DOCSLIB.ORG

Cultural Industries in Slovakia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cultural Industries in Slovakia Cultural Industries in Slovakia Report on the AS-IS situation Analysis and recommendations to boost growth in Cultural Industries in Slovakia N° SRSS/SC2018/097 23 January 2020 Funded by the Structural Reform Support Programme of the European Union and implemented by KEA European Affairs in cooperation with the European Commission's Structural Reform Support Service (SRSS) This document has been produced under a contract with the Union and the opinions expressed are those of KEA European Affairs and do not represent the official position of the European Commission. Table of Content LIST OF TABLES .................................................................................................................. 3 LIST OF FIGURES ................................................................................................................ 3 TERMS AND ABBREVIATIONS ........................................................................................... 4 1. INTRODUCTION ............................................................................................................... 5 1.1 Policy context ....................................................................................................... 5 1.2 Objectives and scope .......................................................................................... 7 1.2.1 Objectives .................................................................................................................................... 7 1.2.2 Scope ........................................................................................................................................... 7 1.3 Structure ............................................................................................................... 8 2. APPROACH AND METHODOLOGY .............................................................................. 10 2.1 Desk research .................................................................................................... 10 2.1.1 Desk research on statistical data ............................................................................................... 10 2.1.2 Desk research on policy measures for CCIs .............................................................................. 12 2.1.3 Desk research on CIs policies from other countries ................................................................... 13 2.2 Stakeholder consultations ................................................................................ 14 2.2.1 Interviews and meetings ............................................................................................................ 14 2.2.2 Focus groups ............................................................................................................................. 15 2.2.3 Online surveys ........................................................................................................................... 15 2.2.4 Restitution workshop (AS-IS workshop) ..................................................................................... 16 2.3 Limitations .......................................................................................................... 16 2.3.1 Data gaps and limitations for the data analysis .......................................................................... 16 2.3.2 Data limitation for impact assessment ....................................................................................... 19 2.3.3 Data limitation on investment potential in CIs ............................................................................ 19 3. KEY DATA ON SLOVAK CULTURAL INDUSTRIES ...................................................... 21 3.1 General overview ............................................................................................... 21 3.2 Detailed analysis ................................................................................................ 22 3.2.1 Revenues ................................................................................................................................... 22 3.2.2 Expenditures .............................................................................................................................. 24 3.2.3 Structure of the sector and employment .................................................................................... 25 3.2.4 Key Trends in cultural consumption and audience development ............................................... 28 3.2.5 Financial performance................................................................................................................ 29 3.2.5.1 Equity indicators and sales profitability ................................................................................... 29 3.2.5.2 Altman-Z score ....................................................................................................................... 30 4. REVIEW OF POLICY ACTIONS TO SUPPORT CULTURAL INDUSTRIES IN SLOVAKIA ............................................................................................................................. 31 4.1 Overview of cultural policy objectives and management ............................... 31 4.1.1 Cultural policy objectives ............................................................................................................ 31 1 4.1.2 Cultural policy management ....................................................................................................... 33 4.1.2.2 National level ......................................................................................................................... 