a study of the creative sector for the purposes of the european creative cluster lab (eccl) project

Raport początkowy: Badanie sektora kreatywnego na potrzeby

projektu European Creative Cluster Lab (ECCL)

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Initial Report

A study of the creative sector for the purposes of the European Creative Cluster Lab (ECCL) project

Ordering party: Warsaw City Office

Contractor: EcorysPolska Sp. z o.o.

Warsaw, 30 November 2012

Initial report: A study of the creative sector

for the purposes of the European Creative Cluster Lab (ECCL) project

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The report was drawn up by a team composed of

Maria Aluchna, PhD, Associate Professor, Warsaw School of Economics

Paulina Fabrowska

Rafał Kasprzak, PhD

Monika Skrobol

Editing

Paulina Fabrowska

Proofreading

Dorota Tomczak

Technical consultation

Marta Mackiewicz, PhD

Co-funded by the European Commission

This publication is supported by the European Commission's Directorate-General for

Enterprise and Industry and financed under the Competitiveness and Innovation

Framework Programme (CIP) which aims to encourage the competitiveness of

European enterprises.



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Table of contents

1. Introduction................................................................................................................................................4

2. The scientific context .................................................................................................................................5

2.1. Creative entrepreneurship and cooperation, i.e. how to transfer ideas onto the market ..............9

2.2. Innovation in the creative sector – inter-sector contacts ................................................................16

2.3. Incubation (start-up) - a supply chain ...............................................................................................21

3. The results of local research....................................................................................................................24

3.1. The creative sector in Warsaw ...........................................................................................................24

3.2. Suggesting support tools for the creative sector in Warsaw ...........................................................31

4. The results of European and global research.........................................................................................41

4.1. Identified instruments for the support of creative industries .........................................................41

4.2. A summary of the identified instruments - typology........................................................................66

4.3. Case studies .........................................................................................................................................70

5. The roadmap ............................................................................................................................................83

6. Conclusions and recommendations........................................................................................................86

7. References ................................................................................................................................................98



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1. Introduction

This report was created within the framework of the European Creative Cluster Lab project

jointly being implemented by its partners – MFG Baden-Württemberg (a film cluster in

Stuttgart), the City of Lille, Barcelona Media (a foundation dedicated to research in the fields of

media and modern technologies), the Puglia region, and the City of Warsaw.

The objective of the ECCL project is to improve the competiveness of the European creative

sector by means of networking, the exchange of experiences, research, and the creation of

pilot projects utilising the knowledge acquired through exchange and research. This report

summarises the results of studies conducted for the purposes of these project’s activities in

which the City of Warsaw is engaged. Research conclusions will constitute a starting point for

the proposed pilot actions, which can be taken up by the Local Government in order to bolster

and stimulate the growth of the creative sector in Warsaw.

The conducted analyses were arranged in three thematic issues, corresponding to different

developmental processes in enterprises:

• creative entrepreneurship and cooperation (how to transfer ideas onto the market),

• innovation (inter-sector contacts),

• cooperation in the framework of a supply chain.

The first part of the study presents the results of a scientific literature survey indicating the

most important issues, problems, and characteristic factors of each discussed process. Another

chapter summarises the results of a study conducted at the local level, encompassing creative

enterprises in Warsaw. The specific factors and determinants of developmental processes, and

also areas requiring external support, are presented in the form of mini-studies, and illustrated

with examples of specific business ventures.

The next part of the report focusses on the results of a study conducted at the global level,

devoted to the identification of examples of good practices in the field of supporting the

creative sector at various stages of its development. The mini-studies presented there are

devoted to examples of specific initiatives implemented worldwide, which comprise an answer

to the most important problems and hindrances to the development of creative industries.



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In the final part of the report, we roadmap the existing incubation, innovation, and clustering

system in the environment of the creative cluster. There are also summarised the most

important conclusions and recommendations stemming from the conducted research.

The team of authors would like to express their thanks to all who took part in the research and

helped in acquiring information, the analysis of which became an invaluable element in the

presented report.

2. The scientific context

The creative sector1 is represented by enterprises operating in various industries, which are

characterised by creating new material2. According to the definition proposed by the British

Department of Culture, Media and Sport, the creative sectors are those “which have their

origin in individual creativity, skill and talent, and which have the potential for wealth and job

creation through the generation and exploitation of intellectual property”3. The cultural and

creative sectors’ analysts have proposed several systems for the classification of creative

industries; however, one of the most popular and clear is the model in which groups of entities

making up a cultural and creative sector are organised in the form of concentric circles, in the

centre of which there are generated creative ideas and material (texts), whereas, as we move

outwards, the material is supplanted with additional elements, transforming it into more and

more complex products. The model core comprises culture and art in their classical sense (e.g.

music, dance, literature, and visual arts), whereas subsequent strata encompassing the core

include the industries based on this material.

1 Though in Polish reference books, the terms "creative sector" and “creative industry” are being used interchangeably, foreign researchers point out that creative companies do not meet the requirements to justify the use of the term “industry”, as industrial enterprises are organised around a value chain. The creative sector, on the other hand, focusses on innovative ideas and novel material, the creation of which does not stem from transition through selected stages of the value chain – O’Connor J. (2009). Creative industries: a new direction? International Journal of Cultural Policy, vol., 15, No. 4, pp. 387-402. 2The UN Educational, Scientific and Cultural Organization. Understanding creative industries,

http://portal.unesco.org/culture/en/files/30297/11942616973cultural_stat_EN.pdf/cultural_stat_EN.pdf 3 DCMS enumerates 11 creative sectors: advertising, architecture, the art and antiques market, crafts,

design, designer fashion, film, interactive leisure software, music, the performing arts, publishing, software, television and radio. http://www.culture.gov.uk/what_we_do/creative_industries/default.aspx



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Diagram 1. The concentric circles of the culture and creative sectors

Source: Szultka, S. Klastry w sektorach kreatywnych. Motory rozwoju miast i regionów. Warsaw, PARP 2012 [as cited in] KEA, The Economy of Culture in Europe, 2006.

The stratum which directly encloses the core comprises cultural products (and services) that

are the closest to the material generated within the core, including books, radio, and films. The

further we go from the core, the more processed the material is – another stratum thus

encompasses industries that are not so easily-qualified as cultural, but use material generated

by it, these are, among others, advertising and industrial design. In line with the suggested

model, the creative sector consists of subsidised entities (cultural institutions), and also

commercial organisations; however, the former are located mainly in the material-generating

core, and the other – in the surrounding strata4.

