Geographia Polonica 2018, Volume 91, Issue 3, pp. 335-351 https://doi.org/10.7163/GPol.0124

INSTITUTE OF GEOGRAPHY AND SPATIAL ORGANIZATION POLISH ACADEMY OF SCIENCES www.igipz.pan.pl www.geographiapolonica.pl

THE ROLE OF CREATIVE ECONOMY IN THE REALIZATION OF A CREATIVE CITY: A CASE STUDY OF THE CITY OF IN PROVINCE,

Ali Bagheri Kashkouli1 • Asghar Zarabi1 • Mir Najaf Mousavi2 1Department of Geography and Planning Sciences University of Isfahan 81746-73441, Hezar Jarib str., Isfahan: Iran e-mails: [email protected] • [email protected]

2Department of Geography Urmia University 5756151818, 165 Urmia: Iran e-mail: [email protected]

Abstract In a society, cities are the centers of human interactions, creativity, knowledge, diversity, culture, commerce and economic creativity. Owing to the importance of innovation, knowledge acquisition, and the increased recognition by the government in Iran, many cities have developed strategies and implemented programs to improve their ‘innovative milieus’ and to attract ‘creative people’ in creative industries in order to aid the restructuring and growth of their economy. This paper is a case study serving as a contribution to the current research in the field of small cities, with a focus on the city of Meybod, Yazd. The research examines the factors affecting the attraction and retention of creative people and creative businesses in Meybod, based on the data collected from the Statistical Center of Iran, the management and planning organization of , government reports, and key informant interviews. The findings reveal that the attraction of creative people and creative businesses is a complex process. Affordability and livability turned out as the primary drivers of attraction, supported by specific qualities of community and place. Small regional cities exhibit unique inherent characteristics that can attract creative people. It is a key task for governments to leverage such characteristics in their policy making.

Key words economic components • creative industries • creative city • small cities • Meybod • Yazd Pro­ vince • Iran 336 Ali Bagheri Kashkouli • Asghar Zarabi • Mir Najaf Mousavi

Introduction to examine small cities in Yazd. For example, Zarabi and Mousavi (2009) investigated the function of small towns in urban and regional Creativity, knowledge and innovation have development, and Nori et al. (2009) studied become the main driving forces of economic the city of Meybod. However, there is still development. In this context, several con- a large gap in the knowledge regarding the cepts have emerged, such as ‘creative indus- factors and processes that affect the growth tries’, ‘creative cities’, ‘creative clusters’ and of creative economies in small cities. ‘creative classes’ (Selada et al. 2011). Crea- This paper adds some insight to the lit- tivity and knowledge are recognized as key erature on the growth of creative economies infrastructures in the social and economic life in small regional cities. It aims to explore of a city (O’Hare 2011). This is especially the how and why a creative economy may grow case in post-industrial societies where creativ- and prosper in a small regional city and lead ity has emerged as the basis for competitive to the realization of a creative city. In this advantages (Bishop & Han 2013). In Meybod respect, Meybod was selected as the subject and elsewhere, there have been increasing of a case study. It is a city whose urban man- efforts made by municipal, regional govern- agement identifies the importance of creative ments, non-governmental organizations and industries in its economic development strat- private sectors to attract creative people egy. The city has invested significantly in its and businesses (Zarabi et al. 2014). In this arts and cultural infrastructures, which pro- case, concepts such as ‘urban entrepreneur- vide vivid evidence for its creative industries. ship’ (Acs et al. 2008) and ‘creative class’ It is expected that the findings of this (Markusen 2006) have been used. Despite study will be of help to researchers and poli- the theoretical fundaments of Florida’s crea- cymakers. For researchers, the study provides tive class, there is practically no empirical evi- interesting insights into the current literature dence to support that approach. For example, on the assessment of creative cities and sus- the availability of jobs rather than amenities tainable development to measure efficiency appears to have attracted creative people in urban contexts. The study also provides in some circumstances (Bishop & Han 2013). policymakers with useful information with While large metropolitan cities have typi- which to adopt more effective policies for cally been a focus of research, there is now realization of creative cities, such that devel- an emerging body of literature that examines opment is balanced with sustainable perfor- the growth of creative economies in small mance. cities. More recently, some authors have The article is organized as follows. The next started to study small territories and crea- section reviews theoretical discussions on the tive economies (Selada et al. 2011). Research concept of ‘creative city’, with particular to date suggests that, in some circumstances, emphasis on the role of creative industries. It the environment for business is more impor- is followed by a section focusing on the crea- tant than the people climate (Andersen et al. tive industries in Meybod. Finally, the paper 2010). It also appears that creative people ends in a conclusion including a summary seeking to reside in small cities find different of the most important results. amenities and qualities of the place attrac- tive, as compared to those who reside in the Theoretical issues and the inner suburbs of large metropolitan cities. According to Lorenzen & Andersen (2011), literature governments need to pay closer attention to local contexts rather than adopting a ‘one- Among the issues discussed in the literature, size-fits-all’ approach, as has been done in the the Creative Economy stands out as a shin- past. Several studies have been conducted ing light (Bakhshi & Windsor 2015). Creative