33 4.1.2.2 Regional and local level ........................................................................................................ 34 4.2 Process evaluation and impact assessment of the Strategy of CCIs Development 2014-2020 and related Action Plan ............................................ 35 4.2.1 Preliminary observations ............................................................................................................ 35 4.2.2 Detailed considerations on the measures for CIs ...................................................................... 44 4.3 Comparative analysis on CIs strategy and action plan with comparable countries ............................................................................................................. 52 4.4 Conclusions ....................................................................................................... 53 4.4.1 Conclusions of process evaluation on the formulation of the Strategy and Action Plan ............. 53 4.4.2 Conclusions on the Impact Assessment of the Strategy and Action Plan .................................. 55 5. BARRIERS TO GROWTH, ACCESS TO FINANCE AND INVESTMENT IN CIS ............ 56 5.1 Current sources of financing, prospects and needs ....................................... 56 5.2 Main challenges and barriers for Slovak CIs ................................................... 58 5.3 Potential Investors and barriers to invest in CIs .............................................. 61 6. CONCLUSION AND WAY FORWARD ........................................................................... 64 6.1 Main findings ...................................................................................................... 66 6.2 Key issues to be addressed .............................................................................. 66 6.2.1 Capacity of the Ministry to formulate and implement the Strategy and Action Plan ................... 67 6.2.2 Competitiveness of CI industry taking into consideration technological changes and support through the entire CI value chain ............................................................................................... 68 6.2.3 Access to finance and investment for CIs .................................................................................. 69 BIBLIOGRAPHY ..................................................................................................................... 71 ANNEX I – SCOPE OF THE STUDY ........................................................................................ 75 ANNEX II – CULTURAL ACTIVITIES EXCLUDED FROM THE SCOPE OF THE STUDY ............... 76 ANNEX III – DETAILS ON DATA ANALYSIS ACCORDING TO THE TORS .................................. 77 ANNEX IV – DESCRIPTION OF DATA SOURCES .................................................................... 78 ANNEX V – SWOT ANALYSIS ................................................................................................. 81 ANNEX VI – LIST OF STAKEHOLDERS FOR INTERVIEWS ...................................................... 87 ANNEX VII - LIST OF STAKEHOLDERS MET DURING THE FIELD MISSION .............................. 88 ANNEX VIII – SURVEYS ......................................................................................................... 90 ANNEX IX – LIST OF PARTICIPANTS TO THE AS-IS WORKSHOP .......................................... 104 ANNEX X - APPROACH TO THE IMPACT ASSESSMENT ....................................................... 106 ANNEX XI – OVERVIEW OF THE ACTION PLAN .................................................................... 108 ANNEX XII - OVERVIEW OF CIS POLICY IN CZECH REPUBLIC, POLAND AND HUNGARY ...... 112 ANNEX XIII - OVERVIEW OF EXISTING INCENTIVES TO STIMULATE INVESTMENT ACROSS THE EU ......................................................................................................................... 1124 2 List
Load more

Recommended publications
  • List of Unesco Creative Cities by Creative Field
    LIST OF UNESCO CREATIVE CITIES BY CREATIVE FIELD Film: Bradford (United Kingdom of Great Britain and Northern Ireland) Busan (Republic of Korea) Galway (Ireland) Sofia (Bulgaria) Sydney (Australia) Craft and Folk Arts: Aswan (Egypt) Fabriano (Italy) Hangzhou (China) Icheon (Republic of Korea) Jacmel (Haiti) Jingdezhen (China) Kanazawa (Japan) Nassau (Bahamas) Paducah (USA) Pekalongan (Indonesia) Santa Fe (USA) Suzhou (China) Design: Beijing (China) Berlin (Germany) Bilbao (Spain) Buenos Aires (Argentina) Curitiba (Brazil) Dundee (United Kingdom of Great Britain and Northern Ireland) Graz (Austria) Helsinki (Finland) Kobe (Japan) Montreal (Canada) Nagoya (Japan) Saint-Étienne (France) Seoul (Republic of Korea) Shanghai (China) Shenzhen (China) Turin (Italy) Gastronomy: Chengdu (China) Florianopolis (Brazil) Jeonju (Republic of Korea) Östersund (Sweden) Popayan (Colombia) Shunde (China) Tsuruoka (Japan) Zhale (Lebanon) Literature: Dublin (Ireland) Dunedin (New Zealand) Edinburgh (United Kingdom of Great Britain and Northern Ireland) Granada (Spain) Heidelberg (Germany) Iowa City (USA) Krakow (Poland) Melbourne (Australia) Norwich (United Kingdom of Great Britain and Northern Ireland) Prague (Czech Republic) Reykjavik (Iceland) Media Arts: Dakar (Senegal) Enghien-les-Bains (France) Gwangju (Republic of Korea) Linz (Austria) Lyon (France) Sapporo (Japan) Tel Aviv-Yafo (Israel) York (United Kingdom of Great Britain and Northern Ireland) Music: Bogota (Colombia) Bologna (Italy) Brazzaville (Congo) Glasgow (United Kingdom of Great Britain and Northern Ireland UK) Ghent (Belgium) Hamamatsu (Japan) Hanover (Germany) Mannheim (Germany) Seville (Spain) .