The specificity of the creative sector5 is its strong internal diversification, as, within the

framework of this sector, we can identify:

• various industries – in the light of various definitions, the creative sector

encompasses many diverse industries (see Diagram 1),

• various organisational forms of running a business including, for example,

individual artists, entities functioning under the Act on Cultural Activities,

enterprises, third-sector organisations, and social-economy entities,

4 Marcus. C. Future of creative industries. Implications for research policy. DG Research 2005 [as cited

in] Throsby, David. Economics and Culture. Cambridge University Press 2001 5 UN Educational, Scientific and Cultural Organization. Understanding creative industries,

http://portal.unesco.org/culture/en/files/30297/11942616973cultural_stat_EN.pdf/cultural_stat_EN.pdf



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• entities of different sizes – while in industries like advertising or architecture,

there are small and large enterprises, when it comes to artistic education or

photography the businesses are run mainly on the micro-scale,

• different ranges of operations – some part of the creative sector offers the mass

distribution of products (e.g. films, radio and TV broadcasts, publications), while

other entities offer unique products (handicrafts) or products consumed one-off in

a given time and location (e.g. artistic events)6,

• various business models including for-profit organisations, non-profit

organisations, companies funded using designated or earmarked subsidies, and

companies subsidised from the purchase of products.

Not only has the creative sector been growing in importance with regard to value creation, but

it has also perfectly blended in the changes which are taking place nowadays in the economy.

The processes of globalisation and internationalisation, as well as the dynamics of consumers’

tastes and expectations, influence the directions of entrepreneurial development. Companies

are more frequently forced to quickly adapt to changing requirements and seek new sources of

advantage, e.g. by using intangible assets and new business models, entering into new areas of

activity, and expressing a greater

willingness to cooperate. The

contemporary directions of

entrepreneurial development highlight

the growing importance of and share in

generating such assets as knowledge,

information, reputation, social capital,

and relationship capital. Such needs are

to a great extent satisfied by the

enterprises in the creative sector.

Recently, the creative sector has had to

face, among other things, the changes connected with the development of digital

technologies, which has determined to a large extent the activities of such industries as

television, phonography, photography and video distribution. New technologies bring about

6Analiza potrzeb i rozwoju przemysłów kreatywnych. Ministerstwo Gospodarki 2009

It is currently estimated that the share of the creative

sector in GDP runs at different levels in various countries.

The highest values - ca 7-9% - have been observed in the

United States, ca. 5% of GDP in the United Kingdom, and

3-5% in China1. In USA, the creative sector generates 22

billion dollars, which is growing at the rate of 5% a year.

At the same time, the estimated growth of the creative

sector is running at the incredible level of 14% in the USA

and 12% in the UK1. In Poland, the share of the creative

industry in the economy has also become substantial. The

only available data – from 2002 – came from the National

Strategy for the Development of Culture for 2004-2013

and estimate that the share of the cultural sector and its

industries is running at 4.5% of GDP.



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not only benefits through new channels to reach customers (VOD, the Internet), but also new

threats, e.g. connected with the need to reinterpret copyrights and implement new tools for

its protection (as in the case of the phonographic industry). Other effects of digitisation can be

observed in the photographic industry – with the mass launch of digital cameras, the share of

people dabbling in photography also increased. As a result the prestige of this profession is on

the wane, as is the number of photo labs and their clients7. On the other hand, digital

technologies often constitute an important element of innovation – including the publishing

industry (audio books and e-books). Undoubtedly, the ability to quickly respond and adapt to

ongoing changes is a characteristic of the creative sector.

Another important feature of the creative sector is its relatively strong ability to establish

cooperation. First of all, a substantial proportion of people operating in the creative industries

base their operation on the “freelancer” model, and engage in numerous ventures or projects

in cooperation with different partners (companies or other authors). Secondly, the model of

small creative groups is also growing in popularity. It entails several people using the same

space, under the same brand, but without a formally-established economic entity. Thirdly, we

can observe that more or less formalised partnerships are being formed between companies

in the creative sector, often for the purposes of one project or venture only (the

implementation of a specific promotional campaign, the production of an album or a film, or

the staging of a performance). Many such ventures require just the joint efforts and skills of a

few authors and entrepreneurs. It is important to remember that such cooperation can also

include partners representing industries other than creative. This cooperation, if it is

maintained for a longer period of time, can become the specific start of a cluster. However,

with changing needs, the relationships within the sector can also change.

In this chapter, we present the results of a scientific literature survey including the

aforementioned characteristics of the creative sector, and indicating the most important

conditions of three important developmental processes in the creative sector:

• creative entrepreneurship and cooperation (how to transfer ideas onto the market),

• innovations (inter-sector contacts),

• cooperation within the framework of the supply chain.

7 Grochowski, M. Sektor kreatywny w Warszawie. Potencjał i warunki rozwoju. Warszawa 2010



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2.1. Creative entrepreneurship and cooperation, i.e. how to transfer ideas onto the market

The effective functioning of companies in the creative sector requires the meeting of two

important conditions. Firstly, the representative of the creative sector should demonstrate

entrepreneurial attitude and at least basic knowledge in the field of running a company

(making a business plan, stating the business model, managing human resources, and

accounting). Secondly, their success requires cooperation not only at the internal level, but

also with representatives of other, traditional industries8. It is worth noting, that creative

sector companies – due to their high specialisation, package unification, and, usually, small

size9 – are much more inclined to build

networks, within the framework of

which operate both companies and their

individual employees10.

Entrepreneurship

Entrepreneurial attitude is defined as a

set of features and activities, owing to

which an individual can understand the

needs of their clients and the processes

taking place on the market and respond

to them accordingly, displaying one’s

range of products or services11. The

entrepreneurial attitude in the creative

sector companies therefore means the ability to react to the emerging threats and

opportunities, and the ability to take advantage of them. Creative sector entrepreneurship,

therefore, means:

• the ability to utilise knowledge and social capital as important assets,

8 Boon B., Jones D., Curnow B. (2009). Out of the blue: The dark side of creative enterprise, Culture and

Organisation, vol. 15, Nos. 3-4, pp. 361-377. 9 Cf. Ecorys (2009). Analiza potrzeb i rozwoju przemysłów kreatywnych,

http://www.mg.gov.pl/files/upload/10147/Analiza%20potrzeb%20i%20rozwoju%20przemyslow%20kreatywnych.pdf 10

Huang Y.-H. (2011). An explanatory study of the competitive strategy of cultural and creative industries in Taiwan, European Journal of Social Sciences, vol., 20, No. 3, p. 391-400. 11

Moczydłowska J. Pacewicz I. (2007). Przedsiębiorczość, Wydawnictwo Fosze.

Uncertain demand

High risk and uncertainty of demand for the marketed

products and services is a creative-sector-specific issue.

Each subsequent product is a form of new quality, and is

characterised by unique features, in respect of which it is

impossible to precisely forecast if it will arouse the

consumers’ interest. The creator can never be certain

whether the film, music, or a piece of furniture offered by

him or her will appeal to its consumer (recipient). The

goods supplied by the creative sector are to a great

extent “experimental goods,” where the consumer’s

satisfaction is based on subjective sensations and the

non-materialistic values ascribed to the product.

