', dk. Ej>-. $-:.41 SheNield * 4 : . :2 : . ilii 1::1 i 0 i:ll urg 1'11 3 ': 1 .. 'y . .: ' '. ' '' :':. '' J'' '' . 5 ( 'li:s Newcastle 3 . ' '':., * Lee s a , è ,; ë'' ' . .. . . : '. 1E1$ 1- i 1E57 l!d::/ I ::E!: . . .L k :..' 'F. : ' ' ' ..'.1 : :(è ':.': * Hull 1 ' '.' Scuthampton @ Cardiff @ W ORLD Los Angeles 1. ç., . . . . ': .. . : . ' . l . . k '. .. . E.. u.t . New York IQ ' ' ,f' i' :'..'E ' . ' E E ::''E E . (,::. .:.y', ....-.:iE:':@. 4 ,, .., London s, . l'lt ; t7) :. t . (..!.i...... ' * Paris Nashville 7 # Tokyo 5 Hamburg 5 # Cologne 5 Milan 4 4 Madrid 4 Manchester ' # Dublin a . 't . ,'....'. . : t :, Barcelona 2. ::L: . ..;F # 4::4 I 1E.k tEs;g 4::, 1../ ti :Eë1721;8%751 w!:7.417*'îQ . = mf/'. >:.' 4 Livemooi 't ' @ * 4 Glasgow: The CreatiDe City Jnfl its Cultura l Economy 9 4 ' PART H @ ' y @r - l ' '4 . @ 9 D esign Design is defined as the provision of services in product, graphic and/or # environm ental design. Desigp can ihe part of a producdon process or # entail the final end product ftself. Infzastructuze scale: @ 1. N on existent design comm unity in the city, no traditional culture of design (e,g m etal workinp wx d, texdles, glass); n'o degree level # design course; hostiiity between local design education and industry. No creative (illustrators, Photographers) or teclm ical @ infrastructure (pdnters, repro houses, m odel m akers). No galleries for design display and no design consultandes of any note. @ O ne or tw o design finns based in the city; m oderate local m edia . interest, but m ore likely to do with c afts. Design in general equated è w ith crafts and perhaps local galleries selling craft goods. M oderate education provision and no real interest from industry. Still no * design com m unity. Liverpool falls into this category as it has lots of talent, but no @ industry links, reasonably gx d art school. % m e kendy design counter culture, but hardly' any consultandes. Ditto N ew castle. yf 4. Som e sem blance of désign (craft) and industry link, perhaps based on historiçal craft industries. Art college w ith degree level course * exists, putting on some exhibitions and getting guest speakers. A few design consultancies present. Developm ent of alternative/hippy dasign movem ent (e.g. local fanzines, card * culture, alternative fashion) with people selling in local crafts m arkets. Potential take off point. # Sheffield has strong historical design links especially w ith cutlery industry (less alternadve culture). H as a range of sm aller design 4 com panies w ell linked into industry. Council supportive and vibrant chapter of CSD. Leeds ditto. M anchester has good street # culture and critical mass created through strong advertising presence in the dty. Cardiff has strong design culture supplying è W elsh m arket. 5/6. Industry begins to get involved, by, for exam ple, setting college * projects. A furniture department store might risk allowing student to put together prototype for display. Art college has high pow ered professors and encourages interesting guest lecturers, degree show 4 taken to London. A num ber of design consultandes are based in the city as w ell as illustrators and photographers. M odel m aking @ capacity available. Sam rday bazaars and street m arkets exist and 4 Glasgow: The Creative Cïtg a?zd fts Cultural Economy 9 5 PM T U @ @ ( j . . @ Perhaps a section of town is regarded as bohem iap or a cultural quarter. * Birm ingham h,as a vibrant design com m unity and quite good local infrastructure. but city is ambitious and wishes to project itself as 4 the 'M ilan of the N orth', also has stong links to Bazcelona via the Eurocities network. A range of design consultancies and som e branch offices of major design comparties. Nationai Exhibition @ Centre im portant place to c eate spin off work in design, but feeling is this has not yet been fully exploited. Som e alternative culture è and reasonable art school. Bristol has a num ber of lively design firm s and a good * g designer/retailer link. Lots of designers m oving there and is 4 projecting itself as the regional capital. Leicester has a strong history of design and has strength in depth in @ term s of design com panies - espedally in engineering. ( The channel train was designed by a Leicester firm ). M any firms internationally know n and w ell linked into industry. City has no @ alternative culture and underdeveloped retailer link. Very developed design com m unity (e.g. with active chapter of the @ Chartered Society of Designers); Industry/education links established. Design com panies beginning to m ove out to avoid # London. Very good local technical infrastructure (e.g, print technology) and engineering design w ell established and developed. Educational cour' ses exist from aesthetic design to engineering @ design. Civic pride in the art college. A plethora of potential em ployers tzying to grab local talent. Retail culture for designer * products exists and is constantly developing. lnternational decision m aking capacity em erging as w ell as reputation, good presence of international contract sujpliers. Specialist design press open up @ design debate, è Glasgow is positioned between 6/7, see com m ents later. 9/10. Grow ing reputation for design in a1l facets. A thriving design * com m unity in term s of suppliers - m odelm akers, typesetters, printers, desir engineers etc - in term s of brief givers - advertising 4 agencies, arcititects, interior designers, m arketing and PR com panies. Educational establishm ents w ith w orld reputauons w ell netw orked w ith industry. W ork is available as well as people * to talk to. Big international contract suppliers such as N om us, Interluebke, M arcatze aim ed at the architectural specifier m arket @ present. A vibrant retail sector selling unusual one off products exists. Regional or national design m useum w ith lots of show s and @ opqnings well linked to m edia. A range of specialist design 4 Glasgowl 'J''h: Creative C'ft'y and its Cu/tural Economy 9 6 PM T H # @ publications w ith w ider perspective linking current froth to design # history. @ London is a 9. M though it has btggest design corusulting sector in the w orld it has weak industry lirtks. M any leading product 4 designers work for Japanese ar German com panies. Has trem endous creative and technical infrastructure and vez'y good educational structurezalthough this is under threat through * inadequate governm ent resotlrdng A11 big intem ational contract suppliers are present in the dty. Retail sector has alw ays had 4 difficuldes, because of the high rental strudure of the propert'y m arket. How ever m arkets such as Cam den Loc.k and Portobello have provided cheaper space and good alternativç outlets. O ctor ' @ . shrinking due to recession. . * Production chain è Beginnings: Is there evidence of raw talent in the locality - and outlets/showcases for this talent to express itself? # Com m ent: Talent exists,but not encugh show cases for young @ designers ' * W hat art and design colleges infrastucture is there? * Com m ent: W ell developed W hat is the design education link to local industry and com m erce - * and how deep is it? Comm ent: M ajor problem area as lirtkages not developed and gaps @ in m utual understanding and appreciadon exist. Is there a traditional histery/culture of design in the locality? @ Com m ent: O 1d traditons of 'Clydebuilt' label still prevalent, M ackintosh a pow erful im age creator and new traditions è developing such as notion of 'Glasgow Style' Are there galleries for contemporary design, or lighting/furniture/ @ textile/flooring showroom s staging K ltural events? 4 Com m ent: U nderdeveloped area W hat adult education infraskucture in craft/design is there? @ Com m ent: Courses exist Production: @ Is there evidence of a pool oi skilled labour in the locality to staff a @ design studio or consultancy? 4 Glasgow: ne Creative city and its cullxml Economy 9 7 PART H @ # 4 Com m ent: Greater strengths in graphics.and interior than other areas @ Are there design em ployers - a design consultancy firm presence? @ Comm ent: Quite well developed * Are there m odel m aking/prototyping workshops? @ Com m ent: Som e im portant com parties exist Is there a' network of illustators, Photographers and photolibraries? * Com m ent: Yes - ; * A re there printers, photo repro houses, typesetdng com panies @ artw orking, technical illustration studios, etc? Com m ent: Support infrastructure quite w ell developed * Circulation/D istribution: 4 Are there libraries w it.h design books? Com m ent: Beyond specialist colleges not significant * + Is there local print or electronic m edia to cham pion design and designers? . @ Com m ent: M ore visible regional and national m edia attention, m ay decline after the Year of Culttzre @ Are there PR firm s, architects and engineering firm s to ''feed'' design services? . * Com m ent: They exist, but capacity to generate work depends on overall level of econom ic activity in the city @ Are there m arketing services com panies or m arketing and licensing agents to take up and propogate ideas? @ Com m ent: Com panies exist, but hardly any that specialize in the m ore arty side of design @ ls there the capacity to project the local design image and product internationally? è Comment: the image of Glasgow as a design city is well projected internationally in media terms, but weaknesses in projecting # tradeable products. è D elivery: Are there local m anufacm rers to utilise design skills and services? @ Comment: Area of major weakness, manufacturers of various categories still do not recognize the im portance of design @ * Glaszow: rhe Creative City and its Cultural Economy 98 PART (1 @ iz':j # 4 Is there a local network to sell local design i.e. galleries, bazaars, street m arkets? è Com m ent: Insuffident outlets Are there suffident retail outlets - or alternative retail outlets to sell 4 craft gx ds, printed item s, products (such as card shops or designer shops)? # Comm ent: Quite well developed è Audiences/M azkets: Is there an adual or potendal audience for the output of designers in the locality to support a design ''com m tm ity''? @ Com m ent: Problem of disposable incom e and catchm ent area, in addition second there are atdtudinal and educational issues. * Buying w ell de-signed goods not yet part of dty ethos. Is there evidence of private Sponsorship of young designers by @ industry - bursaries/placemènts, apprenticeships? Com m ent: In general not m uch, although interesting ' @ developm ents occurring at the Schx l of Art * Is there the capadty to sell design products to foreign m arkets? @ Com m ent: n ere is in indystrial design areas, but less so in 'arty' design' sector ' * Com m ents: @ Design is perhaps is the m ain sector w here a healthy m yth about Glasgow 's potential has taken root. On the ground it is difficult to find the @ m assed ranks of yotmg designers m aking and selling products that are im m ediately associated w ith Glasgow . n ere is a stronp but to the general public largely invisible com m unity of design engineers producing @ 'unseen' products suclz as pum ps, robo/, hif'i equipm ent and engine com ponents. But at the sam e tim e the generai public and the design peer è group com m unity has taken on board som e notion of a 'Glasgow Style'. As quite a wi'de range of Glasgow designers,fashion yeople and architects w ork in other creaiive centres the im age and perception of G lasgow @ strengths is reinforced, but this is the 'leaked talent' that does not benefit the city directly. @ W hat exists on the ground ? According to esdm ates of craft surveys and the PSI there are appoximately 1000 people working in the desiyner trades @ from textiles, glass, metal, wood and new m aterials. n ere is a llvely self conscious design comm unity debating design, style and fashion issues. * The Art School has art lqternational reputation, but the College of Building that in some senses could be far m ore im portant to reestablishing a solid skill based da ign com m unity is forgotten and unexploited. It is @ one of only 2 building colleges in the UK and offers a w ide range of è Glasgow: n e creative City and its d'ult7zrul Economy 9 9 PART (1 @ *! ., courses ranging from craft based starter initiatives to degree level. They cover advanced m asonry and carpenty, m etal w orking, design - b0th * graphic and interior - and process ove.r 1000 students per year. Im portantly the city has a history of design to build on an' d although the 4 generational skill lirtks seem to have been broken these m yths are still poqv-erful m otivating factors. * r : There is an em erging dssign retail culture particularly in dothing, lighting and furniture with a num ber of individuals prepared to use their outlets 4 as showcases. This commerdal/culmral activity contributes to the developing a city design culture. 41 The city has im portant desir comsttltancies especially in engineering design w ith a skills base to m atch, and a few htrnlture/llghting designers. @ O f these there are far fewer than the im age w ould suggest. But Glasgow 's overall reputation as a culttzral city has yrojected these through b0th @ national and international m agazin% , llttle do readers know that a11 they see in m agazines is a11 there is. To the consum er design is still largely about that w hich they can see - graphics, furniture, lighting - and G lasgow * lacks the infrastructure of sm all flexible w orkshops able to produce Prototypqs to size. This is perhaps the city's major weakness ( importantly 4 one furniture m aker has recently returned to the dty w ho has an understanding of flexible CAD/CAM bayed working). On the other hand m odelm aking is w ell developed probably, and probably the best north of * ! M anchester. @ The strong architectural traditio' ns and the concern w ith innovatively rectifying past urban design disasters has enhanced the city's reputation am ongst peer groups. These architects are em erging as im portant feeders for design services. A num ber of tenants in the Sculpture Studios have # branched out from pure sculpture to producing custom ized stairs, @ balconies and so on. W e suggejt later on that this reputation should be built on and extended into street furniture. 