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 337 economy leverages creativity, technology, decentralized decision-making, and cus- culture and innovation in fostering inclusive tomer focus. and sustained economic growth and devel- On the other hand, the people climate opment. Its sectors include arts and crafts, refers to the stimulating environment books, films, paintings, festivals, songs, of opportunity, amenity and openness designs, digital animation and video games. to diversity, which attracts creative people. They generate income through trade (exports) As Florida (2002) puts it, there is an emerg- and intellectual property rights and create ing ‘creative class’ which includes a ‘core new jobs with high occupational skills, partic- creative class’, “whose economic function is ularly for small and medium-sized enterprises to create ideas, new technology and/or new (United Nations 2015). creative content” and a wider group of ‘crea- Furthermore, many creative economies tive professionals’ who “engage in complex are steeped in traditions that date back for problem solving”. The ‘core creative class’ has decades or even centuries (World Economic become the catalyst for economic growth, Forum 2016). Meybod, for example, has a rich with the people climate as the decisive source cultural heritage by virtue of its history of sev- of competitive advantage and through its eral thousand years. This history is all through ability to attract and retain creative talents. marked with adobe and clay craftsmanship, Indeed, the ‘creative class’ is characterized from the construction of castles and shrines by the spirit of autonomy and flexibility in the to small-scale artisans. It is the entrenched process of creativity, expression of individu- strengths of the locality, including its long- ality and openness to the different. Thinking standing local customs and culture, which creatively is a ‘key skill’ that can support indi- make it ripe for creative development. How- viduals and groups in resolving issues related ever, a flourishing local creative economy has to change or management. It is clear that augmented the handicrafts factor to contrib- a creative city pre-requires change of pri- ute to the attractiveness of particular places. orities. The next step to take includes three A review of the growth of knowledge important issues. According to Deffner and and creative economy can explain the busi- Vlachopoulou (2011), these issues are as fol- ness climate and the people climate of the lows: city. By using the ‘learning region’ concept • development of a form of social capi- to conceptualize the knowledge economy, tal where actors would seek to engage Florida (1995) argues that the basis of com- in more extended objects, petitiveness of this economy is its sustainable • deep understanding of the creative pro- ability to create knowledge. The business cli- cess at all levels and involving all stake- mate which underpins this competitiveness holders, includes the following: • more inspiring activities to implement • a manufacturing infrastructure of inter- a creative city, such as planning, building/ connected vendors and suppliers, housing, traffic management, signaling, • a human infrastructure that can produce giving information, and making cultural knowledgeable workers and facilitate con- manifestations. tinuous improvement of human resources, ‘Culture-led regeneration’ and ‘city mar- and continuous education and training, keting’ have become the main strategies • a physical and communication infrastruc- of cities in order to create a ‘good image’ and ture that is globally oriented and facili- attractive and high-quality places. As also tates the movement of goods, people and mentioned by Peck (2005), the creative econ- information on a just-in-time basis, omy is not only about creative people and • an industrial governance system that creative industries but also about marketing, adopts the characteristics of knowledge- consumption and real-estate development. intensive firms such as co-dependency, The new economy pushes cities to search