    [Show full text]
  • Mapping the Creative Industries: a Toolkit
    Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT 2 Creative and Cultural Economy series ⁄ 2 – Mapping the Creative Industries: A Toolkit 3 Creative and Cultural Economy series ⁄ 2 MAPPING THE CREATIVE INDUSTRIES: A TOOLKIT by BOP Consulting British Council’s Creative And Cultural Economy Series ⁄ CONTENTS Published by The British Council 10 Spring Gardens, London SW1A 2BN, England 07 – PREFACE www.britishcouncil.org 09 – 1 ⁄ MAPPING THE CREATIVE INDUSTRIES All rights reserved ISBN 978-086355-640-1 13 – 2 ⁄ THE CREATIVE INDUSTRIES Author: BOP Consulting ⁄ 23 – 3 ⁄ THE MAPPING TOOLKIT 24 – STEP 1 ⁄ WHY DO MAPPING? BOP Consulting is an independent research and 28 – STEP 2 ⁄ WHICH POLIcy QUESTIONS CAN MAPPING ADDRESS? strategy consultancy specialising in culture and 36 – STEP 3 ⁄ HOW ARE THE CREATIVE INDUSTRIES DEFINED? the creative industries. They are based in London. 40 – STEP 4 ⁄ WHO IS IN CHARGE? WHO DOES THE WORK? www.bop.co.uk 41 – STEP 5 ⁄ WHICH RESEARCH APPROACH SHOULD BE ADOPTED? 47 – STEP 6 ⁄ HOW CAN THE PROJECT’S FINDINGS CONNECT WITH KEY AUDIENCES AND POLIcy AGENDAS? 50 – STEP 7 ⁄ HOW CAN MOMENTUM BE MAINTAINED? Editors ⁄ Pablo Rosselló 52 – 4 ⁄ WHERE NEXT? Shelagh Wright 56 – APPENDIX 1 - THE BRITISH COUNCIL’S CREATIVE EcONOmy UNIT Publication Design ⁄ 58 – APPENDIX 2 - CREATIVE INDUSTRY SIC CODES YCE Brand guidelines by BB Saunders Design by Érika Muller Photo Credits ⁄ © Aldeguer, Jay: page 56a © Burns, Josephine: page 26 © DCMS/BIS: page 32 © Gauteng Provincial Government: page 43 © Noon, Frank: pages 56b, 57 © Rossello, Pablo: pages 1, 2-3, 8, 12, 18, 20, 22, 31, 33, 35, 38, 48, 50, 54-55 © Slade, Jon: page 42 © Szynkarczuk, Olga: pages 60-61 © Vaz, Gaurav Joshua: page 6 © Zetu, Dragos: page 45 © British Council 2010 Creative Economy Unit The United Kingdom’s international organisation for educational opportunities and cultural relations.
    [Show full text]
  • Creative Cities in Central and Eastern Europe – Examining the Position of Győr from the Creative and Cultural Aspects of This Macro-Region
    Creative cities in Central and Eastern Europe – Examining the position of Győr from the creative and cultural aspects of this macro-region Dávid Fekete The European Union is paying increasing Széchenyi István University, more attention to the creative sector, ac- Hungary knowledging the economic significance of the E-mail: [email protected] sphere and appreciating the social benefits of creative and cultural activities. Its latest inno- vation is the Cultural and Creative Cities Szabolcs Morvay Monitor (CCCM), which shows the creative Széchenyi István University, vibrancy of 168 European cities, thus enabling Hungary a comparison and ranking in terms of differ- E-mail: [email protected] ent creative and cultural aspects. Győr has been included in this platform’s list besides Budapest, Pécs, and Szeged. In this study the creative position of Győr, in relation to similar mid-sized Central and Eastern European cities is examined, thus estimating the creative po- tential of Győr. The analysis enables us to ob- serve the elements and indicators of a creative city that are used to measure and show crea- tivity. Exploring the city’s strengths and weaknesses provides guidance as the CCCM annually renews its evaluation and changes the ranking. With conscious initiatives Győr may become more creative, both internationally and locally. Based on the CCCM scores Győr has numerous strengths: favourable geograph- ic location, adequate amount of cultural offer- ings, strong economic potential, cultural vi- brancy, and a high level of participation in cul- tural life. However, the city has weak features Keywords: too, that require strengthening. The aim is for creative cities, the cities to become more creative, but this culture, requires analysis from the creative and cultural urban development, aspects.