4 The Year of Culture although not concentrating on design has helped project the design image of the city and a11 the major design/architectural/fashion/slle magu ines have featured Glasgow. The Problem as in Barcelona is to find ways of keeping up the m om entum to avoid the 'flavo!zr cf the m onth syndrom e' w hic.h is w hy further practical, è tangible and visible staging posts are crucial. è The w eakness of the design system is in the area of m arketing, sellinp finding project champioms, marriage brokers and entrepreneurs to propagate products. lronically Glasgow has a stong licensing and 4 patenting infrastructure. A further weakness is in the link to m anufacturing and industrp Designers and m anufacturers still live in @ different w orlds and perspectives. Crudely the designer w ants to m ake a nam e for them selves and the m anufacturer to reduce unit costs. 4 GlasIow: ne creative û'fly and its c'ulturll Economy -1. 0 0 * PART EI @' * j ' . *jj.j The SE has com m issioned a range of w ork in this sector m uch of w hich . J-d w e agree w ith conceptually. W e will not repeat the kind of argum ents @ m ade there. W e believe the SE/GDA should focus on the following: é D evelop a design show case, displaying both Glasgow and foreign m ade product so that the overall level of appredation is enhanced. The showing of product from abroad is essential and acts rather like * , a teaching tool, in addidon it m aintains Glasgow 's international @)( Perspective, which is essential if it is to be seen as a ceative city. The showcase does not need to be a new build. There r e a num ber of opdons that could reduce the capital and revenue costs ( and Public sector support will be inevitable as no design centre in the # w orld is self finandng. For exam ple Via, the Paris show case is financed by a levy on French ftlrnituze manufacturers.). W e # outline one that is com m erdally oriented and another educationally. The first involves hiring a space w ithin an existing 4 com m ercial outfit, such as N ice H ouse, and supplying resources to the operation so that they put on shows, provide registers of various types, and show product.' This m ore com m ercial @ environm ent m ay indeed be better for providing the range of andllary services a showcase needs to offer. # The other cheap and possibly appropriate option is to adapt the 4000 sq. ft. ground floor of the College of Building, whic.h is currently not é used. The building is very central, barely 50 yards aw ay from the City Cham bers and provides an educational context for the * operation w ith a11 the lirtkages that this w ould im ply. A dopt an active policy of attracting role m odel firm s to set up in * Glasgow . This is no different from what pubtic agencies do in other sectors such as new tech or car m anufacturing. One obvious target @ is to ertcourage/bribe/or Lake guilty Cassina, the Italian licencees Producing M ackintosh furniture to set up a subsidiary in Glasgovv. Their m anufacturing methods, approach and attitudes w ould effect # the com petitive environm ent in furniture production and they w ould becom e a role m odel to em ulate. Their high tech and * flexible production system s and culture of experim enta6on w ould show Glasgow com panies, know n to be extrem ely conservative * another w ay of operating. Achieving + is w ould be a coup in itself i and keep up Glasgow 's profile in the design com m unity. , t @ * Building on the major design conference in 1993 to %tablish Glasgow as a design conference and exhibitions nodal point. This helps keep the Glasgow de ign com m unity in touch w ith world 4 thinking and products. n is builds on Glasgow 's exhibition traditions. @ 4 Glaszow: ne Creative City and its cullvrul Economy 1. 0 1. # PA RT 11 . yo,: .z . i-'v . , ;. ;' ' c #. .. .*5.n'nt%: . < et. x Gy. . ' * ' Creating a bursary system to subsidize Glasgow designers to attend . Ns key show s such as in Cologne, M ilan or Valenda. @ # Encouraging the setling up of a Glasgow based internationally oriented design publication, this may initially be Part of the @ publication 'Creative City' proposed in the flnal section of this report. e-->-5KL; W hilst m ost of the design products w ill have to sell abroad to .(: becom e viable it is nevertheless im portant and perhaps the m ost 4 difficult task to find w ays of encouzaging the dom estic m arket. k Only if w ell designed produds becom e part of everyday Glasgow life w ill the general environm ent rem ain conducive to creative * developm ent. This naturally depends on w ider econom ic issues concerned w ith disposable incom e. O ne starting polnt is for public pm chasing policies to reflect a real concem w ith design. n is w ill @ nahzrally involve hard choices as such products are likely to be m ore expensive. For instance, the lobby and offices of Barcelona 4 City Council have exam ples of the best design the city can offer. To audit production capadty and technical resources in the design @ sectors and appropriate m anufacturing sectors w ith a view to preparing a productive capacity register. @ To target the existing desigh aw areness program m es undertaken by *. i the Design Cotm cil to potendal sm all batch producers and to Prom ote a culmre of flexibility in the Production process through sem inars and courses aim ed at m anagers of sm ail batch * m anufacturing industries. Flexibility in skills and w orking hours is w idely seen as one of the keys to the success of sm all batch @ Producers in countries such as Italy. To set up an advisory boald to aw ard prizes for products that m eet @ certain high quality and safety standards. 0 1.1.r research suggests that both quality controls and safety standards are key ingredients of 4 successful products. To instigate the setting up of a prototype developm ent fund * Proposed in your Design Initiative Report possibly through a public/private partnership. # To encourage the creation of outlets for the distribution of designer products through arts , cultural venues and tourism outlets as w ell * as through departm ent stores. An audit of possible distribution outlets could lead to the discovery of further desigm oriented @ outlets. To provide a directozy on all kinds of design services available @ locally (eg. p aphic design, interior design and product design as * Glassww: n e creative city and its c'ullxrul Economy 10 2 PART U @ # * w ell as fashion and crafts), to encourage additional use of local designers @ @ @ * 4 * * # * @ * @ @ @ * # è @ @ @ Glaszow: ne Creative cfl'y and its Cultural Economy 1. 03 PART 11 # * * D E S I G N * * BRITAIN London 9 . . (.; j a SG aw (jr ...:..: ...... js.r . . r . . . yj ( jj # '! rzxlkxQ' ' 'v. .ktvtYtllnizx4 ).iY6'ss! GV '* N ' f. W).'flxQsl' : lrmlng am 5. ' # Leicester ... .,' . . . g r'lstol s...... è j . . . ..'., Edinburgh 5 .. . . @ Sheffield 4 ' ' : ' ;., Manchester ' ''' ' C ar diff 4.' c . ' ' ' .''''''' @ ...... ; (. . '. Leeds 3 ' @ Newrmstle ' Liverpcol @ W ORLD Tokyo 1é .:E; ''ï.' . . @ New Y o rk 9 . j :' '' . . Milan 9. . .. k , y.yj. . : g. .: * London 8 ) , Amsterdam 6 # paris 6 Los Angeles @ Barcelcna è Frankfud '4 4:3 1 lEqt ti;tpl (::8 ,,!qk' 1j1i!-'.:.*.:.*2. .1'.4:î. mt>-.':-'E' kk'î 11.j. 4:'f' ,)?-r=''è)ù*' .i v,; ,k.@ ,Et;'-t.i' @ @ * * @ @ Glassow: T'h: Creatkve City and its Culturcl Economy 1. 0 4 PART H @ @ ' *.t D E S I G N ( a d v e r t l s i n g ) @ W ORLD New Yo& 1c * London lc Tokw g Chicago 8 # Los Angeles 8 4 Paris 7 S dney 6 :.:)@F2, Y E . : : .if': ' . 18.4 lEpkl::s T- i 1::ù z: ...... ' è i: .. . ; î.'3L ...... L: . . . i .. . .L.L : . ., ...... :. . . .- j.g...... ,, ...... : . : lsi/lk i 1 :2,t 1'?d .4 : . . . r .< ,.n . : ; : .1 .(é t .) kè !è;(è'. .( ) ...... iL. : )@. 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L.., . ,. ,.. @ '' ' Amsterdam 2. j' Manchester 2' . . t'f''' F * . r :r )ri:: G I a sg c w lWj-7= 1, .:a m5' * @ * D E S I G N ( f a s 1x i o n ) @ W ORLD Milan 10 4 Paris !c New York 9 è Tckyo 9 Madfid 7 # London 7 B CLISSO IS 6 ...... ::.. ... è Barcelona 5 ' Diisseldod 4 è G IaK ow :.!(j7. h ,è'o.m',.3 y.j j. @ 4 Glas,gou): n e Crentfve Cfty aul fts cultxral Ectmomg 10 5 @ PART EI @ * f' ' j @ @ # # # * * @ 4 PA R T 111: @ Strategies for th e C reative C ity @ * @ 4 * # è 4 @ è'$ . @ @ @ PA R T 111: @ Strategies for the Creative C ity @ Introduction This part of the report, first of all, provides som e evidence for levels of @ creativity in Glasgow . In the secdons that follow a num ber of stzategic directions are given. Firdt, a strategy is proposed for applying creadvity to @ the local system of economic produdion. Second, w e provide an application of our cultural planzting m odel, by show ing exam ples of how the potential of local cultural resources could be m axim ized * . Third w e illustrate a range of possible experiments to injed creadvity into the city's social dynam ics and politkal arrangem ents, and w e dem onstrate how a @ creative sodety and polity are essential preconditions for econom ic success, Lastly, w e Provide indicadons of possible initiadves to nurture è and rrtanage local creative talent. H ow ever, for the stzategies to be successfully im plem ented problem s @ w ould need to be solved that aze sim ply beyond Glasgow 's capacity or conkol, although a start can be m ade. They concern 5 m ain areas: @ 7he culture of industry in Britain. The reladvely 1ow stat'us of m anufacturing and those involved in it. n e short term thinking * of financial institudons and a lack of tradition of long term , detailed involvem ent in sm all com panies. ' @ 2. Governm ent polici& that increasingly do not allow public sector @ agencies to act flev-bly and involve them selves as risk takers. An industrial stucture that does not encourage sm ail firm developm ent. This is partîcularly relevant for the cultural @ industries sector as it tends to consist of sm all firm s. # A m onopolised retail stucture, w hereby 80% of shops in the UK are ow ned by national chains. Tl'tis m eans the sale of the products of sm ail firm s is increasingly difficult, because they cannot get into the è larger chaips. By contrast in Italy only 26% of shops are ow ned by chains, w hich m eans there is far greater scope for selling products to # a range of shops. D . The gap between the ceator and m anufacturer, and tlte w ider 4 arts/industry split in the UK. # @ # Gtasgo'ttg: n c Creatfre Cftg entl fts Cultural Ecck opty *1. 0 7 PA RT II1 # @ # 1. IS G LASG O W ALREAD Y A CREAIW E CIn ? @ a) Cultural criteria for assesslng creativity From our interview s, desk research, focus groups in individual cultural @ sectors, peer group discussions, constzuction of sectoral ranking system s and infrastructure scalesthe follow ing conclusions em erge. @ , Glasgow has a richness of talent, infrastructure and reputation w hi c.h prob a bl y places it in second place, but som e considerable w ay behind London in tl-te ranking of British cultural centres # . Glasgow is certainly on a paz with M anchester and Birm ingham and ahead @ of Leeds. It achieves this result not so m uch through sheer quantity of people involved, w hich in percentage term s is com parable to other provincial cities in the UK (1/2%), but rather through t-he @ quality, resonance and support of its activities. @ The leakage of talent from Glasgow is decreasing, and new talent from outside the city is com ing in. @ These tw o conclusions are substantiated by som e additional detailed facts about the cultural sector, of w hich we provide som e exam ples @ . n e Year of Culture has cdmsiderably strengthened, nationally and internationally Glasgow 's identification w ith creative activities @ . 7 Applications for the art school and other arts based institutions are * alw ays substantially oversubscribed. This situation has becom e m ore acute as the profile of Glasgow and its link to the arts/culture @ have developed. This m eans that Glasgow institutions can pick and choose the best or# indeed, expand to service this dem and. @ M ore artists of al1 kinds ar' e now staying and living in Glasgow as com pared to 10 years ago, w hen they used to feel that their aspirations could only be m et in London or abroad. A com m on # sim ation is, for exam ple, for successful visual artists to live and wcrk in Glasgow but to have their agents or galleries in London @ . The number of jo' b applications and enquiries that creative industzies such as graphics are receiving from outside Scotland is @ noticeably increasing, @ D . Speciaiists w orking in the support side of the arts, such as scenery m aking or stage m anagem ent are now increasingly settling in Glasgow , rather than com m uting say on a w eekly basis from @ ou tside. @ The m ailing list for W ASPS studios for crafts or arts workers is still increasing despite inceased studio space Provision. This is a classic * Glaszow: ne creative City and its cullural Economy 10 8 PAR'r III @ # case of supply creating i.ts dem and. For exam ple, prior to the setting up of the sculpture A dios there w as no noticeable num ber of @ sculptors, these have appeared ''from the w x dw ork'' from b0th in and outside Glasgow . è Throughout the Year of Culture the Festivals O ffice has been inundated by proposals across a11 arts sectors. @ O rgartisations suc.h as M gus M odelm akers are flooded with applicétions once a p' b or traineeship is advertisedk In their view # anything up to 20 pœ ple are skilled enough to be taken on for any Siven job. @ 9. W hatever the reality, the m yth of Glasgow as an historically innovative city still retains m uch of its force particularly in term s of # individuals' aspiraticns and hopes. ' @ 1O. An analysis of the tmem ploym ent survey by the Training A gency reveals substantial num bers endow ed w it.h hand based skills and dexterity. For exam ple, there are 1,288 sldlled construction w orkers @ unem ployed, as w ell as an additional 4,725 dassified as other. Sim ilarly, there are 693 skilled unem ployed People in @ engineering/fabricae n, as well as 1,160 classified as other. . An analysis of the last 3 years of Enterprise Allow ance Schem e @ (EAS) take up reveals substantial num bers in areas such as construction (477); manufacm ring of toys, sports goods and m usical * instrum ents (52); textiles, weaving and dyeing (25)9 m otor vehicle repair (97); m etal gœ ds, engineering (78); footw ear, clothing, soft furnishing (98); timber and wooden products (M ). These are a11 @ areas which potentially can have an impact on jobs in the arts infrastructure in palicular and for creative product applications in @ general. 