Geographia Polonica 2018, 91, 3, pp. 335-351 338 Ali Bagheri Kashkouli • Asghar Zarabi • Mir Najaf Mousavi for new spatial organization through urban ties for developing countries to increase their restructuring (Sassen 2001), and, in this participation in the global trade. However, restructuring process, art and creativity play the importance of creative industries is more an important role as the key growth resourc- remarkable when examined at a city level es (Sharp et al. 2005). (see Baycan-Levent 2010 for a comprehen- In recent years, there has been a shift from sive evaluation at a city level). Also, for some a more traditional concept of culture and cul- cities, the stated level of creative employment tural industries, as linked to the classical fine is higher than the national levels of creative arts, towards an understanding of creative employment. industries that centers on the productive and In general, creative industries tend to clus- innovative capacity of knowledge and infor- ter in large cities and regions that offer a vari- mation (Cunningham 2002; UNCTAD 2004; ety of economic opportunities, a stimulating Askerud 2007; Cooke & Lazeretti 2008; environment and amenities for different life- Evans 2009). In this sense, creative industries styles. Creative industry development is often are more open to trade and exchange and are considered as a part of the inherent dynamic positioned at the crossroads between arts, of urban spaces and urban environments business and technology (UNCTAD 2004). that provide ideal conditions, or a creative Nowadays, creative industries are among milieu, for cluster development (Porter 1998; the most dynamic sectors in the world econo- Landry 2000; Porter & Stern 2001). A ‘crea- my, providing new opportunities for develop- tive milieu’ can be defined as “a locational ing countries to leapfrog into emerging high- hub combining hard and soft infrastructures, growth areas of the world economy. Globally, acting as a crucible for creative people and creative industries are estimated to represent enterprises” (Landry 2000). A creative milieu seven per cent of employment, more than is similar to what historians have termed seven per cent of the world’s gross domes- as a ‘moral temperature’ allowing a par- tic product (GDP) and predicted to grow ticular kind of talent to develop in one place averagely by 10 per cent annually (UNCTAD at one time (Hall 2000). This milieu, a notion 2008). This positive trend is observed in all similar to that of the ‘innovative milieu’, has regions and countries (see Baycan-Levent four key features including information trans- 2010 for a comprehensive evaluation), and it mitted among people, knowledge or the stor- is expected to continue into the next decade, age of information, competence in certain assuming that the global demand for creative activities, and creation of something new out goods and services continues to rise. Creative of these three activities (Törnqvist 1983; Hall industries represent a leading sector in the 2000; Wu 2005). A creative milieu and the Organisation for Economic Co-operation characteristics of social and economic net- and Development (OECD) economies (EESC works are considered important in fostering 2003), constituting one of the leading assets creativity. and opportunity areas in the EU and other Creative industry development requires European countries (Florida & Tinagli 2004; a creative milieu that is based on highly devel- Andersen & Lorenzen 2005; KEA 2006; MEA oped ‘hard’ and ‘soft’ infrastructures. A hard 2006; Fleming & Norden 2007; UNCTAD infrastructure refers to classic location factors 2008), in East Asian countries such as Korea, and includes labour force, rent levels, avail- Singapore, Hong Kong (China) and increas- ability of office space, accessibility, local and ingly mainland China (Chang 2000; HKTDC national tax regimes, and other regulations 2002; Jing & Rong 2007; Xu & Chen 2007; and laws affecting the functioning of com- UNCTAD 2004, 2008), and in many develop- panies. Nearness to global financial centers, ing countries (UNCTAD 2008). The creative major international airports, telecommunica- economy, in general, and creative industries, tion services and other service suppliers and in particular, are opening up new opportuni- clients, and the availability of an international

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 339 labour pool are also important considerations (Fig. 1). It was chosen as the subject of this (Sassen 2001; Musterd et al. 2007). study due to certain features as follows: A soft infrastructure, on the other hand, • a population of approximately 80,712 peo- includes a highly skilled and flexible labour ple, fitting the description of a small city, force, a culture of entrepreneurship, a high- • anecdotal evidence (http://whc.unesco. quality and attractive living environment, org) and quantitative data (Statistical cultural richness, tolerance of alternative Center of Iran 2016; Management and lifestyles or diversity, a lively cultural scene, Planning Organization of Yazd Province creation of meeting places for business and data 2016), suggesting the growth of such leisure purposes, education and social sup- creative industries as pottery and zilu (cot- port systems, research resources and the ton carpet) therein (Figs. 2 and 3), support of networks and marketing (Musterd • its local government that has been pro- et al. 2007; Yip 2007; Foord 2008; UNCTAD active in promoting the city as a ‘thinking 2008; Evans 2009). city’, focusing on innovation and creativity It can be said that creative industries in its economic development strategies serve as a complementary activity, a vehicle and on upgrading of public spaces and for economic diversification (Azevedo & Bar- cultural infrastructures. bosa 2014). Such industries, as small-scale The spatial unit of analysis was the Great- creative businesses, are in the perspective er Meybod Local Government Area. The tem- of entrepreneurship. poral unit of analysis for the qualitative com- Meybod is one of the few places in the prov- ponent was five years from 2011 to 2016. It ince of Yazd where well established creative was a period in which, as some preliminary industries are still being practiced. Pottery, research suggested, social, economic, spatial zilu (a kind of carpet), tile and ceramic indus- and physical changes occurred. To analyze tries are the activities that play an important the data on the employment in industries, the role in the growth of the creative economy timeframe of 10 years from 2006 to 2016 in this city. The cultural and creative indus- was selected. This was due to the limitation tries link the traditional knowledge to the ulti- of access to detailed digital data from the mate consumer in their capacity to serve both Management and Planning Organization cultural and economic objectives In Meybod, of Yazd Province. “the creative industries link the traditional The data were collected from the Statisti- knowledge to the ultimate consumer in their cal Center of Iran and semi-structured inter- capacity to serve both cultural and economic views. Using CCI’s classification of industries objectives” (Yang & Černevičiūtė 2017). In this (Higgs et al. 2007), ANZIC06 and ANZSIC93 regard, the creative industries in the city can four-digit level industry of employment data be viewed as consistent with the sustainable were sourced and aggregated from the Sta- development paradigm. tistical Center of Iran data for 2011 and 2016. Method The semi-structured interviews included a stratified sample of 91 key informants cho- A single intensive case study of Meybod sen from creative industries (11), the general was chosen for the research design to allow business community (32), the Cultural Herit- an explanatory investigation of the complex age, Handicrafts and Tourism Organization social phenomena at play. Meybod is the of Yazd province (7) and Yazd University (5). second largest urban center in the prov- Twenty one participants worked in Meybod, ince of Yazd with an estimated population six in Ardekan and nine in Yazd. Up to ten of 80,712 in 2016 (Statistical Center of Iran questions were asked in each interview. They 2016). It is a major regional center approxi- were on topics ranging from changes mately 60 kilometers to the northwest of Yazd in the local creative economy, characteristics