    [Show full text]
  • Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Enga
    Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing2018 Taking Part Promoting Engaging UNESCO SharingANNU ParticipatingAL Contributing Taking Part PromotingREPO R EngagingT Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Sharing Participating Contributing Taking Part Promoting Engaging Greetings from the Creative City of Paducah, a small city with a large personality! Paducah is a creative community, and sometimes creativity shows up in the most surprising ways. The cornerstone of creativity is a willingness to explore new or challenging ideas. The citizens of Paducah recently embraced two difficult conversations, one about race and the other about gender identities, worldwide concerns. This compassionate city had these conversations with dignity and respect. I attended my first UNESCO Creative Cities Network meeting in Enghien-les-Bains (Media Arts). I enjoyed blogging about the experience and sharing options for participating in the Network, including film festivals, literary contests and opportunities to engage in international arts festivals. In September 2017, Paducah welcomed the Creative Cities of Crafts & Folk Art for the first annual meeting of the sub-network and the first UNESCO Creative Cities meeting to be held in the United States. Focused on the 2030 Agenda for Sustainable Development, speakers led discussions on topics from tourism to economic development and natural resources. Paducah has “leaned in” to the Creative City designation, taking flight after five years with UNESCO as our guiding post.
    [Show full text]
  • Creativity of Regions and Its Monitoring in Region of Žilina
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Mocková, Miriam; Kunertova, Petra Conference Paper Creativity of Regions and its Monitoring in Region of Žilina 52nd Congress of the European Regional Science Association: "Regions in Motion - Breaking the Path", 21-25 August 2012, Bratislava, Slovakia Provided in Cooperation with: European Regional Science Association (ERSA) Suggested Citation: Mocková, Miriam; Kunertova, Petra (2012) : Creativity of Regions and its Monitoring in Region of Žilina, 52nd Congress of the European Regional Science Association: "Regions in Motion - Breaking the Path", 21-25 August 2012, Bratislava, Slovakia, European Regional Science Association (ERSA), Louvain-la-Neuve This Version is available at: http://hdl.handle.net/10419/120768 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence.
    [Show full text]
  • Creative Cities. Mapping Creativity Driven Cities
    Creativity has become a mantra of our age, endowed almost exclusively with positive virtues. At the last count, over 160 cities worldwide called themselves “creative city” from Creative Manchester to Creative Bristol and, of course, Creative London, in Britain. And ditto Canada: Toronto with its Culture Plan for the Creative City; Vancouver and the Creative City Task Force and Ottawa’s plan to be a creative city. In Australia we find the Brisbane Creative City strategy and there is Creative Auckland. In the United States, there is Creative Cincinnati, Creative Tampa Bay and the welter of creative regions such as Creative New England. This document aims to bring together the experience of cities which have developed successful projects in order to achieve urban transformation, social inclusion, economic development and cultural prosperity through creativity. We are looking for the City 360° where the change has been driven by creativity. Milica Matovic, Anartz Madariaga Hernani & Roberto San Salvador del Valle Mapping creativity driven cities 12 good practices from UNESCO Creative Cities Network Supported by Milica Matovic Anartz Madariaga Hernani Roberto San Salvador del Valle Mapping creativity driven cities ner group 1 Cities Lab Katedra Milica Matovic Anartz Madariaga Hernani Roberto San Salvador del Valle Creative Cities Mapping creativity driven cities 12 good practices from UNESCO Creative Cities Network 2018 Deusto Cities Lab Katedra University of Deusto Bilbao Creative Cities Mapping creativity driven cities 12 good practices from
    [Show full text]
  • The Role of Art Colonies in Local Development Through the Example of Cered Art Colony
    OPEN ACCESS ECOCYCLES Scientific journal of the ISSN 2416-2140 European Ecocycles Society Ecocycles, Vol. 7, No. 1, pp. 14-18 (2021) DOI: 10.19040/ecocycles.v7i1.184 ORIGINAL ARTICLE The role of art colonies in local development through the example of Cered Art Colony Zoltán Bujdosó1, Béla Benkő1, Csaba Patkós2 1 Szent Istvan University Károly Róbert Campus, 3200 Gyöngyös, Mátrai út 36. Hungary; 2Eszterhazy Karoly University Eger, Hungary E-mail addresses: [email protected], [email protected], [email protected] Abstract – The current study's topic is the summary of the roles of art colonies in the local example. The theoretical basis of the study was given by the international scientific literature of art colonies and the role of culture in the life of settlements. The matter of research is relevant as an investigation based on a case study has not been made yet on this topic; moreover, it consists of important results for the professionals. On this basis, it can be determined that which factors affect positively the human and natural environment through an art colony. A further advantage of the study can conclude to the possible development ways of culture in the life of villages. The current research, regarding the future, is an ideal starting point to know the role of art in local (and regional) development. The main results of the case study are the tangible effects of the colony on the (natural and human) environment. Keywords – art colony, culture, local development, Cered, Hungarian-Slovakian border region Received: December 30, 2020 Accepted: January 17, 2021 INTRODUCTION global network as well.