12. Im portantly, there is the evidence of those G lasw egians w ho have 4 m ade it either in m usic (Hue and Cry; W et, W et, W et; etc), television/film ( Bill Forsyth ), the visual arts (Peter Howson, Steve Cam pbell etc) and Iv forming arts ( Billy Connolly ). Beyond that @ are those that have cem e from Glasgow or been to Glasgow to study and have subsequently becom e successful. A particular exam ple is è the potential attend- list to the aborted Design for Real event (including the currœ t câief designer of Fords). @ The M C Econom ics report on the contribution of higher education institutions to G lasgow 's econom y condudes ''there is considerable è evidence that Glasgow lacks nothing in c eativity but does lack the m echanism s to m axim ise the returns from its creativity. It needs to @ create a new effective m echanism ''. n is report focused largely on engineering and scientific areas, and points out the net exports of 4 Glasgow.. ne creative City fln: Jts cultural Economy 10 9 PA-RT III @ @ @ graduates. Im portantly, it found evidence of the desire of graduates to stay in Glasgow . è W hat this evidence suggests is that s% tegies for the creative industries in Glasgow w ill either have available evkting skills or potential skills that * can be ttm ed up by training, as well as' a, capability to attract people from outside. # 4 Broader criteria for assessing creatid ty M oving aw ay from the culm ral sedor, and taking a broader perspective, è of what creativis can mean for a city we can evaluate Glasgow's position adopdng a set of criteria borrow ed from the com paradve international research program m e 'n e city effeck Urban system s apd lnnovation' @ funded by the Agnelli Foundation (1990). n e findings of the study are relevant,because particularly outside the cultural sector: w hat is term ed @ 'innovation' is synonym ous w ith 'ceativity' @ The criteria include'. The presence of the headqua.r ters of one or m ore indus/ial, * com m ercial or financial groups. To determ ine Glasgow 's relative position in the industrial field see table 2.. For the com m ercial and financial fields see tables 3,4,6. 'Fhe large com pany or group exposed @ t'o international com petition induces and often im poses an innovation drive on the econom ic system . Invests intensively in * R&D w ith considerable effects on the area, and introduces the local system to intern'ational netw orks. @ 7 A production sector w ith a sectoral m ix, com bining innovative industrial sectors with traditional ones. This can encourage the @ spread of inrtovation through crossfertilization. Glasgow has som e innovative high tech firm s, but not a m ass of com petitively collaborating sm all firm s. Its industrial stzucttlre is m ore oriented @ tow ards large entities, often branch offices of m ulti-nationals based elsew here. * The presence of im portant educational, university and research stzuctures, see table 9. The interaction betw een the research system # and industrial system is crudal to m œxim ize benefits. @ The existence of technological services and scientific research particularly in the form of consultancies, art area in w hich Glasgow is recognized as being strong. These fadlities are im portant because @ they spread knowledge and train people to be innovative/creative. @ * Glasgow: T%e Creative City and its Culturai Ecouorrjy 1. 1. 0 PART 1I1 * @ *f D . A n efficient kansportation and com m unication infrastructure: see : r ' '! table 7 and & n is allows the rapid transfer of people and the exc' hange of inform adon with the rest of the w orld @ . 6. Inform al m tvW-m ism s for the exchange of inform ation w ithin the 4 area. A rich variety of types of hum an and sodal relations and form s of aggregation. This indudes international. conferences, fairs, sem inars,evm ts and im portantly a vibrant and dive' rse street life w ith m any inform al m eeting places. lsee table 7 for international trade fairs). W hi1st Glasgow now has a lively steet life, there are 4 less opportunities for inform al intelledual and professional exchanges. è The availabiiity of souzces finance and, in particular, ventlzre capital also accessibke to sm all and m edilzm sized firm s. By com parison # w ith other Bdtish tow ns Glasgow is reasonably w ell endow ed, particularly thanks to the presence of the SE (GDA), and organisatiorts such as the Clydebank Enterprise Fund. There are è also in Glasgow three com panies belonging to the European Venture Capital Association (1987 data). 'This is m ore than cities * like H am burg, Berlin or Bordeaux. A diversified netw ork of services for com paniesa induding 4 m anagem ent, legal, m arketing etc. Glasgow has a strong licensing/patenting and legal sezvices sector, but is less strong in the # field of m arketing. Local policy initiatives for innovation, w hich include science and @ technology parks and business incubators and advanced research centres all of which Glasgow has. ( see tables 9 and 10). # l0. Easy access to educational, cultural, recreadonal and leisure facilities. Glasgow has know n strengths in term s of cultural facilities è and education, but less so in term s of leisure. 4 A high standard of urban and suburban residential accom m odation. In spite of the peripheral estates the position of Glasgow in this field is relatively strong. Both points 10 and 11 have to do w ith creativity 4 and innovauon in the sense that they are preconditions for 4 attracting creative people. * * @ 4 Glasgow : 'J'he Creativr cfty and its cullzlrul Economv - .1 1.1 P-.YRT III * # @ 2. CREATW ITY AS INNOVATION IN YHE PRODUCTION é SPH ERE a) Introduction: tow ards a new culture of industry and 4 serd ces * The application of c eativity to industry should not be restricted to the cultural sector. The ''Cultural Industries'' approac.h discussed earlier f represents an advance on tradidonal 'arts' policy w hich focusses largely on * argum ents for public subsidy on the basis that the arts are a public good It has a broader vision, a broader defirdtion of culm re, a m ore flexible 4l attitude to policy m aking and a broader range of m echahism s and t stategies at its 'disposal m any of which com e from econom ic developm ent traditions. W hen it works well (i.e. when it is pursued with imagination, @ energy and political skill) it can do much to help a city 'and its citizens. N onetheless, it still has lim itations. These derive from its origins. In the è last analysis ''cultural industries'' policies are still 'arts' policies, albeit in a very m uch m ore 'm odern' and extensive guise. But they still accept an @ approach w hich restricts the dom ain of 'culm re', and hence creative skills, to a very narrow range of hum an activities. lf w e step outside the ''arts'' w orld it is dear that, in fact, skiil and creativity, know ledge of teclm iques è and m aterials is not a spedal presgrve of a sm all range of officially recognised 'cultural' sectors. These aspects are fundam ental to every * sphere of production, distribution and exchangek In other w ords, they are Pervasive and ever present across a11 industries, not just supposedly @ 'cultural' ones. ' Indeed the 'cultural industries' debate apd fram ew ork can only be @ understood w ithin a set of w ider and international debates about the future of industry as a w hole. There is a danger that m any people and places have em braced 'culture' because they have decided to (or been 4 encouraged to) ''give up on'' industry (i.e. m anufacturing). If you don't feel able to com pete or involve youzself in the field of m anufacturing, è then it becom es necessary and understandable to talk about and focus energy on 'cultural' industries as potential sunrise industries. If they 4, often don't produce tangible goods at least they contzibute to m aking the place better to live in. # There is now a very lively and extensive debate (especially in the USA and W estern Elzrope) about policy for manufaduring industries (both new and old) and m any national and local goverrtm ents have debated which sector è of the econom y to support and how . The old dilem m a betw een m anufacturing and services is now being ro thought in less 'either-or' * w ays. It is becom ing clear that advanced econom ics need both 'm anufacturing' and 'services'. The need for developing the creative elem ents of both Sectors has to be recognized. In the advanced services @ sector this is largely already the case ( advertising, innovative financial 4 ' Glasgow: ne Creative Cfly and its Cultural Economy 1. 1. 2 4 PART I1I ' .. . j ,. How ever, the tadidonal services ( retailing, hotel -. aften have an im age of dnzdgezy w hic.h certainly does . Encouraging greater product know ledge, im proving .niztg and erthancing the em ployees' control ovu their nent could help to not only inject creadvity m' u these ûe Glasgow receptive and w elcom ing. 'r'g the 'cultural industdes' approach is, theefore,to ( ' Dmplex and embrace the 'cultural ( ceadve and skills - ' a11 industries, not just the 'arts' ones. This isbot.h çant. It m akes policy m ore challenging, and ensures u JA des the full eccnom ic developm ent agenda, and does advely restricted arena. lt also enstges that the ï $ ' a'eative' aspeds of the 'cultural industries' approach ' . a frequently traditional and backw r d 'm m ufacturing' pad fram ework for a creative econom y the sections xescrtbe obstacles to the achievem ent of the changes are required. W : then m ake aw areness raising . influencing educators entzepreneurs and ie general .-rht initially ocazr in particular through advocacy ' m ake practical recom m endations aim ed at m aking tz of Glasgow m ore visible. lanufactuzer split lstry split is not unique to Glasgow , but this does not .a i Lpact. From the point of view of designers it m eans ends to be restricted to packaginp styling anr! corporate l s sim ply not m aking the dem ands on the design ) invent new products or to assist collaboratively in n. There is no ideas challenge. n e concentradon of i5 seem ingly superfidal is exacerbated by Ghsgow 's w :ry dom inance, the requirem ents of w bich are not in product design. A s design is so often equate . w ith l 'n designers then turn to product there is a tendency to zn term s of furnim re, fashion and lighting as the w ider i $ . '' Cills espedally in engineering and electronic are lacking. lquence m anufacm rers largely view design as styling pq a planning process and in t'urn the role model of : s about is tim m ing or style. A history of m utual lack ation cannot be turned around overnight, but a start -ns be m ade by focusing on consum er Products, .? se com bining light engineering and elecàonics. ,é : i f.y a rlïf fts cx 1t.,: ra l Eco nomy 113 # @ Consum ers' expectations can then begin to be raised, and the design content of produds will by m ass consum ption be m ore visible @ The lack of prototyping capacity è Glasgow has a recognised gap in the field of prototyping, which creates obstacles in m aking designed products. Glasgow , how ever, is strong in modelm aking. Angus is the largest of its kind in * Scotland and has spawned a w hole series of sm aller outfits run by L People who at som e tim e or the other had a link w ith A ngus. * M odelm aking is about the one-off as is theake scenery building w here luckily Glasgow has one of the largest outfits in Scotland. n e Sculpture Studios also has tenants with a potential to produce one offs. A11 aze effectively about the ceadon of prototypes. # n erefore, in prindple, titis obstacle could be overcom e but it @ requires a meeting of interested parties both from the design side and the protoyping side to explore the potential to overcom e the è problem . iii) The lost generation @ The deindustrialization of Glasgow has brought about considerable deskilling. For exam ple, m any Glasw egians w ho are trained fitlers, @ upholsterers, mechanics, epgineers and so on are now in jobs such as driving taxis. W hilst their parints were often employed in * similar craft based jobs the role model that their own children now have is one in which the link craft skill and w ork has been broken. * iv) The oiling tlAe wbeels capacity * The historic dependence of Glasgow on large firm s and subsequentiy, after deindustrialization on welfare subsidies has discouraged the em ergence of a sm all firms culture and a network è of facilitators induding m arketers, deal m akers, agents, brokers and other interm ediaries. This m akes it m ore difficult far innovative 4 products to enter the m arket. 4 c) A w areness raising proposals These proposals are aim ed at m aking lnoth econom ic developm ent policy- # m akers and the general public m ore aw are of the im portance of the ' c eative input into products used in everyday life. This starts a process of è raising expectations about the quality and the aesthetics of produds. @ i) Consum er products fizst lf consum er products reveal the usefulness, attractiveness and @ originality that a'eative thinking can bring they becom e in and of 4 Glaszow: ne Creatizle City flrtlt ïts Cu/turad Economv 1. 