Geographia Polonica 2018, 91, 3, pp. 335-351 340 Ali Bagheri Kashkouli • Asghar Zarabi • Mir Najaf Mousavi

Semnan Khorasan Razavi

Legend Yazd Province Boundary Neighboring Province Boundary County Boundary South Section Boundary Isfahan Village Boundary Khorason County Centers Urban Points Aghda

Ardekan Caspian Ahmadabad Sea Bafroeye Meybod Ashkezar zarch Nodoshan shahedeya Bahabad IRAN Khezrabad yazd hamideya Yazd taft bafgh

nir

Persian Gulf abakuh Gulf of Oman mehrdasht

marvast Kerman Fars

herat

Figure 1. Map of Iran showing the location of Yazd province, and map of the city of Meybod (adapted from the Statistical Center of Iran, 2016)

Figure 2. A pottery workshop in Meybod Figure 3. Zilu industry in Meybod of Ardekan as a place, resources available to creative businesses, and the effect of prox- Changes in the creative economy imity to Yazd. The length of each interview of Meybod was approximately one hour. Statistics of the creative economy The data analysis involved descriptive sta- of Meybod tistics and verbal analysis of the transcribed interviews. Memes were written to describe An analysis revealed that 4869 persons liv- the relationship between the concepts ing in Meybod Local Government Area were to gradually build up a theory with a plausible employed in creative industries at the time explanation. of the 2016 Census (Management and Plan-

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 341 ning Organization of Yazd Province, 2016). Practically, there was no constraint for This was a 10.6% growth over 5 years from a young weaver who had learned weav- 2011 and a 25.4% growth over ten years ing skills in Bashnighan to seek independ- from 2006 (Tab. 1). Architecture, designing, ence. Newly independent weavers could handicrafts (e.g. zilu and pottery) films, TV also acquire the necessary capital outlay and radio, software, and interactive contents to establish their own workshops and were the largest creative industrial fields buy some materials with the contribution of employment in 2016, with 4869 persons of their family members or merchants. accounting for 36.2% of employment in the Eventually, zilu workshops were distribut- creative industries. ed all over the region of Meybod. The division of labour in zilu weaving with- The Zilu Museum of Meybod is located in each unit is based on the level of skill, i.e., at Shah Abbasi , which is a splen- unskilled and highly skilled labour. Young boys did place with a qanat (i.e. subterranean from the age of 5 or 6 participate in unskilled waterway), wind catchers and a restaurant. tasks to help skilled workers or master weav- It is close to an ice house (Yakhchal), a pony ers. They beat the wefts with a beater comb. express post office (Chaparkhaneh), a water A weaver begins as a boy working for his mas- reservoir and some other sites. ter, after several years, progresses to skilled Next to the zilu industry, there is the work, and eventually becomes an independ- software and interactive content sector ent master. This skill seniority plays a crucial with 751 employees (15.4%). It had the role in the spatial dispersion of this industry. largest growth over 10 years from 2006 The authors divided the development and to 2016, with a 23.4% increase in the num- change of zilu industry in Meybod over the ber of employees. The architecture, design- past two decades into three stages. These ing and handicrafts sector had a substantial three stages are as follows: growth, as did advertising and marketing, 1. Zilu weaving industries have a long his- films, TV and radio, publication, and perform- tory in Meybod, dating back to the Middle ing arts (Fig. 4). Ages. However, until the beginning of the 1950’s, this industry only existed in villag- Changes through the eyes es around Bashnighan, which is an area of informants in the center of Meybod region. Zilu pro- duction was principally done in household Overall, as the key informants stated, there modes, and its labour force mainly consist- has been a steady growth in the number ed of household members with additional of people employed in creative industries. apprentices from outside. It is specifically to be noted that there has 2. Since the beginning of the 1950’s, when been a growth in the number of employees zilu was in heavy demand suddenly, mas- in advertising and marketing, handicrafts, ter weavers of Bashnighan have utilized ceramics, and tile industry. child laborers in the surrounding villages The earliest pottery found in Meybod to raise the productive capacity and dates back to 6000 BC. The clay is blended to increase the number of looms within with water, shaped and baked to produce their workshops. The children are liter- jars, pots and pans, playing an important ally wage laborers rather than arduous functional role in daily lives of people. The apprentices. As a result of this change, the progress in ceramics also indicates the mate- production in zilu weaving industry has rial and spiritual development of human changed to a manufacture mode. civilization during this era. Pottery has been 3. At the end of the 1950’s, zilu weaving a part of the city’s culture for thousands workshops gradually began to be located of years. Meybod ceramics and earthenware in the surrounding villages of Bashnighan. are unique in design. Among the oldest antiq-