    [Show full text]
  • The “Creative Class” in the Uk: an Initial Analysis the “Creative Class” in the Uk: an Initial Analysis
    THE “CREATIVE CLASS” IN THE UK: AN INITIAL ANALYSIS THE “CREATIVE CLASS” IN THE UK: AN INITIAL ANALYSIS by Nick Clifton CLIFTON, N. (2008): ‘The “creative class” in the UK: an initial In a knowledge-based economy, the ability to at- analysis’, Geogr. Ann. B 90 (1): 63–82. tract and retain highly skilled labour is therefore perceived as crucial to the current and future pros- ABSTRACT. Richard Florida argues that regional economic out- comes are tied to the underlying conditions that facilitate creativ- perity of regions as well as entire nations. For ex- ity and diversity. Thus the Creative Class thesis suggests that the ample, Florida (2000) has argued that in the know- ability to attract creativity and to be open to diverse groups of peo- ledge economy, regions develop advantage based ple of different ethnic, racial and lifestyle groups provides distinct on their ability to quickly mobilize the best people, advantages to regions in generating innovations, growing and at- tracting high-technology industries, and spurring economic resources and capabilities required to turn innova- growth. In this paper we investigate the extent to which there tions into new business ideas and commercial prod- might be similar processes concerning the relationship between ucts. In particular, the ability to attract creative peo- creativity, human capital, and high-technology industries at work ple in arts and culture fields and to be open to di- in the UK as in North America. The approach taken is broadly sympathetic to the Creative Class thesis; critical
    [Show full text]
  • The Cultural and Creative Cities Monitor
    The Cultural and Creative Cities Monitor 2017 Edition Joint Research Centre This publication is a Science for Policy report by the Joint Research Centre (JRC), the European Commission’s science and knowledge service. It aims to provide evidence-based scientific support to the European policymaking process. The scientific output expressed does not imply a policy position of the European Commission. Neither the European Commission nor any person acting on behalf of the Commission is responsible for the use that might be made of this publication. Manuscript completed in May 2017 Contact information Name: Michaela Saisana Address: via Fermi, 2749 – Ispra (VA) - Italy Email: [email protected] Tel.: +39 0332 786572 JRC Science Hub https://ec.europa.eu/jrc JRC105971 Print ISBN 978-92-79-66116-7 doi:10.2760/735231 KJ-02-17-214-EN-C PDF ISBN 978-92-79-66115-0 doi:10.2760/802764 KJ-02-17-214-EN-N Luxembourg: Publications Office of the European Union, 2017 © European Union, 2017 The reuse of the document is authorised, provided the source is acknowledged and the original meaning or message of the texts are not distorted. The reuse policy of European Commission documents is regulated by Decision 2011/833/EU (OJ L 330, 14.12.2011, p. 39). The European Commission shall not be held liable for any consequences stemming from the reuse. For any use or reproduction of photos or other material that is not under the EU copyright, permission must be sought directly from the copyright holders. How to cite this report: Montalto V; Jorge Tacao Moura C; Langedijk S; Saisana M.