1.4 P-A-RT II1 @ i ' f: i @ them selves a m arketing tool for the broad polides w e are outltning. # 'Fhe key difficulty for the SE is to devise m echartism s that can encourage the invention of and adopdon of new products. O ne tried and M ted m eans is the com petition, but this w ould have to be # far m ore pxneactively conceived, organised and specified than is 4 usual at present. It would involve selective targeting of a range of sub-groups such as: @ ezsting com panies of varying sizes EAS applicants 4 gm graphically defined areas w ithin Glasgow age @ schools n e SE could launch a program m e of aw ards for products in spedfic @ areas, selected according to independent m arket research. These m ight include for exam ple: @ - sàeet furniture in 3 categories, concrete, m etal, w ood kitchen gadgets @ handles and doorknobs casings for electzonic goods @ sports equipm ent N aturally, there are num erous other exam ples. This detail m ay at first sight appear to lead to too m any prizes in different categories. * But this is a1l to the good, as this w otzld act as a celebration of production, not in som e nostalgic form but as a m eans of show ing . @ how the creative side of the dty can be harnessed. Linked to this program m e needs to be a prototype developm ent ftm d w hose * em phasis m ight be to give subsidy to the m anufacturer as a w ay of getting m anufacturers into research and developm ent. In addition Clasgow should copy M anchester M useum Services idea of an art in @ Production prize. ' 4 If a design showcase opens in Glasgow this w ould be the ideal vehicle for running education/industry/art packages. Equally the Schx l of Art with its recently enhanced industry link is in a good * position to pursue this idea. As the SE recognizes Glasgow is w eak in consum er production, @ w hich is predsely w hy it is im portant that w hatever consum er products that are m ade in Glasgow are m ore widely know n and * idendfied with the dty. è @ G'asgou?: T;te Creatfre city anJ ffs Cultural Econon:y - 4 .1. 15 PAA T HI @ # * G lasgow as the creative R & D centre of Scotland @ It was not the pktrpc e of this report to explore in detail the m ass of potential com panies that could contribute to the creative regeneration of Glasgow, but through selective interview s and desk * research w e believe a substantial num ber could develop an R & D line to run in parallel to existing bestsellers and m ainstream lines. @ . This is sim ply an instlrance policy for the future as today's classic *l w as yesterday's ev erlm ent. One titink.s here in ceram ics, for example, of Rosenthal's studio line which runs in jarallel to its 6 m ainstream products. The sm dio line is m ore expensive and less , . profitable, but acts as a powerful m arketing tool keeping up @ Rosenthal's profile as a com pany of innovadon artd excellence. Sim ilar strategies a ist in the Perugian tile m aking industy. In a survey of Stoke-on--frent's pottery com panies w e found no such * policy, and w ere not stzrprised that Stoke's m arket share w as declining in spite of it.s better technical quality over say Italian @ products. The inntwation cyde 1ed by desir had sim ply not been kept up. @ Successfully im plementing such a strategy w ill be m ore difficult in the capital goods and service sector, in conkast to consum er goods. * In the those areas where Glasgow already has strengths the approach could w ork at the specialist end of the food and drinks # m arket as w ell as hz clothing and fashion. An explicit policy by the SE to encotlrage com panies to develop R & * D lines, supported by a prototype development fund, market research advice and lnventor/im plementor linkages would be a * starting point. G iven the evidenœ w e have exam ined Glasgow could becom e the * creative R&D centre for Sèotland by haznessing its creative energies in the arts and linking them w ith its skills base in various industrial sectors, as w ell by creating effective m echanism s to turn # ideas into producl. Initial tazgets for thinking through new products m ight fœ us on relatively 1ow technolcgy consum er goods @ as the pool of labour w e are initially considering m ight include the city's cafts/arts workers. # These consum er products m ight include: * Products for the hom e - beyond chairs tables and lighting such as doorknobszwindow fram es and other accessories @ Leisure products - angling accessories, hockey sticks, sports clothing @ Green products * Glassozvl n e Creative Cily anti its Cultural Economy ' .1 1. 6 * PXRT III ' @ tl . J @ 4. Lim ited series products such as spedal chairs targeted at the @ elderly, and other products for different specihc age groups. W e recognize the difficulty of im plemG éng these ideas. O ne w ay @ forw ard is to sim ply prom ote Glasgow as a c eative city even if as yet little of substance is actually happening on the ground. This prom odon effort w ill raise self confidence mnongst producers and @. possibly also help attact entrepreneurs from outside Glasgow who m ight act as role m odels. Indeed the SE should acuvely pursue a strategy along the lines of the Cassina idea to im port product and 4 process innovations into the city. TMS is no different from the logic used by al1 development ayencies to attract high tech firms ( Nissan * in Sunderland, or Panasomc in W ales). # iii) 'Fhe engineer as staz The relative 1ow stam s of the engineer, the technician and so on in è relation to say the m erchant banker in English culttzre is w ell docum ented (e.g. W iener: inglish Culture and the Dedine of the @ Industrial Spirit). Given the history of engineering excellence in Scotland this could be the cultural basis for teclm ological revivi. Turning these attitudes round is not an overnight affair, but a start @ can be m ade. From the SE's point gf view this m ight be best acllieved by publishing advocacy literature aim ed at various sub- audiences, the m ost crucial of w hich are possibly jchool 'kids and @ teachers. The objective is to make the creator of products the role * m odel: the cult of the engineer/technologist. In crude term s, the im age of the producer is dull and boring as * contrasted to the supposedly 'freefloating artist'. The m essage is, therefore, that boring is interesting, irt that it is about m aking @ m oney and w ealth creation. iv) Fam ûiarity w ith induskial and artistic processes # The com partm entalisation of life and niching of iifestyles is not a new phenomenon, but it has reached a stage where the majority of @ People have no idea of how the arts or industry w ork. Few have seen an artist at w ork (except perhaps a crafts w orker at a them e Park) or industy in action. One of many reasons w hy Italian # industrial distficts work is that 'everybody knows som ebody who is 4 Producing som ething'. An acdve and substantive program me needs to be encouraged by * the SE to get school kids and, im portantly, teachers to understand how the arts and industrial processe w ork. The SE itself m ight @ have little purchase on this problem as it falls largely w ithin the # Glasgow: n e Creative City flrtfs its Culllzral Economy 1. 1. 7 PART III @ @ : educational dom ain, but its role as an enabler should not be 4J underestim ated. @ A start could be by discussing the im plications of this report w ith the principals or other appropriate staff of: @ Glasgow College of Building Glasgow School of Art Jordanhill St Andrew s College Strathclyde University F, Glasgow Univc sity Glasgow College, now Glasgow Polytechnic 4 RSA M D From such a discussion a w hole series of ideas w otzld spring up * aim ed at increasing fam iliarity w ith the production process in b0th industry and the arts; getting students and businesses to design è products and so on. It should be noted that in term s of business start ups hairdressing and m otor m echanics are alw ays popular. O ne m ain reason for this is that individuals have a daily experience @ of w hat the-se professions are about, and as a consequence their fear * of threshold is reduced. The careers advisory servièes m ust increase their fam iliarity with the cultural industries. There is little understanding that being in * the m usic or fiim industry is m ore than being the lead singer or the film star. There are numerous jobs in the management, technical, @ distribution and m arkedng side, w here being interested in m usic or film is im portant but for w hich you don't have to be a star. As a first step the SE should establish cultuzal industries induction days @ to bridge the knowledge gap. @ cetting beyond fashionziurniture and lighting This final point m ay seem som ew hat m inor and could arise @ nattzrally if the other proposals are put into action. N evertheless, the association in peoples' m inds of design and creativity as confined to fashion, furniture and lighting, is restrictive. This # highlights the need to organize events or exhibitions that ensure that a m uch wider range of designed products are present in the # audit noted above. Clearly, the capacity to produce and display a w ider range of products is linked to the existing skills base in the è city. @ @ 4 Glasgozu: ne Creative City and its Culturll Economy 118 PXRT II1 ' è L 1 . J @ # d) The College of Building and Printing and the è Constm ction H dustry The Training Apxry recently com m issioned a report on tbe * position of the construction industry in Scotland. ït concluded that in spite of the downturn it w as a strong industry, lroth in terms of building and rpaterials supply, especially in relation to the rest of the UK. In particuiar the Scottish construction industry has not ïet # been affected by the sam e cisis that has hit the M uth, but there Ls a fear tlnat this znay shortly change. As a consequence, levels of # une'mploym ent will incease. This m ay be an opportunity for Glasgow . In olzr view, within the comstm dion indtustry and the è skills and products it em bodies Glasgow has an unexploited asset. W e condude tbat this is one area in w hic.h Glasgow can show its creativity. Inlerestingly the industry involves a fange of em ployees * not norm ally Ksodated with creative work, w ho often live in the @ problem estate surrounding the dty . First, the indtstry is large, and is being replenished by a continual @ em ergence of new sm all firm s, often only one to tw o m en bands, as is evidenced # an analysis of the EAS scheme over the last three @ years. . Second, Glasgow has one of only two Colleges of Building in the UK, and is regarded as the better of the two. Every year several # hundred rtu& nts graduate in courses ranging from craft m anual * skills to degree level courses in topics such as advanced m asonry and w oodw œking. Third, it involves a range of skills from woodworking, metals, @ brickiaying and piastering that can l::e rethought and readapted to the czeation of new value' added productsz such as street furniture @ for which there is a growing national dem and and where it is recognized 1at British product in comparison to say that of Italy # and Spain is czeatively backw ard and lacks the appropriate im agination. @ Fourth, if involves skills acoss ai1 sodal groupings, and can in prindple employ people from outer estates to artists in city centre # studios. Fifth, it bu4ds on G lasgow 's tradidonal hand-craft skills, these aze è reemer#ng in importance especially as lzrban regeneration moves apace w ith the refurbishm ent of older buildings w here older skills @ are requiri to im plem ent the w ork correctly. Sixth, the products of the industzy range ac oss publicly visibie 'arty' * Products szch as those related to public art and products used in everyday Iîfe. I.'.'I- 9 # Glassow : T'he Czea* e Cfty ana its culhzrul Economy # P-u T I1I @ ' f *L . TM s potendal is as yet com pletely unrecognized in the city. n e @ College of Btlorll'ng has no presence in the dty and is regarded as a dow dy instile-w nn, in spite of its c eative potential. Contrast this with the way fhe School of 2%rt is Projeded. n ere is insufficient * linkage betwœ n the College in term s of education, % th technical and c eative and the indtlstry. To m azrnize potentiai a fresh start needs to be made w ith the various educational funding bodies at #j both local and regional level. è One initial pracdcal w ay of harnessing this potential is for G lasgow to becom e a dty of excellence in street furnim re m aking. Over tim e the skills anâ research involved in this spedalism can reverse back é' . into other areas of construdion such as w indow and door m aking, ironw ork and so on, W e discussed the possible role the College of @ Building land the industry itselg qould Play in such a strategy and they w ere exdted by the opportunities. è As city quality of life issues have spiralled up political agendas w hat cities look and feel like is ing easingly im portant. Street furniture, @ w hich encompasses a m ass of products in a w ide range of m aterials, w ill therefore be a growing market. Im portantly by getting involved w ith the production of street furniture links w ith @ innovative design could be ceated. # But, im portR tly, the products of street furniture itself are m arketing tx ls. They are visibie for a11 and the city becom es a @ stage. The strategy can strengthen the tourism dim ension of Glasgow # because the artefacts will be attractors in their own right. W hi1st Glasgow would be the pilot arena the main objective is to @ sell street fum iture products to the rest of the tJ''K. A11 in all, there is the industp the skill and the client (GDC and GDA). The è obvious startm g point would be to use the developm ent of Buchanan Steet - 'The Great European Street' - as the pilot. @ e) O ther iniiiatives *( i) H and m ade and high tech è The SE should develop a policy to encourage activities w hich com bine the recognized skills base concerned with m anual dexterity @ (annually replenished through the gzaduates of the College of Building ) artd those linked with new technology to develop @ products cx cerned w ith 'the lim ited edition of the proven core'. M any m ass production goods such as T'V's, radios, kettles and so on ' - ...... -. - . --- . ... . -- - * Glasgow. ne Creatiw City and fls Cultnral EconomA 1.2 0 PART III @ : * ' have been technologically simplified , but are still sold as unim aginative looking item s. It is possible to use this product core @ to produce Tv' and so on in sm all batch w ith custom ized casings in say w ood or plastic. 