Furthermore, the life cycle of creative products is very

short, which forces constant innovation. Virtually every

product offered by the cultural and entertainment

industries is a single, unique package which is going to be

replaced by a new one in next to no time.



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• the ability to introduce innovations and novel solutions, and exploiting the

advantages offered by copyright12,

• the ability to intertwine cultural values13 with economic challenges (costs and

profits),

• the ability to take rational risks and to coordinate one’s efforts,

• the ability to manage unusual, specific, and not fully-defined products/services in

respect of key economic indices (e.g. productivity and profitability),

• the ability to develop effective organisations in the specific conditions of the

creative sector (individual products, individual clients with aesthetic expectations

that are difficult to define, a flat organisational structure) and its employees

(extensive individuality and corresponding difficulties with its team-work and

creative processes),

• the ability to manage personnel, including employees characterised by a great

need for independence and autonomy, often scattered geographically,

• the ability to establish contacts in the industry, and also suprasectoral contacts, in

order to find clients, employees, sub-contractors, updating the latest trends and

facilitating promotion (exhibitions, meetings) and distribution.

Cooperation

12

Prince R. (2010). Globalizing the creative industries concept: Travelling Policy and transnational policy communities, The Journal of Arts Management, Law and Society, vol. 40, pp. 119-139. 13

Cultural and creative material is to a great extent generated in the creative core, see Diagram 1.



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The entrepreneurial attitude of the employees in the creative sector also means the ability to

establish valuable business relations and develop cooperation networks. Cooperation that is

based on partnership bolsters the efficacy of operations and the market power of the grouped

companies. At times, it is a necessary condition for the implementation of a more complex

venture, which requires the joint efforts of several entities. Such cooperation relates to both

the cooperation within the creative sector and cooperation between companies in the creative

and traditional sectors. Aside from the obvious

profit, which is the expansion of activities,

facilitating business cooperation also leads to

deriving other benefits, such as the exchange of

information (e.g. regarding the provisions of the

law), experience (e.g. through cooperation with an

accountant), and using the infrastructure (e.g. the

client base, distribution channels). Cooperation

between traditional and creative companies is usually part of a diversification strategy for the

“traditional” partner, which, in contact with the creative industry, sees an opportunity for the

development of innovative products and services. In the long run this can translate into the

establishment of a new, joint entity (spin-off) or the combining of the already-existing

companies (merger)14. Incentives and barriers to cooperation between the creative and

traditional sectors are presented in Table 1.

14 Park H., Steensma H. (2012). When does corporate capital add value for new ventures”, Strategic Management

Journal, vol. 33 No. 1, pp. 1-22.

Spin-off

A spin-off company is a new enterprise

which is established due to the employees

of a parent company or other organisation

becoming independent. The creation of a

spin-off company is accompanied by the

utilisation of knowledge, ideas, technical

solutions, etc. which were previously

generated in the framework of the parent

company.



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Table1. Incentives and barriers to cooperation between the creative- and traditional-sector companies

Incentives and other factors facilitating

cooperation

Barriers and other factors hampering cooperation

The perspective of gaining a favourable position

on the market, being the first on the market

(first-mover advantage)

Institutional issues, difficulties in access to capital

New social attitudes, increased activity, new

communication technologies

Low level of trust between partners (the lack of

social capital)

Being unique on the market, high margin,

difficulties in copying, patents and copyrights

protecting the product/service

No faith in the economic sense, a high risk of

failure.

The ability to exchange experiences, know-how

access, the effects of synergy

Difficulties in communication, different

organisational cultures, no understanding,

ineffective leadership

Supporting traditional businesses based on new,

innovative, and creative endeavours, the

diversification of the base business

Concerns for the commercialisation of culture and

transition from cultural values to a mass product.

A lower share of labour costs, which hamper the

ability to compete in traditional industries in

developed economies

The early stage of economic development and

society gaining wealth (low demand for goods on

offer)

Elements of State policy preventing social

exclusion

No stimuli and an inadequate State policy in

respect of the above

Source: own work.

As presented in Table 1, there are some barriers to cooperation, including institutional

obstacles, lack of faith in the economic sense of such cooperation, difficulties in

communication connected with different organisational cultures, and mutual lack of

understanding.

Public authorities (at the local and national level) should therefore create such conditions that

could facilitate entrepreneurship and encourage companies to establish cooperation, and, at

the same time, remove the identified barriers. A survey of literature suggests a growth in State

activity and an increase in the importance of the creative sector in many countries:



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• The United States of America15

– the country’s policy is here focussed on

facilitating strong copyrights and the conditions for the development of the

entertainment and film industries, as well as on the creation of creative clusters,

• Canada16 provides support for the creative sector by means of the appropriate tax

policy; we can also observe a growth in the awareness of education’s impact on

the development of the creative sector,

• In Australia17 an active State policy maintained up to the 1980s as part of national

identity contributed to the development of the sector and to an increase in its

importance in generating GDP,

• New Zealand18

supports the development of the creative sector which is, to a large

extent, focussed on the film industry,

• China19 is creating the conditions for the development of the creative sector, at

both the national and local level, despite this sector still being at an early stage in

its development,

• United Kingdom20

since the 1980s has maintained an active policy on the

development of the creative sector and creating conditions for cooperation with

traditional companies. Many initiatives and massive events at the national and

global level have stemmed out from this initiative,

• Germany21

maintains an interesting development policy for the creative sector,

which is regarded as a historical chance for the country’s promotion, facilitating

cultural diversity, and as a way to develop human capital,

• Taiwan22 maintains a creative-sector development policy as an integral part of the

competiveness strategy on the global market and in terms of human resources,

15

Flew T., Cunningham S. (2010) – op. cit. 16

Léger M. (2010). The non-productive role of the artist. The creative industries in Canada, Third Text, vol. 24, issue 5, pp. 557-570. 17

Flew T., Cunningham S. (2010) – op. cit. 18

Prince R. (2010) – op. cit. 19

Zhang H., Wang J., Liu D. (2011) – op. cit. 20

Banks M., Hesmondhalgh D. (2009). Looking for work in creative industries policy, International Journal of Cultural Policy, vol. 15, No. 4, pp. 415-430. 21

Zhang H., Wang J., Liu D. (2011). – op. cit. 22

Huang (2011). – op. cit.



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creating opportunities for companies’ development (infrastructure, funding, and

the promotion of effective business models),

• Lithuania23 supports the development of the creative sector, which is treated as an

integral part of the cities’ development policy,

• Switzerland, Hong Kong, Columbia, Brazil, and the Republic of South Africa

maintain creative-sector development policies as a part of preserving their

national heritage24.

In reference books, significant importance is

being attached to the studies of Richard

Florida, who highlights the special role of

urban areas and metropolises. From the

sector’s point of view, they comprise key

clusters of the so-called creative class25

(artists, graphic artists, actors, singers, writers,

etc.). Geographical proximity, access to

infrastructure, and the ability to establish

contacts and develop clusters all play a

significant role in stimulating the development

of creative districts and the creative sector in

large cities. As data show, employment in the

creative sector is estimated to run at the level

of 12% in New York, 14% in London, and 15%

in Tokyo26.

