# 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. $.b ' A:a a ' M ay 4.9** * < %p'' '- <e . -. 4:kjh:., y;4:t:. @ . 2-k(r! jj-, v(e,, TEF O @ o k+ % Q VER ' y xox , p : @ m ,,LLI'AD O S v' t:t;) e x ws A R K oo k L- @ zkw -,z. ' , . 4;$.- . tpz t-. ? 6yx ,. ,, , +% è * w * ' @ ': 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' (.