4 A t the outset this logic should applied to a11 light engineering and electonic consum er goods . This stzategy inidally does not address the m ore fundam ental core malaise of creadng and exploiting R&D. #è In its first phase it w ill only be concem ed w ith custom izing, trim m ing, styling, and adapeng som ething that already exists the 4 objective is to over time to custom making where a product is rethought form the ground up. Given the developm ent and è fragm entation of m ass m arkets , the aesthetization of dally life a11 consum er products could go in for this treatm ent. ' @ This strategy can be desc ibed as the custom ized basic products s/ategy involving craft assembly and skilled sub-contracting. * linked to this there should be a 1ow tech and high custom ization sîategy takinj the simplest useful for daily and adding value. One thinks here. for exam ple, in the case of w ood, of window fram es @ #skirting, doors and so on. @ A staréng point for the policy cotzld be the organisation by the SE of an educational program m e .aim ed at carefully selected representatives from appropdate training and educational # establishm ents ( the College of Building, the School of Art, Strathciyde University and Glasgow Polytechnic, for instance) as * well as m anufacturers and artists/ craftspeople. This could take the form of a series of sem inars during w hich practical dem onstrations * w ould be given and discussed of exam ples of successful best practice. Such a long term educational program m e needs to be linked with a @ funding m echanism linked to a pool of resources that enables prospective producers to take their ideas further. 4 H arnessing the hobbyist * An underexploited resource is the skills base linked to the m ass of hobbyists from m odel train-m aking to photographya painting and so on. n ere is a com plicated and m ul; layered argum ent linking the @ decline of the concept of work amd the rise of extra work activities. H ow ever, for our purposes we should note that a diversion of skiil * into the private world has t'aken place. There is no sim ple w ay to uniock this talent, but as first step the SE * could undertake a survey of what skills and products are m ade in this sector and how they could be brought back into the real @ econom y and m ade useful to it. 4 Glasgow: The creative Cfly and its C'xllvral Economy 121 @ P-.YRT II1 : @ # iii) The artist as prototyper A major weakness of Glasgow's cultural economy is the linkage @ betw een idea - inventor - investor - im plem entor. In particular, this expresses itself as the perceived lack of prototype m akers 4 (orgartisations like Angus M odelm akers aside). Ardsts, pazdcularly in the sculpm re field, are in principle w ell suited to help fill this gap. This is alzeady em bryonically happening as has becom e cleaz * from a review of w hat m em bers of the Sculpturç Studios are being asked to do. It has started w it.h arcititedtlral m odels and elem ents 4 for the building industry. But the idea can be taken m uch further. Im portantlp it will break down the link between arts and com m erce. Som e m anufacturers noted that ardsts m ight be too * undisciplined to go along this route. This m ay w ell be so for som e prototypes, but the general perspective of this report is to allow * artists to rethink who they are and what their role in Glasgow 's econom y could be. @ In order to popularize and legitim ize this idea the SE shotlld help publidze those exam ples of w here aztists have successfuily broken @ through the arts/industy divide, so that they can act as role models for others to follow . @ * @ * @ è @ 4 @ @ * 4 Glaszow: n c Creative cfty and fls cultural Economy 1. 22 PART II1 @ @ @ 3. CREATIV ITY AS RESO UR CEFULN ESS: STRATEG IES TO EXPLO IT LOCA L CU LTUR AL RESO URCES * %9e have already described what w e m ean by cultttral resources. Our task * is now to suggest how Glasgow should further exploit these resources, although w e recognize that this is one of the areas in w hich Glasgow has already dem onstrated a considerable degree of creâtivity. Obtaining the @ nom ination as European City of Culm re w as itself a pow erful creative act, which has contributed to giving Glasgow a creative status within the @ European context. W e have chosen to concenkate on a few pracdcal proposals which m ay 4 point û'ultulral policy m akers in Glasgow in new diredions. Readers should refer back to our detailed description of the culm ral Planning è m odel and culttzral resources in Part I1, w here a ntlm ber of possible interventions are briefly outlined. è a) A Trade Based Cultuzal Foreign Policy @ Glasgow is know n as a cultural city, but is inc easingly at a disadvantage in terms of resources tn projecting itself abroad compazed to say London. The m achinery of state and govermnent and London's stat'us as capital è give the city m assive built in advgntages. It is im portant that Glasgow 's identity, is also kept as separate and is not sim ply subsum ed under the United Kingdom . lf it were subsum ed it w ould tend to benefit London as @ the centripetal forces of the com m unications flow tend to focus on the capital. * To counteract these tendencies Glasgow requires its ow n 'diplom acy' and am bassadorial function. W e, therefore, recom m end that the city adopt a @ cultural foreign policy. W hilst the city already km dertakes a w ide num ber of activities targeted è abroad, they are not self consciously conceived and coordinated as part of a, coherent foreign policy. The elements of such a policy could include: @ i) Tw izm ing as a m eans of bringing resources to Glasgow * A strategiq tw inning st-rategy, w ith appropriate cities, w hose objective is to encourage the flow of international contacts, ideas è and resources. The kind of towns that might be considered are Berlin (likely to be * Europe's next fashionable dty), Barcelona (which has similar cultural strengths to Glasgow), a Japanese city ( to encourage the * flow of capital), art Am erican dty such as O attle or Los Angeles (w here the notion of sponsorship is so developed that their dtizens might adopt, for example, various azts organisations as a project to # support from abroad). @ Glasgow: n e creative city and its cultvrul Economy 1. 23 @ PART III .)/ # @' This tw inning stralegy should be creative and go beyond traditional * Polides of officials sim ply visiting eac.h others towns. It would involve the excha-nr of c eative People - artists, architects, designers, film -maka , photographers and so om through bursary @ arrangements, and/or allocatinq Possibly council owned studios for these visitors to work in for limlted Periods (extending what is already happeninp ih the WASP studios). It would aiso involve the @ exchange of indivldual people m anufacturers w ho are expressing * the kind of creativity in production that Glasgow needs. The tw inning section of the Secretariat of the Com m ission of the 4 European Com m tmities m ay provide useful additional advice on tw inning links. @ ii) International net- rks as a way of promoting Gtasgow @ U sing the international cultural netw orks, such as the Council of Europe, Unesco, British Council, Goethe Institute m ay prove effective for the bG efit of Glasgow . A few individuals w ithin @ Glasgow are on these international drcuits, but it w ould be of benefit to the city for a large num ber of cultural offidals, w hen the @ festivals office is rethought, to operate at this level. Given that the spotlight is on Glasgow this should be achievable if linked, for exam ple, to promoting Glasgow a's the venue for cultural @ conferences. @ Enlarging the pool of Glasgow expeztise U sing Glasgow as the UK centre for cultural conferencing - such as @ the International Design Association w ill have an im portant spin off as it will attrad and assodate foreign professianals w ith Glasgow . This cross-fertilization of 'ideas should keep Glasgow in touch w ith 4 international treni and help shorten the researc.h and deveiopm ent curve.for Glasw 'egians. As a corallory it w ould be @ necessary to resezve places for Glasw egians at such events in order to enlarge on the 1001 of Glasw egians w ho are aw are of the @ international dimension and can thus operate internationally. Glasgow experts as am bassadors abroad # Equally, once a larger pool of ''cultural experts'' ac oss the cultural * area w ithin Glasgow has been created, these can be used as am bassadors abrœ d at, for exam ple, conferences, sem inars, @ exhibitions, trade fairs and so on. * @ Glasgow: ne Creative Cfly vd its cxllxrul Economy 1. 22.1 PART III @ @ * v) n e Eurocities network as a e 1 to Prom ote Glasgow Glasgow has the potendal to become a ydme actor within the * Eurocities netw ork, and the ddes, Particpadng are key audiences for the Prom otlon of Glasgow culhlral Products from theatre 4 perform ances to furniture. W itM' n the Eurodties network there is scope to have a m oving 'M ade in Glasgow ' show as w ell as an exchange of know ledge. O ther dties w ithin the netw ork have taken @, on specific tasks (M ontpellie.r is responsible for culture), Glasgow l '' '' should find a niche that goo with the grain of this report. * t . . vi) The Scottish connection @ A 1l over the w orld there are Glasw egiams fond of the m otherland. M echanism s need to be found to tap into this latent resource. @ The Europeanization of Glasgow m ust not underm ine its identity as a Scottish city. The dty's Scottislm ess should indeed be è celebrated. One w ay of doing this w ithout sliding into nostalgia and parochialism is to undertake exchanges with other dties/ regions w ith sim ilarly strong identiues such as Catalonia, Lithuania, # Brittany and so on. n ese exchanges w ould concentrate on the innovations produced by Glasgow and the other cities involved : (e.g. Barcelona, Rennes ) in recent years. * vii) M ade ln G lasgow shops Glasgow is assodated with ceativity and design but hardly anyone @ know s w hat its products are. It wotlld be useful to explore the setting up in a num ber of key dties suc.h as N ew York, Tokyo, London, M ilan, of shops (or shops with shops) selling Glasgow made products. These Glasjow oriented shops are likely to have to form part of m ore widerappng Scotdsh shops and they would not only have a retail function but also an export and m arketing function. Tltis idea would not only help brand Glasgow but also 4 increase the know ledge of Glasgow producers. 4è . ; b) Science as culm re # Science and sdentific research are also ctzltural resources. Indeed reestablishing a link is com plem entary to reestablishing the link betw een art and industry. The idea attem pl to bridge the areas of 'arts' and è 'm anufacturing' and of 'creativity' and 'innovation' as a w ay of Presenting an holisdc approach to the futazre developm ent of the city's @ economy and society. @ A particular focus through which 'Science' and 'Culm re' could be linked is the BP sponsored 'Dome of Discovery' project which is looking for a 4 Glasgow: ne Creatkue City and fts Cultural Economy 1. 25 PART I11 * @ ' *.) , perm anent hom e. As part of the prom otion for the 'Dom e' and in its own $' ' right the dty should enhance its im age building and create a m arketing * cam paign w hich exploits and develops the city's existing and past scientific d excellence (James W att, Lord Kelvin, Lister etc). .. * As part of a prom otional campaign and in order to encourage debate and build bridges between sciendsts and cultur/ practitoners, the university in * partnership with the GDA and an institution ( perhaps the School of Art ) ! could latm c.h presentadons, talks or sem inars. These could show the links betw een the two w orltls, through the view ing and discussion of @ 'borderline' cultural product.s such as video art, com puter graphics, 1. . ; holography, electronic m usic and so on. # c) Food and gastronom y as cultural resources - Pursuing @ high value added, niche m arketed food and associated è service oppohunities Scottish food and drink is still m ainly associated w ith salm on, haggis and @ whisky. H owever, we believe that Glasgow is w ell placed to im aginatively rediscover Scottish gastronom ic traditions and to reinvent them by com bining local ingredients with gastronom ic traditions from elsew here. è The scope for innovation and cregtivity in this field is enorm ous. * Due to a grow th of interest in gastronom y in Britin - linked to the process of Europeanization and other influences from abroad - there are interesting opportunities to develop sm all firm s in the custom ized and @ niched food preparation and packaging sectors. Large retailers, w ho in Britain m onopolize food production and retailing are finding it difficult to respond to changes in consum er preferences and are often unable to stock # local and regional products. @ The advantage of Glasgow over other cities in Britain w ould be the possibility to act as the fx d transform ation centre for a large geographical 4 hinterland w hich evokes, nationally and internationally, im ages of freshness and purity ( e.g, wild berry wines, for w hich Scotland for cognoscend already has a good reputation; gam e; fish; m ushroom s etc.). è The objedive is simply to slipskeam Scotland's good food image through Glasgow . J.n addition this cart be supported as the city already has a w ell dekeloped training infrasàucture in Queens College and the Scottish 4 Hotel School ai Seathdyde University. 