R. Florida suggests that a specific policy at the

city level can significantly contribute to an increase in its creative potential. Such a potential is

also demonstrated by Warsaw27

.

23

Černevičiŭtě J. (2011). Mapping Vilnius as creative city, LIMES: Borderland Studies, vol. 4, No. 1, pp. 89-100. 24

Prince R. (2010) – op. cit.; Flew T., Cunningham S. (2010) – op. cit. 25

Por. Florida R. (2003). The rise of the creative class: And how it/s transforming work, leisure, community and everyday life, New York, Basic Books. 26


Grochowski M. (2010). Sektor kreatywny w Warszawie. Potencjał i warunki rozwoju [as cited in] Kreatywni. Twórcze życie w Warszawie. Przewodnik po warszawskim sektorze kreatywnym; Warszawski Program Rozwoju

The educational system and the development

of the creative sector

One of the characteristics of the cultural and creative

sectors is their need for well-educated personnel, and also

for continual professional development. The Governments

of countries like the United Kingdom and Singapore have

long recognised the role of artistic education at all levels –

from basic to higher education.

First of all, it is important to ensure the suitable quality of

the education of the artists themselves. Business skills,

enabling artists to commercialise their ideas, should

supplant their artistic qualifications. The curricula at art

universities often blank out the learning of practical skills,

including organisational, negotiation, and labour-market

movement skills. These competences are invaluable from

the point of view of developing creative entrepreneurship.

On the other hand, there also appears to be a need for

general art education as the basis for creating demand for

the creative-sector services. A conscious, demanding, and

aesthetically-established consumer will demonstrate a

higher interest in the goods offered by creative

enterprises. The modelling of consumers’ tastes and high

requirements can also take place by the offering of high-

quality material by cultural institutions in the public sector.



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Studies involving the models of support for the creative sector, including developing

entrepreneurial attitudes and stimulating cooperation, enabled us to distinguish four main

approach-based strategies used in different geographical regions. These models include28:

• the American model, which takes into consideration the issues of the importance of

art and culture in social development, and also includes the major role of copyright

when focussing on the development of the film and entertainment industry. Support

programmes to a large extent account for local specificity and the development policy

of national creative cities,

• the European model highlights the importance of culture’s mission (and especially of

cultural institutions in the public sector) and its significance for the policies aimed at

fighting social exclusion,

• various Asian models focus on bolstering the parts of the cultural and creative

industries which are oriented towards generating profit. They highlight the role of

socio-cultural and political conditions which can determine the developmental

directions for the creative sectors and should also be included in the formation of

support programmes for this sector. Efforts undertaken in this field focus on bolstering

exports and national or regional branding.

• Developing-countries models (Latin America, South Africa, the Caribbean) see the role

of the creative sector from the perspective of national-heritage protection, combating

poverty, and providing basic infrastructure.

Kultury, http://www.dziennikarzerp.pl/wp-content/uploads/2012/04/za%C5%82%C4%85cznik-PRK-po-autopoprawce.pdf 28

Flew T., Cunningham S. (2010) – op.cit.



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2.2. Innovation in the creative sector – inter-sector contacts

Innovativeness has long been seen as a key condition, not only to the enterprise’s success, but

also as the basic requirement for its presence on the market, which already by J. Schumpeter29

was identified as a fundamental rule for running a business. Innovativeness refers to many

dimensions of a company’s

operations – most often it is

simply associated with new,

refined versions of an

available product or service

(e.g. technological

innovation, the addition of

new performance

characteristics); however, it

can also include facilitating

processes and organisational

structures, management, or

implementing new

marketing solutions30. The

scope and range of

innovations can differ

depending on the sector’s

specificity – they can be comprehended differently in the traditional and the creative sectors.

Finally, yet another type of innovation is the most coveted direction characterised by the

creation of new products or services at the meeting point of different industries and sectors by

the transfer of solutions onto different organisational or market conditions and thus creating a

29

Joseph Schumpeter, the Austrian economist (1883-1950), introduced the concept of innovation to the economic literature. 30

Starczewska-Krzysztoszek M. (2008). Ranking najbardziej innowacyjnych firm w Polsce, PKPP Lewiatan, http://pkpplewiatan.pl/_files/publikacje/Ranking_firm%20innowacyjnych.pdf

Innovations as a result of inter-sector cooperation

The links between the creative sector and entrepreneurs representing

the more “traditional” industries can yield innovations, e.g. in marketing

(an advertising campaign, packaging design), but also in products (e.g.

the design of a new car, a piece of furniture, or an everyday-use

product). Cooperation with a creative company can directly translate

into its partner’s innovation processes. Owing to such cooperation the

performance of the creative sector and its business partners is

improving.

However, for such cooperation to come to existence it is necessary to

understand the needs and benefits of both parties. Currently, such

cooperation is restricted – there are no systemic solutions that can

facilitate it (e.g. cooperation platforms, or creative-service brokers).

Contacts between artists and “traditional” sectors are also hampered by

prejudices and superstitions on both sides. Entrepreneurs in “traditional”

industries are often oblivious to the benefits they can acquire from

cooperation with the creative industries (a better-designed product is

not only about aesthetics, but also ergonomics, and often safety), they

are also not aware of the amount of work needed to present a finished

project, and thus they cannot appraise or reward it adequately. On the

other hand, artists are not always prepared for negotiations with their

partners from another industry, or for the necessity to reach a specific

compromise between their aspirations and the client’s needs, and also,

quite often, they just fail to “sell” their idea well or secure their

copyrights.



17

wholly-different package31

. Examples of such innovations are the embedding of an mp3 player

into sports equipment or the development of an employee recruitment programme utilising

candidates’ character traits32. The creative sector can also play a major role in the innovation

process.