    [Show full text]
  • Creative Potential in the Cities and Its Exploitation in the Sustainable Development in Slovakia
    Creative potential in the cities and its exploitation in the sustainable development in Slovakia Katarína Vitálišová Anna Vaňová, Soňa Čapková1, Mária Uramová2, Kamila Borseková3, Thierry Côme, Thomas Hélie, Fabrice Thuriot4 Abstract: Creativity has become crucial in the new trends in local and regional development. Together with innovations, not only traditional technological innovations, but particularly social, ecological or design innovations in the territory, they are considered the essential resource of development. Creative and cultural industries can help to boost economies, stimulate new activities, create new and sustainable jobs, have important spill over effects on other industries and enhance the attractiveness of territories (Communication from the EC to the EP, 2010). The creative potential is the maximum possible upgrading of the socio-economic performance of a township, by the introduction of the creative inputs (human capital, high-investment, creative class). Creativity and knowledge concentrated in cities and regions have led to perception of cities as economic development focal points of regions in which are cities located. Cities are becoming laboratories that provide genuine technological, organizational, legal and social solutions for their further growth (Hall, 2010). The paper reflects the insufficient exploration of creativity and innovations in cities of Slovak Republic as a key factor of endogenous growth (e. g. job creation, higher added value, etc.) and their implications in relation to building local competitive advantage. Nowadays, the Slovak local authorities in planning process pay only partial attention to these aspects, and there absent also the strategical approach to its exploitation in further local development. The paper has an ambition to cover partially this gap.
    [Show full text]
  • Valuing and Evaluating Creativity for Sustainable Regional Development Östersund September 11-14, 2016
    Valuing and Evaluating Creativity for Sustainable Regional Development Östersund September 11-14, 2016 Proceedings Editors: Daniel Laven, Wilhelm Skoglund Valuing and Evaluating Creativity for Sustainable Regional Development Östersund September 11-14, 2016 Proceedings Editors: Daniel Laven, Wilhelm Skoglund Printed by Mid Sweden University, 2017 ISBN: 978-91-88527-26-4 www.vec-16.com Photo (cover): Roger Strandberg, Östersunds kommun Preface VEC – Valuing and Evaluating Creativity for Sustainable Regional Development The City of Östersund joined the UNESCO Creative as evidenced by the rapid expansion of the UCCN Cities Network (UCCN) as a city of gastronomy in (the network is only 10 years old and now consist 2010. The network is designed to share best practices of 116 designated cities), there is a clear and grow- and lessons learned among member cities in using ing demand for utilizing culture and creativity as a the creative sectors to enhance employment, econom- resource for sustainable development. Communities ic growth, and ultimately, to achieve a more sustain- worldwide are now experimenting with culture and able and shared future. creativity-based approaches to innovate solutions to persistent societal challenges in new and exciting The UCCN has identified the need for an on-going ways. scientific platform to support a growing set of re- search, evaluation, and knowledge needs for the net- Such experimentation underscores the second global work. Therefore, with encouragement from UNESCO trend; namely, a growing demand to understand, and UCCN member cities, Mid Sweden University evaluate, and share knowledge and experience about offered this scientific conference in conjunction with “what works”. For example, 2015 was declared the the 10th Annual Meeting of the UCCN.
    [Show full text]
  • Creative City Assessment of Riga, Tallinn, and Vilnius
    BLEKINGE TEKNISKA HÖGSKOLA BLEKINGE INSTITUTE OF TECHNOLOGY CREATIVE CITY ASSESSMENT OF RIGA,TALLINN, AND VILNIUS Master Thesis Aiga Dzene Adem Kula MSc in Business Administration European Spatial Planning and School of Management Regional Development [email protected] School of Technoculture, Humanities, and Planning [email protected] Supervisors: Anders Nilsson Jan-Evert Nilsson Dean Professor School of Management School of Technoculture, Humanities, [email protected] and Planning [email protected] Karlskrona/Ronneby, 2007 CREATIVE CITY ASSESSMENT OF RIGA,TALLINN, AND VILNIUS PAGE I ACKNOWLEDGEMENTS The authors would like to express their gratitude to the thesis supervisors, Anders Nilsson and Jan-Evert Nilsson for their great contribution to this research. They have not only helped with the directions throughout the research process, but, more important, challenged the authors and encouraged the discussion. The authors also want to thank Ārija Dzene for the help with data gathering in Latvia. MASTER THESIS AIGA DZENE &ADEM KULA CREATIVE CITY ASSESSMENT OF RIGA,TALLINN, AND VILNIUS PAGE II ABSTRACT The aim of this study is to investigate the current status of the capitals of the Baltic States according to the Creative Class Theory. With increasing role of knowledge, creativity and innovation in the today’s economy, the role of the Creative Capital increases. Riga, Tallinn, and Vilnius are the capitals of the Baltic States, experiencing dynamic growth. Therefore, such a study would add to the assessment of the current status and identification of the possible improvements. The Creative Class Theory suggests that knowledge or creativity of people is the main driving force of the economic growth.
    [Show full text]