4 The learning m odel for this approach cotzld be the function perform ed by gastronom ically sophisticated French cities w ith a large rural hinterland, @ w hich for decades have used food as a resource to enhance their im age as cultural centres, attract tourists and' create em ploym ent. Exam ples * include Lim oges, Poitiers, Orleans. @ clasgow: ne creative cfly and fls cultural Economv 12 6 PART II1 @ @ è An action prograrnm e to exploit the Potential of food as a culttlral resource should include: 4 First a fact finding mission by SE/GDA offidals to discover how other cities im plem ent these policies. è Second, an analysis of current gastzonom ic standards and training # facilities. 1 ( Third, a programme of short courses and demonstration projects aimed at @ im proving standazds. l . L Fourth, an im aginative audit of exploitable food resources in Scotland's @ rurai hinterland. Fifth, the establishm ent of new or the adaptadon of existing start up @ funds and business advice services for new com panies in the fields of food i @ . preparation and packaging. Sixth, a cam paign to prom ote Glasgow eating establishm ents and @ gastronom ic products in Britain and abroad. The benefits flowing from this approach would be considerable. N qw * em ploym ent would be generated particularly for categories which would find it difficult to get other emplöym ent't e.g. housewives who want to # supplem ent their income ). The attzactiveness of Glasgow as a culm ral/ tourism dty would be @ enhanced. Jobs would be created in downstream industries induding graphic design * for packaging and the production of packaging m aterials. è d) Sophisticated surveys for place m arketing and a databank è on im ages of G lasgow @ It is im portant that the Agency and other local parfners are aw are of how Glasgow is viewed by key external groups, particularly in Europe. New research should, therefore, be com m issioned to evaluate perceptions of # the city held by spedfic categodes of t'inandal investors or entrepreneurs ( e.g. m usic and media indtustry ). 'fhis shoi d include surveys of perceptions of Glasgow in other ctzlm ral dties in the world. ( e.g. * Barcelona, M ilan, Amsterdam , Hambtlrg ). 80th of these would be aim ed at attempting to czeate joint initiatives or atkact resources to Glasgow. # Associated with this a w idely available databank of im ages of Glasgow @ Should be created ( com prising the m onitoring of m edia im ages and cultural representations of ihe city ). At present studies of aspects of 4 Glasgow: ne crzatiue city and its cultural Economy 1. 2 7 PA-RT 1I1 è @' * @ Glasgow's public imaje exist in various locations but are not available to a11 relevant actors. Tlus databank should becom e an accessible Public @ good. n e researc.h strengths of the 'Quality of Life' Group at Glasgow University may be worth exploiting for such a project. @ @ 4. BUILD IN G TH E CREA TIW C'IR'Y: EU ERIM EN TS FO R A CREATIW SOCIEW AND POLICY # Innovations and creadvity in a dty's polity and social dynazrtics are needed to stim ulate constant innovation in a11 other spheres. If the è society and polity are conservadvely m anaged and afraid of new ideas then w e cannot expect creativity in culture artd the econom y. @ Although the pow ers of the local state have been eroded this is no reason @ for not trying to do what can be done im aginatively w ith existing pow ers. It has been argued that as w e m ove tow ards 1992 and beyond there w ill be @ a re-em ergence of the notion of the dty state based on the m odel of :.4th and 15th century Italy. One can already witness this in w hat Le M onde refers to as the 'bataille des m etropoles' and the com petition about w ho is @ placed w here in the em erging W est European urban hierarchy. London w ill obviously resist tl'tis trend. ' @ Glasgow should conceive of itself as a city state, because of the w ay in w hich this notion can help m otivate local actors and pull resources * together. Obviouslï if Glasgow is to become more self reliant as a city it w ill need to m axim tze the creative resources of b0th its social dynam ics * and polity. The city already has a tradition Qf innovadon in term s of political and @ , ( social engineering, particularly in fields related to urban regeneration. W e believe that the city should m ake its achievem ents m ore w idely know n @ and becom e a reference point for other innovative cities. Glasgow in recent tim es has hosted m any com parative conferences on @ urban regeneration. The m om entum should be m aintained by branding and condnuing these conferences on the m odel of the Triennale in M ilan @ on the future of the m eàopolis. O ther ongoing conference series on relevant them es could be attracted to Glasgow such as the w orld futurology corderence. Glasgow could also organize com parative * conferences in its areas of strengths such as com m unity business or housing. # in addition an international think tank of social and political scientists (the Glasgow laboratoly) could m eet in the city to discuss advanced @ theories of social dynam ics and political organisation and apply them to * Gla sgow: T'he Crea tive City and i ts Cu llurfl l Economy 1 2 8 PART III @ @ y concrete projects in the dty. Ghsgow would then become an internationally reknowned testing ground for social/political @ experimentation and pilot pr+ cts. These experim ents m ight include the creation of 'neighbourhood 4 w orkshops' on the m odel of the 'laboratorio di quartiere' c eated in Bari by local entzepreneur and social sdentist Gianfranco Dioguardi. The w orkshop w ould involve local residents in the scientific m onitoring of # housing and local infrastrudure and in tazgeted m aintenance w ork. è As titis area of c eative thirtking is som ew hat tm der explored a large part of the irtidal w ork is to do with aw areness raising, discussion and debate. 4 This could involve debating cirdes encouyaged by the universitp tade l unions, local authorities, SE, as well as ihvolving schools to do projects concerned w ith the creative dty debate. N aturally, networking w ith @ others abroad is a m ethod of sEm ulating ideas. è One particular exam ple SE should exam ine is Grenoble, w here experim ents have been m ade irt two w ay com m unication betw een the @ citizenry and the local authority. n ey have developed a: televoting system , w hich as a side effect has increased aw areness of the possibilides of * new technology, # 5. N U RTU RIN G CREATIV IW : PO IN TERS TO W A RD S A STM TEG Y FO R EDUCA TIO N (TM IM N G A N D TH E @ D EW LO PM EN T AND M AN A G EM EN T O F LO CAL @ TA LEN T t'hroughout this report proposals are made which have implications on * training and education. The afative im pulse of the dty can only be replenished if attention is payed to creating and m aintaining ladders of opportam ity for people from all kinds of backgrounds. It also requires # those in taining institutions, hl partictllar, to be aw are of w hat the cultural industries actually are artd to understand the potential of è creativity in various other azeas of w ork. An im portant starting point is for the Careers A dvisory Service to # appreciate the range of jobs aml involvements that are possible for people w ishing to enter the cultural arena, this is currently not the case. Being è involved in the m usic or film industry is not only about being a star. There are a11 kinds of dow nsàeam and support activities that m ake an @ industry 'tick'. A recent report by Practical Arts for the N ational Council for Vocational Qualifications W CVQ ) on jobs in the arts described over a @ hundred job specifications. * Clasvkozu.. ne Creative Cfty and its fvlturfll Economy 129 * PART III @ rq @ Second, an audit of training provision in the cultural sector should be undertaken either by the GD A or GDC, to establish whether there are @ sufficient access opportunities in the sector. From ouz; ow n survey it is clear that more cap be done especially in the fields of music and theatre. W hat this m ight lead to is sector advlsory services suc.h as that being * proposed for m usic irt Liverpool called V DAS ( M usic Industry Development Advisoly Services ), this is not thought of as major # institudon but as an office w ith targeted resources. In Liverpool, Leicestez and N ew castle there are UK centres of excellence @ for the management and training of cultural manajers and policy makers. k At present Glasgow has no such instim tion and relles on a sm all pool éJ. culturi operators and yolicy makers. If the momentum of the Year of ; . Ctzltttre is to be m aintam ed this pool needs to be expanded, either through sending key individuals to other centres or by setting up an 'institution' of @ its ovs'n Such an 'institution' m ay indeed be an appendage (at the m inim um even simply a course organizer using outside tutorslto an è existing organisation or departm ent w ithin the university or poly. Glasgow has already established an 'incubator' to harness the ideas and * originality of the university into tradeable products, these are m ostly concerned with biomedicine and new teclm ology. The initiative proposed earlier to create a BU77 in Glasgow could be the advisory core around è w hich a W ASP type managed w orkspacç can be set up to help the @ culttzral industries produce tradeable praducts. The 'creative city prxramme' will need to adverdsed in a11 kinds of arenas, if it is over tlme to have im pact on the w orkings of the city. An # im portant target are schools and colleges, to w hom the GDA should stay close. The GDA should encourage the development of projects and @ Perhaps the incorporation into the curriculum of creative city concepts. This w ill prim arily effect three areas. First it w i11 infuse the concepts into daily teaching . Second, if the link is acdvely pursued it provides the GDA è with a m echanism for new ideas and thirtking even if som e m ay appear 'w hacky' and not related to the GDA'S current internal agenda. Third it # keeps the GDA in touch w ith current thirtking of young people. 4 * ; r @ @ * @ Glasgow: 771, Creative City aa: its Cultural Economy 1. 30 4 P..VRT I1I @ @' @ * @ 4 è @ @ @ @ PA R T IV : * Im p lem entation * @ @ @ @ * @ @ * @ * @ * PA R T IV : ) . - ' Im plem entation * è O RG A N ISATION A w ide range of recom m endadons of different types are m ade throughout @ this report. They are /1 addressed to the Glasgow Developm ent Agency , but w e recognize that a lr ge proportion w ill need to be taken on board b and follow ed through by actors other than the Agency. n ese include: @ @ Arts organizations them selves or groups thereof è . Scottlsh Enterprise * Strathclydi Regional Coundl * * Glasgow Distdct Coundl, especially the Tow n Clerk's departm ent and the depaztm ents responsible for the @ perform ing and visual arts * The educational sector, espedally the 2 * universities and the 6 central institutions @ N evertheless if the GDA takes on board the overarching strategy to m ake Glasgow a 'creative dty' as part of its 'international city' strategy, there w ill need to be staff em ployed who have a broad understanding and overview @ of the key issues, argum ents and needs around production and consum ption right across the cultural sectors investigated, @ The recom m endadons are of varying types and the level, degree and detail of G D A'S potential involvem ent-w ill be based on the Agency's strategic @ objectives. W hat should the organisational focus be that will pull the 4 cultural and creative strands together and become their project champion? The objective of any mechartisms must be such that it is able to take the m om enttzm generated by the Year of Culture forw ard as w ell as @ m aintaining the flexibility and entrepreneurship that the Festivals O ffice achieved. The starting Point for a discussion of an organisationai m echanism s is to ensure that it is capable of achieving greater spending # on the arts than was available before the 'Year of Culture'. Indeed its 4 Perhaps unrealistic target should be to m atch 1990 spending. An im portant issue that needs to be settled at the outset is the definition of @ arts/culture adopted by any entity involved in this area of work. T'his should be the cultural planning and m n im izing cultural resources Perspective outlined in @ Part I1. 