Creative-sector innovation stems from the search for novel solutions, not necessarily within

the framework of a specific industry, but at the meeting point of different sectors. It is the

interaction between employees in different industries (e.g. entertainment and IT, industrial

design and work), different units (e.g. marketing and production), and different professions

and social groups, which comprises the

main premise of the development of

innovative attitudes in the creative

sector33

. Studies concerning the

innovativeness in the economy have

found that creative-sector economies

are among the most innovative, owing

to both novel products and to the

possibility of integrating different

industries and sectors34

. Innovations in

the creative sector are based on an

interdisciplinary approach, the dynamic exchange of experiences, the intertwining of many

approaches and strategies, while the search for innovative solutions is the main mechanism

explaining both the development of the creative sector and of the creation of networks and

clusters35

. Cooperation between creative and new-technology industries is a specific source of

31

Prince R. (2010). Globalizing the creative industries concept: Travelling Policy and transnational policy communities, The Journal of Arts Management, Law and Society, vol. 40, pp. 119-139. 32

Tests to evaluate the candidate's personality are becoming commonplace in the recruitment process. Such instruments include the Thomas Personal Profile Analysis (PPA), the Insights Discovery model (based on Carl Gustav Jung's personality theory) or the SuccessInsights tests. For the overview of such tools, please consult “Doradztwo zawodowe. Wybrane metody badań” by Anna Paszkowska-Rogacz (2009). 33

Wilson N. (2010). Social creativity: Re-qualifying the creative economy, International Journal of Cultural Policy, vol. 16, No. 3, pp. 367-381. 34

Mueller K., Rammer Ch., Trüby J. (2008). The role of creative industries in industrial innovation, ZEW - Centre for European Economic Research Discussion Paper No. 08-109. 35

Stam E., de Jong J., Marlet G. (2008). Creative industries in the Netherlands: Structure, development, innovativeness and effects on urban growth, Geografiska Annaler: Series B, Human Geography, vol. 90, No. 2, pp. 119-132.

Blue-Ocean Strategy

Innovation in creative sectors corresponds to Blue-Ocean

Strategy, which rejects the necessity to thoroughly analyse

the sector and the market (e.g. client segmentation, Porter’s

five forces analysis, strategic-group analysis). In place of

classical strategic management, it proposes a broader view on

the market without the precise setting of its borders, activities

across sectors, and at the meeting points of different strategic

groups. Blue-Ocean Strategy aims at offering an innovative

solution, simultaneously with the maintenance or even

lowering of prices. Reference books also highlight the

interaction between the triad’s elements – recipients

(customers). material or distribution, and production.



18

innovations (e.g. new communication technologies, the operation of social media)36

.

Innovativeness is also a basis for the development of a competitive edge in respect of both

particular companies and whole national economies37. Interestingly enough, innovativeness

and effectiveness go hand in hand and do not rule out but complement each other38

. The

analyses of innovative companies in the creative sector reveal several important features. First

of all, these companies are characterised by great diversity when it comes to industries and

organisational forms. Maintaining this diversity in a cooperation network or in a cluster is of

key importance to achieving good economic results, as this includes cooperation between

different links within a complete value chain39

. Great diversity was also identified in respect of

employed business models40

, whose shape and rules of operation do not only reflect the

specificity of the product and “supply” process, but also react to external changes, e.g. to

copyrights. In Table 2 we can find the key elements of a business model.

Table2. The key elements of a business model

Key partners Key activities /

Key resources

Value offered to

customers

Customer

relations / a

distribution, sales,

and

communication

channel

Market segments

Cost structure Cash flows, revenues

Source: Osterwalder A., Pigneur Y., Tucci Christopher L. (2005). Clarifying business models: Origins,

present, and future of the concept," Communications of the Association for Information Systems, vol. 16,

Article 1.

Various business models are an effect of the diversified meaning of particular elements. For

36


Huang Y.-H. (2011). An explanatory study of the competitive strategy of cultural and creative industries in Taiwan, European Journal of Social Sciences, vol., 20, No. 3, pp. 391-400; Pokarier C., Tamiya Y. (2007). ‘Brand Japan’ and the internationalization of Japanese creative industries, 15

th Biennial Japanese Studies Association of Australia,

Australian National University,http://ssrn.com/abstract=1560506 38

Wong P.K., Ho Y.P., Singh A. (2005). Singapore as an innovative city in East Asia: An explorative study of the perspectives of innovative industries, World Bank Policy Research Working Paper No. 3568. 39

Huang Y.-H. (2011) – op. cit. 40

Searle N. (2011). Changing business models in the creative industries: The cases of television, computer games and Music, UK Intellectual Property Office.



19

example, the model of low-cost carriers focusses on different key resources and other

segments of the market than the model of luxury carriers. A business model, in its simplest

definition, states where the revenue will be generated – from the sales of a product, from an

after-sales service (e.g. printers and toner replacement), from using services provided by a

product (e.g. phone calls), from end- or intermediate customers (e.g. advertisements on

websites). All these factors make up a business model which can later be changed in

accordance with the changing external conditions. The ability to react adequately and adjust

one’s model to current needs is also seen as a manifestation of innovative operation.

Cooperation between companies aiming at developing new solutions blurs the borders

between them and facilitates the intertwining of particular industries41

. Analyses highlight the

strong dynamics of changes in the creative sector, which stems from substantial development

possibilities in the case of launching a truly novel and original product onto the market.

Australian researchers suggested four models depicting the mutual relations between entities

in the framework of cooperation between the creative sectors and the traditional-industries

companies. These four models include42:

• The welfare model, which implies a negative impact of the creative sector on the

remaining entities with whom it cooperates. In this model the products and

services of the creative sector are characterised by high cultural value, but low

market value or low value-added for consumers. What follows is the over-

consumption of resources (e.g. human resources, knowledge, and national

support). Such a situation can take place when the creative sector develops

without taking into account customer preferences or market conditions, and thus

absorbs value from other industries and cooperating companies and also takes

over transfers from the public sphere (e.g. in the form of subsidies). Such a

situation translates into poor financial results and a low rate of the sector’s

growth.

• The competition model recognises the creative sector not as an industry providing

specific aesthetic sensations, but as yet another sector operating under the same

conditions as other sectors. In this approach the creative sector remains neutral

considering other industries and cooperating companies. While assessing the

creative sector the same indices should be used for the assessment of its

effectiveness and financial results as for other industries. Creative entities need to

face the same requirements in terms of business preparation and market

knowledge, and the sector itself is subject to the same processes as can be

observed in other sectors (stages of development, consolidation processes, and

competition).

• The growth model anticipates the positive effects of the cooperation between

creative-sector companies and companies in traditional sectors. The creative

sector contributes new material, new solutions, and business models, which

haven’t been taken into account by traditional-sector companies. As a result of

such cooperation new market niches are created and new industries are

41

Searle N. (2011) – op. cit. 42

Potas J., Cunningham S. (2008). Four models of the creative industries, International Journal of Cultural Policy, vol. 14, No.3, pp. 233-247.



20

developed which can better answer the needs of customers and contribute to the

growth in the whole economy.

• The innovation model classifies the creative sectors not as separate industries, but

as elements in the innovation of the traditional industries, which, according to

Schumpeter’s approach, must react to changes in their surroundings and the

emerging expectations and needs of customers, and also must develop their

creative activity.

The authors of the above taxonomy conducted empirical research which indicates that, in

Australia, the cooperation of the creative-sector companies with traditional-sector companies

takes place in line with the scenarios described in the growth and innovation models, which

anticipate positive results for such cooperation43

. Here, it is worthwhile taking a closer look at

the potential benefits stemming from this cooperation. Aside from the obvious and

measurable results (the preparation of a new product, the implementation of an important

change in marketing or the organisation), partners can achieve much more. The benefits

resulting from the intertwining of industries and acting across sectors are presented in Table 3.