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Figure 4. Changes of employment in creative industry sectors for the Greater Meybod Local Government Area in 2006, 2011 and 2016 (based on the Management and Planning Organization of Yazd Province data, 2006, 2011 and 2016) uities is some Median earthenware. Tile and Several informants stated that there was ceramic arts in Meybod have shown very a well-established professional manual arts important developments of application in sig- community in Meybod. They termed the com- nificant architectural constructions since the munity “strong” or “vibrant and fresh”. beginning of the Islamic era. The evolution Nowadays, many fine arts graduates hold from traditional pottery, roof tiles and jars creative jobs to improve their practice in arts, to the tiles produced with stone powder bear- and there is a formidable commercial demand ing rich floral and animal figures and designs for manual arts in Meybod. The crafts sector in various hues has led to one of the biggest is also often given a high level of importance. ceramic industries in Iran. This cannot be con- In this city, the total crafts production repre- sidered as an accidental phenomenon. sents a yearly income of approximately US$ Meybod, as the hub of the Middle East 2 million and brings to the crafts workers pottery, is one of the resorts of Yazd Province a monthly income of US$ 50 to 100. Exports which attracts numerous tourists every year. in crafts (excluding sales to tourists) amount Pottery is the city’s first exported product. to US$ 3 million per year. Handicrafts are A 29.8% increase in the export of handicrafts, a part of the culture in the city and represent as compared to last year, reveals the impact a key component of socio-economic life and of crafts in the creative employment. In Mey- human development. Therefore, it is essential bod, many handicraft workshops are active that people’s cultural well-being be consid- and recruit a great number of jobless people ered as an integral part of their social and (Fig. 5). economic well-being. Recognizing the link between culture and Changes in the employment in arts development will be pivotal to the success of future policies, the capacity of policy mak- There were mixed views on the amount ers for multisectoral interventions, the devel- of growth in the number of people employed opment of creative industries, and, conse- in manual arts, or handicrafts, in Meybod. quently, the realization of a creative city.

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Figure 5. Art of pottery in Meybod

Several informants remarked that some tive businesses and activities, the key inform- artists live outside Meybod (i.e. in rural are- ants perceived an increase in the number as) but come to the city to work or engage of creative businesses in Meybod. Also, it was with clients. Regarding the changes in crea- observed that some Yazd and Ardekan archi-

Geographia Polonica 2018, 91, 3, pp. 335-351 344 Ali Bagheri Kashkouli • Asghar Zarabi • Mir Najaf Mousavi tecture firms had opened offices in Meybod. The number of firms has increased because Living conditions large architectural firms have split into mul- There was a general consensus amongst tiple smaller firms. Increasing the number the key informants that livability and afford- of private art galleries (such as lilit Gallery), ability were the key drivers attracting crea- investment in public arts infrastructure (such tive people to Meybod. This was expressed as Yazd Art Gallery), and instigation of music in comparison to both the life quality avail- festivals (including traditional music festivals) able in the major cities of Yazd province and and crafts and traditional foods festival were that available in smaller towns located in the noted as signs of growth in the creative econ- regional areas of the country. The informants omy (Fig. 6). identified a number of factors contributing to the livability and affordability of Meybod, as discussed below. Lower housing costs and better affordability of housing in Meybod, as compared to Yazd, were cited as over- arching factors attracting creative people to Meybod. The mean house price in the city of Meybod for October 2016 was $11,000 compared to $20,000 in metropolitan Yazd (Management and Planning Organization of Yazd Province, 2016). Yet, there has been a shortage of houses for rent recently.