4 Glassow: ne Creative cfly an4 its cultwrul Economy 1.32 PART FV * * * F '' 7 If Glasgow is to m ove fprward such an approach is essential especially as the city leaderships need to orchestzate theiz cultural resource to achieve @ their mixed economic, social and cultural objectives. è It is not a question of elite or flagship arts versus com m unity arts, but rather w hat kind nf arts Jcultuze for w hat klnd of purpose. This is the @ central m essage any culttlral agency needs to get acoss . è H ow are different agencies currently involved in the cultural field ? Scottish Enterpdse è There are individual officers with interests and responsibilities in som e cultural sectors, these include film and design, but there is no overall @ structure to deal with the range of cultural sectors investigated w ithin this report. @ ii) G lasgow Developm ent Agency @ The only area w here the Agency has involvem ent in the culm ral sector is design, w here a Design Initiative ià being im plem ented through the Projects Division. n is report is an attempt to assess whether wider * involvem'ent in the cultural ûeld could be fruitful. @ iii) G lasgow District Council The Council has recently reorga' nized itself after dosing down the @ Festivals O ffice. lt now has two departm ents: The Departm ent of Perform ing Arts and Venues (DPAV) which subsum es the Festivals @ O ffice, Catering and Halls and the Departm ent of M useum s and Galleries. lt is hoped that a division concerned w ith arts developm ent and strategy w ill be set up within DPAV in the fuhzre. Such a section is crudal if the @ issues raised in this report are to be taken forw ard. The Tow n Clerks O ffice has recently shown an inyerest in the cultural industzies and they have a spycific m ention in the latest corporate plan. There are as yet no @ officers w ith expertise appointed. Again such appointm ents w ill be im portant if credible parm erships around cultural industry issues are to be 4 addressed. @f Skathclyde Regional Council SRC involved itself quite heavily in cultuzal m atters throughout 1990. Its * em phasis has been strongly focussed on arts and educaion and com m unity arts reiated issues, with an occasional interest in spedfic @ Prestige projects. This involvement is likely to continue from 1991 onw ards. it has no specific interest in the cultural industries. @ @ Glassow: vhe creatkve city and its culturat Eronorr,y 133 PX RT IV ) @ @t ' As is therefore evident there is no existing organizadonal structure w hich pursues argum ents and issues around the cultural econom y and ceative @ city. As a consequa ce we investigated the spectrum of possibilities ranging from the dassical model of a Predom inant local authority guiding and m anaging the fzam ew ork of arts and culm ral developm ent to various @ devolved m odels such as a public/private Glasgow Arts Board or Glasgow Culture lnc. * W e concluded that the GD A should encourage GDC to pursue its ow n cultural industrie' s strategy within its econom ic developm ent initiatives. # This would then pic.k up a large num ber of sector specific problem s amd sector strategy issues. It w ould also be a furinel for initiatives that w ould come up through DPAV. In additiom once that and a.n arts develo/ment 4 section is in place within DPAV a strong basis exists for GDA to btzild up @ 'collaborative advantage' and to share effort. The GDA should set uj an initialiy timedated unit called the 'Creative City' D evelopm ent Unzt or Cultural Industzies D evelopm ent Unit, * perhaps over three to five years. It should indude staff w ith a strong cultural industries expertise. This unit would not w ork in isolation both @ in term s of the GDA and external partners and w ould seek to educate and raise aw areness, pGsuade others to shift the em phasis of their budgee and # to initiate demonskation projects. lt is particularly important that the GDX works closely with the * departm ents w ithin the GDC and SRC concerned w ith econom ic developm ent w ho are beginning to see the cultural industries as part of * their brief. The process of influencing broking should over tim e inc ease the capacity @ of the various business developm ent agencies bot.h w ithin the GDA and elsew here in the dty to respond effectively and appropriately to czeatively * and culturally dziven projects. The Unit should bave a separate budget notionaily divided into tw o parts. * The first concernd with more day to day issues such as publicity and aw areness raising and the second part should be seen as a 'creatlve city venture capital f= d' to initiate the larger Projects noted in this report and @ in a risk taking c& acity to respond to future ones. In this way it is far znore likely that m atching funds can be harnessed from the private sector and @ other agendes and a culture of ilexible response developed. O nce larger Projects such as '1993', described later, have been kickstarted they shotzld take on a life of their own with a separate Project based stucture. n e * Unit should appoint art advisory board w ith strong, but not exclusive, representation from the cultural sector to aid its developm ent. Indeed, @ there m ay be the need for sector spedfic tim e dated w orking groups (in say m usic, design or film ). These individuals m ay at tim es take on som e of @ the industry spedhc tasks on behalf of the Agency. 4 Glassozu: ne creatwe cîty u,:: its cullural Economv 134 P .M IT IV * * ' ,q! The approach of the Unit would be to help the industry help itself. A w ay *t r 2 -. of kickstarting its work could be a series of sector brainstorm ings. Its m ain functions are to do with investm ent, consultancy and advisory services, @ stimulation, promotion and dealing with special events and projects. This approach is a hybrid betw een som e of the existl g m odels in other 4 cities in the UK which see.k to encourage their cultural econom ies. lt seeks to com bine: @. . :ê q Accountability * Effectiveness * Flexibility @ Capacity to bring in outside resources Entrepreneurial capécity @ Kickstart the developm ent of fee paying' services @ M aintaining the position of the 'arts and culture on the council's and other è bodies agenda ' O ur orga ni zat i on al proposals are 'context driven and seek to m arry what it * is possible to achieve in Glasgow today. # # è 4 è @ 4 @ @ 4 Glaszow: T'he Creative city an2 its Cullurfll Economy 1. 35 P..U T Iv * @ @ à---t * * @ 4 * @ è @ @ PA R T V : # D evelopm ent O pp ortu nities * @ 4 4 @ # è @ @ 4 4 @ *> i PA R T V : D evelopm ent O pportunities @ This report m akes 90 recomm endations of varying degrees of im portance * and type w hich are sum m arised under the sum m ary of recom m endations. Som e affirm and bolster w hat the SDA and now GDA and SE is already thinkinp planning or acm ally im plem entinp others by # im plication challenge w hat the Agency is doing. M any recom m endations è are neW . ) :.f W hat however gives the new and ee ting ideas and projeds a fresh inûection is the way they are' ued together from a novel perspective @ . Essentially there are tw o poing to lxaz in m ind. n e first highlights a w ider and redeft ed sense of what açting c :atively in the cultural, # econom ic and social arena can m ean for a dty like Glasgow . The second concerns the firm belief that culture and cultural actiyities is not only è about events and consum ption in gm eral or its educadonal value and contribution to social w ell being but also about production (culture as * production). . This view , and the analysis and.concqpt'ual fram ew ork underlying it, can 4 give an reinvigorated im petus, relevance and m eaning to a w hole range of initiatives be they at the ideas, planning or im plem entation stage. It can help set priorities and provide a set of m easures' to distinguish betkveen # the relevant and less relevant, the stzaiegically focussed and the m erely tactically proficient. @ The recom m endations are of four types. n ey include: @ * Aw areness raising kssues There is a need to changg the m indsets and Perspectives of * policym akers. For exam ple what ottr proposed redefinition of culture can m ean for a dty's developm ent, or, im portantly, that culture is also a significant production sector. The G DA should play * an active role in this sphere seeking to educate and persuade other * actors in the city. * Crossectoral recom m endations There are a num ber of weaknesses cutting across a11 cultural sectors, * these include the relatively weak culttzral m arketing infrastructure and problem s of cultural entrepreneurship, a quality that is 4 necessary to m ake m oney out of ideas, as w ell as an inadequate training infrastrucm re. These are im portant issues and the * GDA'S involvement will have to be judged accordingly. @ 4 Glaszow: n: Creative City artg fts cullural Economy 1. 37 PART V # @ ' *..k * Sector specific rroposals For each of the sectors exam ined a num ber of key proposals are * m ade. Again, whether the GDA involves itself w ill depend to w hat extent it dlimrtly helps the broader creative dty strategy. 4 * Recom m endatio s dem onstratlng Glasgow 's capacity to be a creative city @ These are of direct concern to the Agency and, as they are ) - effectively demonstration projects,active involvement and * encouragem enl is essential. . ( J ; . In this section w e draw out and consider only the last category, although @ the range of other reœ m m endadorts stand as noted to be carried forw ard and im plem ented as appropriate. # 1. THt CREAAVE cln SIRATEGV è The Creative City strategy is the concept that welds together and takes forw ard this report. It utilizes the pow er and potentiai im pact of activities * involved in cultural production and dev'elops these w ithin a wider context. This allows for greater. and m ore profitable intercolm ections, @ crossfertilization and enhancement of ideas and projects. Pursuing the strategy w ill involve a com bination of tasks. A w areness raling and educadng * Prom otion of the concept * Developing an organizational ethos and culture open to innovative and creative opportunities * Reinterpreting and reviewing existing projects and establishing 4 new possibiliâes from within a 'creative city' perspective Instigating sN cific 'creative city' demonstration projects è These tasks need to lx pulled together by the tim edated 'Creative City' D evelopm ent Unit œ Cultural Industries D evelopm ent Unit desc ibed in 4 Part IV . Beyond the day to day projection of the strategy that will occur by putting 4 staff in place tasks 1 to 4 can be aided by 3 initiatives. @ A Think Tank Forum @ * A Creative City Publication * A Promotional Strategy for the Creative City 4 Glasgow: ns Creative Gty and its cultvrul Economy 1. 38 PA RT V @ 4.! @ a) A Think Tank Forum Initially the Unit w ill need' to convince the GDA structure of the m erits of * the strategy, this should be followed up by sectoral and c ossectoral brainstorm ing sessions within the city. In order to replenish the ideas bank around the creaEve city, the SE could initially bring together the @ consultants working on different aspects of Glmsqow's fumre, as outlined in the GDA business plan, including those w orkm g on the 'good dty', the è 'com m unications city' and so on. Others as appropriate could also be $ brought in. Through occasional m eetings over tim e this m ay becom e an inform al netw ork of ouàiders with a knowledge of and interest in # Glasgow - becom ing a spedalist 'friends of Glasgow ' netw ork and resouzce pool. They should be involved as appropdate in the events proposed elsew here . A foctls of their involvem ent should be to contribute to a # 'Creative City' publication. @ * b) The 'Creative City' Publication The task of becom ing a creative city is large, difficult and requires @ discussion of a w hole series of unresolved issues. M uch of this can be helped by public discussion and through. the publicadon of various printed m aterials. One vehicle could be an irregular, interdisciplinary * 'Creative City' publication publicizing Glasgow 's approach with exam ples of best practice both from Glasgow and abroad. This should be distributed @ as w idely as possible including to an international m ailing list. Again this list w ould becom e a friends of Glasgow grouping. Barcelona has m ade a @ virtue of its city coundl pubiications pror amme to project the city abroad. @ t c) The Creative City Prom ottonal Strategy * The prom otional strategy has two m ain parts which should be fully im plem ented by 1993. è First, the creative dty slogan becom es one of the general them es for the c it y ' s prom otion. This inkolves a subtle change from highlighting * Glasgow as the culture city to creative city. It im plies a m uch w ider set of connotations linking to innovation in the arts, econom ic, sodal and è political fields. Second, a m ore spedfic promotion aimed at particular targets (see our @ earlier survey proposals). Targets in Britain should perhaps have an em phasis on entrepreneurs w ho m ight set up in the city. Abroad the @ targets are w ider induding not only entrepreneurs, but also public sector decisionm akers in fields Glasgow wishes to target (e.g. those concerned è with political innovation). Glaszow: ne Creative City arlg its c'ultwra/ Economy 1. 39 # P.u T v @ è @ 2. KEY REGENERATORFROF CTS Demonstration projects need to be undertaken to reveal the 'Creative City' @ strategy in practice. These will be major initiadves, requiring additional resources, w hich seek to em body in their im plem entation the thinking of this report. They w ill act as role m odels for others to em ulate in @ appropriate fields. W e focus on 6 projects: ( ' @ The Tram w ay * * n e College of Building and Printing * * A M edia R esource Centre * * A n enhanced City Hall * @ A n integrated centre for arts inform ation and ticket selling * @ 1993 - The Year of De'sign @' Each initiative is initially culturally driven, although if w ell handled they will provide lessons for w ider azeas of the Glasgow econom y. In @ com bination they touch upon a11 the cultural sectors investigated in this report. The Tram w ay is concem ed with theatre, m usic and the perform ing arts in general; the College of Building w ith crafts, graphics # and m odelm aking; the M edia Resource Centre concerns the new m edia - film, video, qhotography and the audiovisual field in general; .1993' is a @ staging post tocussing on design and m anufacturing and represents a target date for com pleting and ce:ebrating initiatives. # In concept and im pact they go muc.h further tha.n sim ply being about culture in isolation. The initiadves are concem ed w ith: * * Production and product. They are to do w ith m aking things that are * either sold as goods or put on for audiences. * Skills replenishm ent and enhancem ent. They a11 have a strong * training and educational component. * M arketing. The projecl are concerned both with making the arts @ and culture m ore visible as well as providing m echanism s to @ increase audience uptake. 4 Clasgow: The Creative c'fly and its culjurxl Economy 1. 4 0 * P.