Table 3. The benefits for creative and traditional companies stemming from mutual

cooperation

Arguments for a creative company advocating

cooperation with traditional companies

Arguments for a traditional company

advocating cooperation with creative

companies

Organisational support, access to a client database,

access to distribution channels

Extensive flexibility of operation, the possibility

of adjusting to very specific, unexamined,

clients’ tastes

Financial support, access to funding A chance for a high return on investment, a

possibility of product/service diversification

The opportunity to achieve synergistic effects The opportunity to achieve synergistic effects

Access to know-how, the possibility to use the new

partner’s experiences

Access to new ideas and a novel organisational

culture

Access to the market, business partners network,

and experience of a traditional company

Access to unique knowledge and top-quality

specialists

Source: own work.

43

Potas J., Cunningham S. (2008) – op. cit.



21

As we can see in Table 3, the exchange of experiences, the mutual utilisation of partner’s

strengths, and the meeting of diverse organisational cultures, are important benefits

stemming from cooperation between creative and traditional companies. We should also

highlight that the cooperation between various operational forms (private companies, public

companies, non-profit organisations) becomes a key challenge here. This issue is often being

brought up in discussions by practitioners, and also in studies in the field of, e.g. public-private

partnership. Despite the substantial potential displayed by such cooperation, they indicate

many barriers and hindrances to the effective implementation of projects, in which the diverse

entities participate. The main issues include different approaches to the commercialisation and

profitability of the project, time pressure, leadership and work style, motivational and

communication systems, or the scope of formalisation (different legal requirements).

Therefore, one should be aware that such cooperation is burdened with serious risks.

Nevertheless, and especially in the creative sector, the cooperation of the entities of a

different kind can turn out particularly beneficial, as it enables the flow of cultural material

between its authors and entities that commercialise it.

2.3. Incubation (start-up) - a supply chain

The incubation process of the entities running a business in the creative sector is closely

connected with the notions of entrepreneurship and entrepreneurs present in Polish

discourses on the economy. In its common understanding, entrepreneurship is the ability to

take up ventures which are aimed at generating revenue44; it is a characteristic of people who

are active and energetic, and achieve success in organising and managing enterprises45.

Another take on this term depicts entrepreneurship as a feature, understood as the readiness

and ability to take risks and solve problems in a creative and novel way, the ability to capitalise

on emerging chances and opportunities, and also to flexibly adjust to ever-changing

conditions46. The concept of entrepreneurship has been defined by many economists. The

respective definitions, coming from various periods in the history of socio-economic thought,

indicate the different roles of the entrepreneur, and ascribe to him or her diverse features.

44

Innowacje i transfer technologii. Słownik pojęć, ed. K. B. Matusiak, 3rd ed., PARP, Warsaw 2011, p. 229. 45

Innowacyjna przedsiębiorczość akademicka – światowe doświadczenia, red. J. Guliński, K. Zasiadły, 1st ed., PARP, Warsaw 2005, p. 9. 46

P. F. Drucker, Innowacje i przedsiębiorczość. Praktyka i zasady, PWE, Warsaw 1992, pp. 34-35.

[as cited in] Przedsiębiorczość stymulatorem rozwoju gospodarczego, eds. J. Brdulak, M. Kulikowski, Instytut Wiedzy, Warsaw 2004, p. 15.



22

You can find a summary of these definitions in the

table below.

Table 4. The evolution of the concept of the entrepreneur in economic studies

Year Author Achievement in developing the

concept of the entrepreneur

1755 R. Cantillon The introduction of the concept – entrepreneur

The entrepreneur as a speculator

1800 J. B. Say The entrepreneur as a coordinator

1890 A. Marshall The entrepreneur as a coordinator, innovator, and arbiter

1907 F. B. Hawley The entrepreneur as an output owner (subject to uncertainty)

1911 J. Schumpeter The entrepreneur as an innovator

1921 F. Knight The entrepreneur as a responsible decision-maker in uncertain environment

1925 F. Edgeworth The entrepreneur as a coordinator

1925 M. Dobb The entrepreneur as an innovator

1927 C. Tuttle The entrepreneur as a responsible owner in uncertain environment

1973 I. Kirzner The entrepreneur as an arbiter “alert to profit opportunities”

1982 M. Casson The entrepreneur as a coordinator of rare goods under uncertain conditions

1993 W. Baumol The entrepreneur as an innovator and manager influenced by the existing stimuli

structure

Source: R. Aidis, Entrepreneurship and Economic Transition, Tinbergen Institute, Amsterdam 2003, p. 3

[Table 1],

http://www.tinbergen.nl/uvatin/03015.pdf.

The concepts of the entrepreneur and

entrepreneurship are closely connected with

the creation of the supply chain: from the

initial idea to product manufacturing and

delivering it to the customer. We should

highlight here that in the case of the creative

Start-up

A company at the very early stage of its

development, or an entrepreneur who just

plans to establish an economic entity. At this

stage there already exists an initial idea for a

product or a service which may be offered;

however, what is being sought is an optimal

business model, which will facilitate the quick

development of an enterprise

Venture capital and seed capital

Capital coming usually from private sources (or rarely

from public-private sources) invested in business

ventures. Venture funds are also called high-risk funds,

because they enable you to provide with capital such

projects which provide a high rate of return, but which are

also connected with a high investment risk. The

investment can aim at the development of a new product,

the implementation of a new technology, or, simply, the

bolstering of an enterprise. Venture capital comprises an

important alternative to banks which usually maintain a

more conservative credit policy. At the same time, it is a

very demanding instrument – such funds engage only in

the best, specific, and meticulously-prepared investment

plans, so as to reduce investment risks and maximise the

chances to achieve a high rate of return. Seed capital

funds comprise a specific segment of such instruments,

directed at companies at the early stage of their

development.



23

sector we are dealing both with purely commercial products and with cultural goods. These

two types of goods satisfy different customers’ needs, and thus should be evaluated using

different criteria. All activities aimed at supporting the creative sector should take into account

these distinctions.

In the field of culture, public intervention can be justified extra-economically. Due to the high

uncertainty of demand and the substantial costs of creative processes (also stemming from a

short product lifecycle), goods which do not interest mass customers require additional

support. Therefore, public support should include the production and distribution of goods

deemed the most valuable or the reduction of the price barrier in the consumer’s access to

such goods.47 On the other hand, the instruments of the sector’s support should take into

account the needs and conditions of those creative entities whose operations are aimed at

generating profit. It is of key importance to the development of a synergistic effect between

different industries, organisational forms, and business models.

Only a comprehensive support system, taking into account diverse instruments, both those of

a direct (e.g. subsidies) and indirect character (e.g. tax relief) or financial engineering

instruments (e.g. seed-capital and venture capital funds), will be able to effectively support

this sector.