Figure 6. Festival of handicrafts in Meybod Amenity As a key informant commented, “Meybod Regarding the changes in the capability has everything you need to be challenged, of local creative industries, it was remarked to be happy and to be satisfied”. The facilities that the quality of architecture and designing include good educational institutions, health- has improved substantially over the past ten care centers, attractive sports facilities, and years. In this respect, Meybod businesses are a variety of places to eat and to get a good now utilizing local creative services rather cup of coffee especially in the historical tex- than turning straight to Yazd facilities, as they ture of the city. It has a good access to natu- did in the past (Fig. 7). ral amenities (e.g. sand dunes), and enjoys

Figure 7. Quality of architecture and designing in Meybod

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 345 the uniqueness of ‘a city in the desert’. A mix- as well as types of settings. Place identity is ture of historical and contemporary modes a broad concept that should not be equated, of architecture has created an interesting as it sometimes is, with place attachment; it place endowed with both aesthetic features is, indeed, more than place attachment. Place and a traditional flavor (Fig. 8). Among the identity is the substructure of social identity, interviewees, however, one was of the opin- like gender and social class. It is composed ion that Meybod lacks leisure amenities for of observation and interpretation regard- young adults, especially night-life resorts. ing the environment. These elements can be divided into two types. One of them consists of memories, values, thoughts, ideas and settings, and the other involves the relation- ships among different settings such as home, neighbourhood and school (Qazimi 2014). It is generally acknowledged that creative cities are able to generate economies of innovation, culture, research and artistic production and, hence, strengthen their own identity capital. It is a question not only of boosting the exist- Figure 8. Heritage buildings ing culture-based economies but also of pro- ducing new economies out of cultural capital, understood as an essential element of both Lifestyle tangible and intangible place identities and The overall life quality that Meybod offers creating a system together with other urban was perceived by the key informants capitals (Sepe 2017). as a major attraction for creative people; Traditional policies of urban renewal, “people have more time, it’s a more relaxed mainly based on combating social exclusion lifestyle, and it’s a healthier lifestyle. Less and building physical constructions, are now pollution, less noise, less traffic, less conges- changing and realizing that cities are not just tion; it’s just a good lifestyle”. To many of the buildings and material structures but also interviewees, “Meybod is my small city”. The people, networks and intangible elements, city offers a range of services and activities, such as memory, history, social relationships, yet on a more familiar scale than other cities; emotional experiences and cultural identities. there exists proximity to family and friends In this way, the creative city recognizes the indoors and outdoors. The access of creative complexity and directs the spatial, physical communities to wider regions (such as the and land use conditions to help people think historical texture) and their opportunity for and act with their imagination and live in the local participations were mentioned as oth- city as a satisfying experience. Furthermore, er attractive features. In recent years, the culture, communication and cooperation are growth of creative industries has led to the the resources which the creative city offers return of some people who had migrated to city administrators, planners and design- from the city. ers. These resources constitute the funda- mental elements with which to generate Place identity of Meybod innovation and quality (Sepe 2017). Based on the aforementioned interpretations, the The term ‘place-identity’ was coined in the role of identity should be understood within late 1970s and has been used ever since. It the project of transforming the city in a crea- is defined as a potpourri of memories, con- tive manner to assess the potentials of design- ceptions, interpretations, ideas, and related ing and planning tools and to integrate them feelings about specific physical settings, with regard to urban identity (Sepe 2017).

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In addition, the conservation-recreation interface of urban cultural heritage con- Access to external markets tributes to resilience and prosperity, insofar Interurban passenger transport infrastruc- as it stimulates cultural identity and the sense tures have allowed Meybod businesses to con- of place. In turn, enhancing the urban cultur- nect with and have a presence in the east and al landscape through planning or designing west of the country. The Persian Gulf freeway promotes the general milieu that stimulates allows journeys to all parts of the country urban creativity (Girard 2013). in approximately six hours, and train transpor- The place identity of Meybod is considered tation provides services between Meybod and to be deeply rooted in a kind of conservatism the other parts of the country in every direc- that stems from its history. While there is tion every weekday. The forty-minute proximi- a ‘fear of change’ among some residents, ty of Meybod to Yazd Shahid Sadooghi Airport Meybod is beginning to accept its newfound allows creative people of the city to commute identity and the second wave of prosperity all across the country for business. Moreover, as a cultural destination. As an interviewee high-quality telecommunication infrastruc- said, “It’s naff to say, but it’s a renaissance tures allow Meybod to connect nationwide, that Meybod’s having”. The growth and suc- especially creative industries such as archi- cess of the Art Gallery and traditional festi- tecture, designing and manual arts sectors, vals are important signs of what is happening advertising and marketing, film, TV and radio, in the city. However, with a more cosmopoli- publication, and performing arts. tan outlook and a strong urban identity, Mey- bod has retained its charm. Supportive business community