-VRT V @ :? * Consum ption. They are bound up with saleable Products, perform ances, exhibitions and other events. * @ Trading support 1993 in pardcular should be a m arket for Glasgow @ products. @ Spillover effects into other industries. They a11 are concerned w ith innovation and creativity w hich have applications to other sectors @ of the local econom y. 4 @ Urban regeneration and lzrban design. n e inidatives could result in ûagships, even if only in som e instances for specialist audiences. n e Tram w ay in particulr could be a non dty centre urban # regenerator. # * Im age. n e projects contribute to enhandng the image of thè dty. # * Tourism impact. A1l the projects contibute to tourism interest. The projects have all been covered in the body of the report as have the * argum ents for their need. Here w e sim ply sum m arize. è A . n e Tram w ay The Tram w ay already represents an interesting set of perform ance and 4 exhibition spaces, w hose value F as proved in 1990, but its potential is far greater, given the underdeveloped additional areas of the building. It should be conceived of as an integrated Centre for the Perform ing and @ Visual Arts combining production, training and perform ance/exhibition, vk'ith supply services located nearby By focussing a range of activities at the @ Tram w ay a critical m ass couid be achieved to m ake the building an urban regenerator for the area. The m jin elem ents w ould be: @ * Rehearsal areas # * Production Studios, for exam ple for scenery m aking # * A m ore inform al perform ing arts training centre @ The location for a BUZZ type initiative - a business advisory # service for arts business linked to an arts m anagem ent 4 training centre @ Perform ing and exhibition spaces as at present @ @ Enhanced catering facilities @ The setting up of cultural industry related workshops nearby, perhaps in a m anaged workspace environm ent along the Iines of the W ASPS studios 4 Glasgow: ne Creative City cnff ils cultural Economv 1. 41 * PART V @ 4 should be encouraged. Equally, if possible, facilities for cultural w orkers should be considered. If the level of activity can be generated the # Tram w ay could becom e a creative hub of a czeative city. @ B. The College of Building and Printlng * The College is an undiscovered 'gem ' dght at the heart of the city. Its role and projection should be reassessed, indeed its name should be changed. Its primary contribution to the ceadve city project is in skills è replenishm ent and enhancem ent- n ey have the available sldlls - from craft masonry and caryentz'y to graphiœ - required to train more artisan * type individuals requzred for the increasingly rdched and design oriented m arkets of the future. The College works aw ay from the m ainstream of @ cultural developm ent in the city. Discussions should take place to establish the w ays in w hich the College @ can gear its work to the benefit of the 'Creative City' project. This would involve not oniy the College, but also other educational institutions and @ funders as w ell as industry. Initial contacts suggest they w ould be excited by the prospect. @ At the outset a skills needs audit for the 'Creative City' project would clarify how needs and resources zn' atdu To tM s should be added spedfic demonstration projects. One spedfic idea noted relates to street furniture 4 production using perhaps 'The Great Street/Buchanan Street' as the exam ple. By focussing on functional but w ell designed products such as * street furniture potentially profitable links can be established betw een design and industry. In addition the city itself acts as a stage and marketing device. The College could create such a demonstration project * by bringing together its craft and prototyping skills w ithin the College and the area's construction industry.where it already has established contacts. @ If successful som e of the item s could go into production. # A M edia Resource Centre/ G lasgow Film and TV Centre # There is a relative lack of com parative strength in the Scottish and Glasw egian film and audiovisual industry. In addition the sector is relatively invisible in debates about Glasgow 's cultuzal developm ent b0th # in the city and in term s of how ouliders desc ibe the Glasgow cultural scene. H ow ever these audiovisual industries are at the cutting edge of 4 new com m unications technology and closely linked to the em erging know ledge industries. @ The sector needs to be seen to be higher on Glasgow 's public agenda. There has been discussion and indeed a feasibility study w ithin the city on som e @ form of 'media centre'. This project should be pursued with some vigour. è Glasgozu: The cregtive city an' J its cx/lurcl Economy 142 I/-.tR'r v # @ F- @ At a m inim um it need only be a visible public face in the city centre @ housing m erely key A/V related organizations such as the Scottijh Film Council, a Scottish BAFTA , tke Scottish Training Trust and others as appropriate. It m ight also h= m ' a Glasgow Film Com m iséion or at least a * Glasgow Film Officer on the Liverpool City Council m odel to encourage film m aking in the city. 'Fii should not be seen as w orking against the activities of Scottish Screen Locations but supplem enting it #i . Such a cente should also bw e screening fadlides and an area for sem inars, conferences and xh on. Supported by suitable catering fadlides the enterprise should have è e feel of a film and 'rV cen/e and club, and Pervade an atm osphere w lw e people feel they can drop to brow se. Other facilities m ight indude, on #.n expanded m odel, kairting spaces or a sm dio # and it could even be the location for one of the outposts of a m ulti site Scottish Film School now Y ng discussed @ . n ese desirable addidonal features are not essendal ta launch the project. è D A n Enhanced City H all @ The GDA should review tiv role of City H all in order to enhance its function for the city. W haA er is decided m usic should be a prim e focus. # The building is currently > ed a' s.a m tzlti-purpose venue for m usic Perform ances, m eetings of dubs and voluntary associations and as a m inor conference centre Ithas one of the finest auditoria for cham ber and orchestral m usic. W ith slli-ble upgrading of overall facilities City H all * could becom e a lively heart of the M erchant City. * E. A n integrated cehtre for arts inform ation and ticket selling * The weakness of arts marlting could be substantially overcome if there w as a strong central point Ior selling tickets and provlding arts 4 inform ation. An integratd organisation based ideally at Stirling's library in Royal Exchange Square could meet the objections of the arts è com m unity voiced against the lim ited ticket selling operation in f' Candleriggs and qt the totdst office. It could also be the Point w here dty bus tours m ight start. J.n ihis way it would, over tim e, achieve a strong @ identification for both visiters and residenl. è This office could also be tl base for the arts m arketing agency, w here databases are assem bled, mailings and bulk distribution arranged, w here @ slide archives m ight be kv t and w here azdsts and visitors from outside Glasgow would find their & st contact point. This agency should also be concerned with m ore high pow ered and strategic aspects of arts m arketing @ such as joint market resem h (purchasing the customized software 4 Glasgozu: The Crcatfve cf tg arz its Cultural Economy 1. 43 è PA RT V @ F x 'j * packages of Cardiff Arts M arketing would be useful), m onitoring and * issues concerning the projection of the arts as a whole. @ E. 1993, The Year of D esign - The N ew Staging Post In 1993 Glasgow is holding the w orld internationi design conference w ith * 3,000 delegates. This provides the opportunity to build upon and present to the public the evidence of the strategies proposed in this report. It could @ be the target date at witich various initiatives could be latm ched or reach a ...ï higher profile. It could be the next major staging post for the city. # The conference must not just be an event as an end in itself, but the launch pad !or the celebration of design and m anufacm red goods in a11 * their contexts, induding a celebradon of popular cultttre in term s even of hairstyling, cars, clothing design, other utility goods and services. è The conference itself m ust be m ore than a talking shop, it sholzld be seen also as a trade fair for Glasgow products. W hat needs adding is an exhibition and sales m arket of Glasgow products produced and exploited # in G lasgow as well as of new product ideas.' H ere links w ith the College of è Building and Glasgow 's prototyping capacity can established. The D esign for Real conference idea should be revived. This w as about 4 how G lasgow designers have becom e successful elsew here. The city itself could be projected as a city of desir reflected by * environm ental im provem ents such as in street furniture, m entioned earlier, as w ell as tem porary public art structures and lighting initiatives. # As tim e is already short the GDA should initiate the appointm ent of an * individual to begin to w ork on 'an overall and integrated program m e for : the year. * @L g.. # @j. ' @ * 4 Glassow. The creative cily ana ïts cultural Economv 1. 44 @ PART V i > .' ' # * @ @ @ 4 è * * @ 4 A PPEKD IX 1: @' * List of interview s # * 4 è * è @ @ 4 è @ Cm @, A PPEN D IX 1: *;'n List of tntèrviews @ Glasgow : ' The study w as m anaged by Kevin Kane of the then Glasgow Region of the Scotdsh Developm ent Agency w 1t.11 whom a regular set of feedback, ' ,C' guidance and discujsiort m eetings were held. It w as researched and l written by Charles Landry. * t: zl A m ultiple set of m eetings were held with people such as Kevin Kane, Bob Pimer, Ross Hunter, Linda Galbraith, Jolm Din> all am ongst others *i listed below . n ose w ho took part in peer group assessm ents are m arked - è with an asterisk *. Bob Palm erz Director of the Festivals Unit * * N eil W allace, Deputy Director Festivals U ztit' * Tessa Jackson, Visual Arts Officer Festivals Unit * 4 Ewan M cpherson, SDA Ew an W illiam s, SDA * 6. Jane Cook, SDA # 8. Jeart Beaumont, SDA @ 9 . Cyril Gerber, gallery owner # 10. W illiam H ardie, gallery ow ner * 11. Steve Inch, Econom ic Developm ent, Glasgow District Council 4 12. Dougald Cam eron, Head of Design and Engineering Course, 4 Glasgow School of Art ; : Julian Spalding, Director oî M useums # Jolm Dingwall, Director, M usic in Scotland Trust * 4 Jolm W illiamsom Organizer, New W orld M usic+ @ Kevin Sm ith, m usic prom oter' @ Sim on Frith, Professor M edia Studies, Strathclyde Univ. + 1.. 1 18. Ross H unter, h oprietor, Graven Im ages * @ Glasgow : n e Creafive Cïly and its Cullveal Economy 1. 46 @ APPENDIX 1 t .. i. - .:1 @ è è 19. Jane Kirkpatrick, Proprietor, Graven Im ages * 20. Elaine Dunlop Scottish Design Council @ 21. D an W right, Flem ing Therm odynam ics * 22. Andy Low, Du ign Consultant # 23. Ivor Tiefenbnm n, Founder, Linn Produds * è 24. Jim M ulrine, Furniture M anufacturer 25. Alastair M acdonald, Design Depaztm ent, Glasgow School of F A rt * ' 26. Bill Duthie, lx puty Principal, Glasgow College of Building * and Printing @ M artin Noon, Head of Photography and Design, ditto 4 28. M elvin Ingliston et a1, Blade Advertising 29. Richard Ashdown, A shdow' n M illan Ass. @ 30. Glyn Price, Ptindpal, Russell Design Ass. * @ M alcolm Allen, Angus M odelm akers # Ian Dewac Director, Fashion Centre * è 33. Julia Radcliffe, Cx rdinatoc Sculptuze Studios è 34. Roger Bilcliffe, Director, Fine Arts Sodety * 35. David Reed, Glasgow Print Studios * 4 36. Chris Carol, Director, Third Eye Centre * 4 37. Linda Galbraith, Coordinator, W ASPS * 38. Angela O'Hagan, Coordinator, BUZZ, form erly GDC 39. Angela Petrie, M arketing Director, Scottish Ballet @ 40. Paul Bassett, Director, Citizens Theatre * @ Alan Lydiazd, TAG Theatre Com pany 4 Glasgozv: ne creatizw cily and its cullurll Economy 14 7 4 APPEN D IX 1 @ @ 42. Billy Differ et a1, Kings n eatre è 43. Richard M antle, Director, Scottish Opera * 44. Eddie Dick, M edia Education Officer, Scottish Film Coundl * 45. David Bruce, Director, Scottish Film Coundl * @ 46. Erica Kinp Deputy Director' Scottish Film Counicû * @ 47. Penny Thom pson, Diredor, Scottish Film Production Fund * : 4 48. George W eir, Strathclyde Urtiversitp Incubator U nit @ 49. Alan M ax regor, Econom ics Departm ent, Glasgpw U niversity è 50. Jim M cGowan, Training Agency 51. N orm an Trotter, n e Licensing Centre @ 52. Robin Boyle, Centre for Planning, Strathclyde U niversity 4 53. Peter 800th, ditto Outside Glasgow # 54. Pvichard Francis, Directoy TATE of the N orth * @ 55. Dave Laing, International M usic W eek + 4 56. Bill Alexander, Director, Royal Shakespeare Com pany * j @ 57. M ary Loughan, Independent n eatze Council + 4 58. Jean Horstmann, ex- British Am erican Arts Association 59. Franco Bianchini, Centre for Urban Studies, Liverpool, also è Com edia associate @ 60. Sim on Blanchard, m edia consultr t, Com edia assodate * 6 l . Alice Raw sthorne, Design and Advertsing Correspondent, * Financial Tim es * @ 62. Jerem y M yerson, Design Consultant * 63. H erm ann Schw engel, Lecturer in Culm ral Policy, Freie @ U niversitaet, Berlin * @ Glasgow : n e Creative city a?:d its Cultural Econom y - .1. 48 : @ APPEN D IX 1 1. , ' .. ..1 @ j * 64. Eduardo Delgado, Director, Centro d'Estudis e Recorsis, t','ê/1 Barcelona * 65. Francoise Dreyfus, Cultural Policy Analyst, University of Paris - 2 # 66. Katie Guarderas, Tw izm ing Bureau, N im es 67. Patrick Le Gales, Observatoire Sociologique, Paris *i ! @ 68. Em anuel Negrier, IDATE, M onT ellier @ 69. M aarten H eyer, Leiden U niversity 70. Juergen Friedrichs, Department of Sodology, University of @ H am burg Patrida Jones, Allim ce for the Arts, New York + @ @ @ # è # @ 4 r @ @ # @ @ 4 Glaq ow : n tp Creative City JzzJl its Czzllzfraf Economy 1. 49 * APPEN D IX 1