The key assumptions one should remember while developing the tools for supporting the

incubation process (and also the directly-connected value chain creation process) are

1. The diversification of financial and economic efficiency depending on the

organisational form – running a business in creative sectors can have various

organisational forms like:

a. an institution run under the Act on Cultural Activities48

,

b. an institution run under the Act on Public Benefit and Volunteer Work49,

c. an institution run under the Act on Freedom of Business Activity50

,

d. an institution run under the Code of Commercial Companies Act51

.

47

Ilczuk, D., Wieczorek, A. Przemysły kultury. 48

The Act of October 1991 on organising and managing cultural activity, and several other Acts, as announced by the Sepaker (Marshal) of the Sejm of 26 March 2012 on announcing the consolidated text (JoL, item 406). 49

The Act of 24 April 2003 on public benefit and volunteer work, Journal of Laws of 2003 No. 96 item 873 as amended 50

The Act of 2 July 2004 on freedom of economic activity, Journal of Laws of 2004 No. 173 item 1807 as amended



24

2. The potential diversification of financial and economic efficiency depending on the

industry – cultural and creative industries are characterised by diversified levels of

financial indices, time-consumption, capital-intensity, commercialisation possibilities,

and the ability to assimilate innovations aimed at an increase in productivity52. Such

parameters as employment level, financial result and productivity will always place in a

favourable position those industries where we deal with large entities, and where the

specific nature of operations involves, e.g., substantial enterprise budgets53.

3. Striving for the initiation of synergistic effects between various players in the creative

sector and between various support instruments. The creative sector functions at the

meeting point of many areas of socio-economic interaction. Its functioning can be

affected by, among others, institutions coordinating cultural policy, fiscal policy,

support in the framework of designated and earmarked subsidies, the distribution of

financial resources from public funds created for commercial and non-commercial

purposes, economic policy, the promotion of the Polish economy and its regions

abroad, social policy, and educational policy. The multitude of these institutions

hampers the coordination of support and the creation of a synergistic effect between

its particular elements.

3. The results of local research

3.1. The creative sector in Warsaw

3.1.1. Creative entrepreneurship and cooperation, i.e. how to transfer ideas onto

the market

51

The Act of 15 September 2000 - Commercial Companies Code, Journal of Laws of 2000 No. 94 item 1037 as amended 52

For more about the “Baumol’s cost disease,” see: W.J. Baumol, W. Bowen, Performing Arts – The Economic

Dilemma. Study of problem common to theatre, opera, music and dance. The Twentieth Century Fund, New York 1966, pp. 181-183. 53

For example, in terms of value added the advertising industry occupies the first place, further places fall to publishing and broadcasting. When it comes to the level of productivity (value added to number of employees ratio), the highest values are being noted in the cable networks and in broadcasting industries. The lowest level of productivity is ascribed to newspaper, books, and music sales and to literary and artistic activities and artistic institutions activities (cf. Lewandowski, P., Mućk, J., Skrok, Ł. Znaczenie gospodarcze sektora kultury. Wstęp do analizy problemu. IBS 2010)



25

In Warsaw, there are around 6,700 companies operating in the creative sector, and most of

them are located in the Śródmieście, Włochy, Wilanów, Mokotów, and Żoliborz districts. As

analyses show, the creative sector is dominated by companies in the advertising industry (21%

of companies). Another two important industries are architecture and traditional publishing.

Among the most important assets of this city, which make it an attractive place to run a

business in the creative industry, we should enumerate:

• A high concentration of companies that can comprise potential partners, suppliers, or

consumers of the services offered by the creative sector; the proximity and diversity of

other enterprises is conducive to cooperation,

• the presence of top-class specialists (graphic artists, IT specialists, actors, makeup

artists), which can be involved in joint ventures,

• a high share of affluent individual customers (residents and people visiting the city),

interested in more-sophisticated products and services.

What is more, the representatives of local creative companies highlight that running a business

in this city is further facilitated by the capital’s prestige, the large number of investments, and

the continuous development of the city, as well as the plethora of business, media, and

cultural events. We should not forget, however, about the difficulties that creative

entrepreneurs have to face. Among the most important barriers they enumerate the high cost

of office space leases (which sometimes have to be specially furnished, e.g. a rehearsal room),

a fast pace of life, and the connected haste and competition, or the still unsatisfactory level of

residents’ participation in cultural events54

.

Despite the idea of supporting the creative sector’s development still being relatively new in

the capital, we can indicate several already-implemented initiatives which were aimed at

creating favourable conditions for creative entrepreneurship and cooperation in this sector. It

is worth highlighting that the need for such actions is being noticed by the Local Government,

which not only conducted an analysis of the creative sector in Warsaw, but has also been

actively participating in the implementation of undertakings for the development of the sector,

by initiating many of the following operations.

The Cultural Development Programme of Warsaw

The development of creative entrepreneurship and cooperation has been included in the

document called the Cultural Development Programme of Warsaw for 2020 (PRK)55. The main

priority of the PRK is the development of the unhindered creation and extension of a cultural

package, which is being accompanied by the development of cultural infrastructure (including

the already-existing and new cultural venues). In addition, it assumes an increase in the

cultural participation of all the residents of Warsaw, which entails the development of cultural

education and supporting cultural activity, as well as the utilisation of new technologies

facilitating common access to cultural goods. Finally, the implementation of the Cultural

Development Programme of Warsaw will contribute to the branding of Warsaw as a European

city of culture, which shapes its modern identity and appreciates its roots. Among the

54 Grochowski M. (2010) – op. cit. 55Warszawski Program Rozwoju Kultury (Appended to Resolution No. XXXIV/839/2012 of the Warsaw City Council of 29 March 2012) – op. cit.



26

objectives of the Cultural Development Programme of Warsaw are56

:

• an increase in and the intensification of participation in culture, and the

stimulation of the social and cultural activity of residents,

• the support of creation by the popularisation of culture and art, and also by the

development of the creative sector,

• the improvement in the condition and accessibility of cultural infrastructure, the

improvement in the quality of public space, and its better use for cultural

activities,

• the branding of Warsaw as a respected European city of culture,

• the creation of a modern Warsaw identity with respect for tradition and

multiculturalism,

• the improvement in the quality and efficiency of cultural management.

Creative Metropoles

This project was implemented by 11 European cities and was aimed at the exchange of

knowledge and experiences, and also at the development of new standards of pursuing public

policies in respect of supporting creative industries. Warsaw’s participation was connected,

among other things, with the drawing up of an analysis of the creative sector’s development in

the capital (Grochowski, M. Sektor kreatywny w Warszawie. Potencjał i warunki rozwoju.