Economic components The informants pointed to a supportive envi- ronment for creative businesses in Meybod, Human capital a strong spirit of partnership and collabora- Schools, science and technology parks, Islam- tion within and among industrial sectors, ic Azad University of Meybod, and Ayatollah a personable approach, and a ‘can-do’ Haeri University have been effective in fos- attitude. The business community, the city tering creativity and setting a base for suit- council and the general public were consid- ably skilled laborers. It is noted that good ered open to new ideas and supportive of ini- education and supplying of skilled creative tiatives proposed by creative people. As one laborers have been of influence on decisions of the interviewees said, “We do things differ- to establish certain businesses in Meybod. ently and passionately, which captures peo- ple’s imagination. In the case of arts, I think Local jobs people believe in that environment and they can flourish”. Meybod’s population of approximately 80,712 is considered optimal. The pot- Discussion tery industry has created approximately 2670 jobs in the city over the past 10 years. Changes in Meybod The city itself has also been a significant The findings suggest that, in Meybod, there consumer of the local creative services. Res- has been a gradual growth in the local crea- toration of 55 old houses in Meybod and tive economy over the last decade, both in the a $3-million project to be completed in 2018 number of people employed and the number (Cultural Heritage, Handicrafts and Tourism of creative businesses. However, it appears Organization of Yazd province – 2016) will that the growth in economic activities has create new long-term jobs and stimulate eco- mainly occurred in certain creative industries. nomic and population growth. Those creative industries are the ones more

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 347 strongly oriented to offering professional The finding that life stage is important is services, such as architecture, design and further supported by the evidence that Mey- manual arts, publication and performing arts. bod seems to have lost, rather than gained, Part of this growth seems to have occurred young creative people, especially those who since the local business community increas- have recently finished the school or gradu- ingly used local companies for its needs. ated from university. There is a belief that In this case, as opposed to companies based young creative people are eager to explore in Yazd and Tehran, local industries in small the world and gain new educational, profes- cities like Meybod have increased their skills sional or life experiences outside Meybod, and capability. The growth in manual arts either in the large metropolitan cities of Yazd seems to be related to the growth in arts and and Tehran or overseas. It is also suggested cultural tourism in Meybod. The growth in the that there is not the same amount of recrea- visits to historical and natural sites has cre- tional and leisure amenities appropriate for ated an opportunity for small private galler- and accessible to young adults, as there is ies and boutiques. There are enjoyable things for young families or older people in Mey- to do in Meybod and the nearby areas, top bod. Although not explicitly stated, this may attractions to visit such as historical monu- be extended to affordable housing for young ments and natural attractions, adventurous adults, given the shortage of rental accom- and entertainment activities to do as well modation mentioned earlier. The people cli- as places to eat and drink (www.tripadvisor. mate in Meybod appears not to be the most com). However, it appears that the demand attractive element for creative young adults, for artists is still not high enough so as for as compared to other places. them to make a fulltime living; many of them The growth of such creative industries are reported to have temporary day jobs. as pottery, ceramics, and zilu weaving in Mey- bod has attracted creative people to the city. Effect of the people climate and As the statistics indicate, the population business climate on Meybod’s creative growth rate rose to 3.8% within five years economy from 2011 to 2016. This means that as many as 13,809 people were added to the popula- The affordability of housing, compared tion of the city in just five years. Out of this to Yazd, appears to have attracted creative number, 1268 were creative people who got people to Meybod, especially young fami- employed in creative industries. A combina- lies seeking to own their own homes. This is tion of factors including a relaxed lifestyle, specially the case in the context of Meybod, a residence endowed with various creative which is considered as a very livable city with crafts, such as producing colorful zilus and family-friendly people, high-quality social ser- half of Iran’s tiles and ceramics, and short vices (education and healthcare), and good travel times to the surrounding natural and recreational and leisure amenities. Arts and rural amenities allow people to enjoy the best cultural amenities have proved to be a sec- of both urban and rural modes of living. ondary rather than primary element of attrac- The city contains a critical mass of popula- tion, contributing to recreation, leisure and tion to attract businesses and services, yet it education. These findings are in accordance is still too small to enable great partnerships with Lorenzen and Andersen’s (2011) findings and personable and collaborative business in that affordability and work-life balance are networks. The participants in this study were factors sufficient to attract creative people of divided opinions as whether Meybod was to smaller cities. It also correlates with Nie- really a middle-size city or a small city. Some domysl and Hansen’s (2010) suggestion that creative people expressed certain qualities what people deem as a favourable ‘people with which to prove the former, while the oth- climate’ varies through life stages. ers believed in the latter case. As a matter

Geographia Polonica 2018, 91, 3, pp. 335-351 348 Ali Bagheri Kashkouli • Asghar Zarabi • Mir Najaf Mousavi of fact, the city is not big enough in terms mate’ that is deemed attractive by creative of large-scale recruitments and extensive people at different life stages. partnerships in public and private sectors. For appropriate management of a small However, it can be credited for fostering city, this study suggests that any investment numerous creative crafts, which has served in creative industries should be considered to attract the creative class to this small as a part of an integrated strategy to increase town. It is in line with the idea of Lorenzen the livability of the city, as opposed to an iso- and Andersen (2011) that the credit of a town lated approach. It also suggests that the city in a certain aspect can make that town be council should more carefully consider the dif- considered big. fering needs across life stages, particularly The proximity of Meybod to the large city young adults without families, in designing of Yazd was said to be an important param- and implementing such strategies. eter for creative people. From the perspective Creative industries which include a wide of people climate, it provides for the acces- variety of sub-industries and sub-fields repre- sibility of family and friends, arts and cultural sent a dynamic sector in regional economies, amenities as well as the recreational and including Meybod economy with a high devel- leisure amenities of a large city. This finding opment rate. Fortunately, the creative sector parallels Waitt and Gibson’s (2009) study of Meybod currently has a significant effect in which creative people in a small city were on the market, taking into consideration the found to have a strong connection to a nearby shares of both GDP and employment. The metropolis. From the perspective of business value of Meybod creative industries in terms climate, the proximity of Meybod to Yazd pro- of exports and imports indicates that policy vides an access to an external market of cli- making trends deserve careful consideration. ents and laborers. The road and rail infra- In my opinion, one of such trends is the trans- structures that enable a connection within formation of Meybod into a creative econo- forty minutes are pivotal. Although Meybod my. The city possesses talented people, crea- is seen at an optimal travel time from Yazd, it tive potentials, cultural background, growth has retained a high degree of self-sufficiency in demand for creative contents, and technol- and its identity as an important regional hub. ogy progress. These advantages can help the city benefit creatively, culturally, economical- Conclusion ly, and socially. The results of the study show that there is a need for more support of the This case study of Meybod supports Loren- creative industries to strengthen their involve- zen & Andersen’s (2011) assertion that there ment in innovations and the value-added are different types of creative cities, and that system of the economy. As one of the major investment in infrastructures and amenities targets in Meybod economy, the creative sec- needs to be based on local contexts and cir- tor may serve as a role model. cumstances. It also supports Verdich’s (2010) In this regard, there is an urgent need for realization that different types of amenity can a critical understanding of creative labour attract creative people to small cities. While and the study of its status in the city of Mey- the study appears to confirm Florida’s (2002) bod. An awareness-raising campaign should creative class thesis in that it is the people’s be started with the investigation of develop- environment rather than jobs that attracts ment and implementation of new educational creative people to a small city, it does not programs for professionalization of the new support that arts and cultural amenities are sector and stabilization of career trajectories. the primary elements of attraction. Rather, it In order to make informed decisions, it makes is affordability and livability that are of para- sense to explore the role of the creative class mount importance. There is a room for more in the regional social system. Due to the qualitative studies to examine the ‘people cli- increased economic importance of the crea-

Geographia Polonica 2018, 91, 3, pp. 335-351 The role of creative economy in the realization of a creative city... 349 tive industries for Meybod, a considerable latter aspect may be about government and improvement of regional statistics is neces- local revenues from the creative sector, lev- sary in order to refine theoretical aspects and el of employment, policy and institutional obtain essential empirical information. The frameworks, diversity of media contents, etc. current national statistical system (if it can be A standardized statistical framework of crea- termed like this) does not offer the required tive industries will help to develop this sector data. For this reason, complications arise strategically in cooperation between the gov- and slow down the process of analysis and ernment, local authorities, private business- prognosis in this field. In order to upgrade the es, individuals and foreign partners. national statistical system, there are a num- ber of key aspects to consider, including Editors‘ note: Unless otherwise stated, the sources a coherent system of indicators and collection of tables and figures are the authors‘, on the basis of data on core creative industries according of their own research. to international standards. The data on the

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© Ali Bagheri Kashkouli • Asghar Zarabi • Article first received • July 2017 Mir Najaf Mousavi Article accepted • June 2018 © Geographia Polonica © Institute of Geography and Spatial Organization Polish Academy of Sciences • Warsaw • 2018