Warsaw 2010), the organisation of an international conference devoted to the overview of

policies implemented at the local level in sister cities, the organisation of a series of workshops

and meetings, e.g. connected with the compilation of suggestions for bolstering cooperation

within the local society and creativity in the Praga Północ district, and also with the

preparation of suggested actions which could be initiated by the Local Government in order to

boost the creative sector in Warsaw. The initiatives launched in the framework of the Creative

Metropoles project included among others, the creatives.waw.pl portal and a series of

meetings under the banner of Creative Mixes (see below).

The Creative Mixer

These cyclic events, co-organised by the Capital City of Warsaw Municipal Office and British

Council, are aimed at the integration of the environment connected with the creative sectors

and the promotion and popularisation of ideas to support this sector. Each of the meetings

revolves around a different topic. So far there have been discussions held about, i.a., the

expectation and needs connected with the creation of a new creative entrepreneurship centre

(Targowa 56 Creativity Centre), the benefits of the cooperation within clusters, and the

experiences connected with running a business in the field of artistic handicrafts. Aside from

the seminar section, organised in the form of experts and practitioners’ presentations, the

meetings also include a networking element – their participants can talk in a less formal

atmosphere, exchange their experiences and establish new contacts, which are so important

when it comes to the development of creative activity. 56

Warszawski Program Rozwoju Kultury – op. cit.



27

creatives.waw.pl

This portal is directed at people involved in the activities of the cultural and creative industries,

and offers information on current events and undertakings aimed at them. It also features an

on-line platform which enables you to create your own profile and establish contacts with

other people operating in a similar area. Therefore, the portal has two fundamental functions.

Firstly, it collects and makes available theoretical knowledge and practical information on the

cultural and creative sectors. Secondly, it is a social tool which enables you to create a network

of contacts and co-create new material (publishing articles). In line with its creators’

assumptions, the bulletin is also to play the role of a consultative tool in designing the

elements of the support policy for creative industries. The portal is administered by the Capital

City of Warsaw.

The Warsaw Creative Sector Cluster (ArtKlaster)

The concept of the Warsaw Creative Sector Cluster57

was created in 2009 on the Pro Cultura

Foundation’s initiative58. The establishment of the cluster accompanied the implementation of

the Creative Metropoles project. The Warsaw Creative Sector Cluster went beyond the

definition of an industrial cluster, as it was to combine the functions of a science park, an

entrepreneurship and innovation incubator, and of a knowledge transfer centre. Its operations

were to support the development of already-existing entities and the establishment of new

ones. An important objective formulated for the cluster was to support young artists and

producers who had ideas for projects with economic potential, but lacked the resources and

infrastructure to implement them. However, this idea was not implemented due to the lack of

funds, and more importantly, a building which would meet the requirements of such a large

undertaking. Under the ArtKlaster’s banner, there was created a portal, which later on was

used to promote other activities undertaken within the framework of the Creative Metropoles

project, mostly local workshops aimed at the development of the Praga Północ district.

Entrepreneurship in the creative sectors

In the context of analysing creative entrepreneurship and cooperation, it is worth mentioning the

project which is being implemented by Kozminski University, “Entrepreneurship in the creative sectors,”

which is aimed at stimulating the development of new, dynamically-growing companies59

. This project

57 Pałasiński A. (2011). Policzyć przemysł kreatywny, http://www.businessandbeauty.pl/policzyc-przemysl-kreatywny/ 58

Pro Cultura Foundation was established in 2003 to carry out research on culture and to promote best

practices in culture management and financing, thus leveraging its growth. The Foundation is committed to propagating knowledge and encouraging the exchange of experiences in respect of culture, media, and new technologies, both at the national and international levels. It initiates and takes active part in international research into culture, its branches and new IT technologies. It focuses on initiating public debate on culture, with special attention to cultural policy. For more information, please visit http://procultura.pl/o-nas 59

http://www.kozminski.edu.pl/pl/oferta-edukacyjna/studia-i-projekty-dofinansowane/szkolenia/przedsiebiorczosc-w-sektorach-kreatywnych/



28

offers support for people who plan to set up a business which includes training courses, individual

counselling, and subsidies to set up a company60

. The project is further supplemented with research, as

well as training and support programmes based on experiences from previous projects implemented by

the University (the “How to set up your own business” project or by the Capital City of Warsaw

Municipal Office, which were contracted to the University (Warsaw as the capital of ambitious

businesses).

The Fabryka Trzciny Art Centre

Another example of creative entrepreneurship and cooperation is the Fabryka Trzciny Art Centre,

established in 200361

. It is a private arts centre set up in revitalised, post-industrial facilities in the Praga

district in Warsaw. The centre’s operations include diverse artistic activities, i.a. theatrical

performances, exhibitions, festivals, concerts, lectures, and debates. Fabryka Trzciny also houses a

restaurant, exhibition space, club, and conference halls, and, since 2005, a theatrical stage called Praga

New Theatre. At the same time, this space can be used by other institutions interested in organising

conferences, meetings, performances, and exhibitions.

The Praga Project / SOHO Factory

The Praga Project62

was launched by Marcin Garbacki, an architect, the originator of a loft design in

Polskie Zakłady Optyczne [Polish Optical Plants] facilities. At the beginning, its operations revolved

mainly around the field of design, but this activity was soon expanded into the operations of the

Artanimacje association, which has taken up many cultural projects aimed at the revitalisation of the old

PZO Factory at ul. Grochowska 316/320 and its vicinity. During the three years of its operations, there

were eight events held including the ones connected with music (Sound-Processing Plant, three days of

concerts encompassing different music types), design (Recycles, an event combining design with the

idea of recycling, during which the artists create new objects from recyclables), and theatre (the

Dreams’ Factory). One of the results of the implemented activities was the establishment of the SOHO

Factory – space on ul. Mińska, using post-industrial buildings, and designed for companies and

institutions operating in the creative sector. Aside from office space, in which there are located, among

other things, an architectural studio and a magazine editor’s office, SOHO also offers space for cultural

and lifestyle events (i.a. concerts, vernissages, and fashion shows). In prospect, the SOHO Factory is also

to feature residential space – part of the area will be taken up by a housing estate with a shopping and

service centre, and it will also include a kindergarten, a coffee club, and restaurants.

3.1.2. Innovation (inter-sector contacts)

Innovativeness in the creative sector is still a fairly new issue, and so there are not many materials and

analyses in this field63

. Though the Mazowieckie Region, and especially the Warsaw District, is in the

60

http://www.kreatywni.waw.pl/ 61http://www.fabrykatrzciny.pl/caft/centrum 62http://www.sohofactory.pl/content/idea 63Cf. Ecorys (2009). Analiza potrzeb i rozwoju przemysłów kreatywnych, http://www.mg.gov.pl/files/upload/10147/Analiza%20potrzeb%20i%20rozwoju%20przemyslow%20kreatywnych.pdf

In the 1990s Polish producers, and

especially those who had just started

their businesses, were notorious for

travelling and taking concepts and

copying them. Fortunately, more and

more companies are now aware that

this is not the way, as these are very

short-term solutions.

Sformatowano: Czcionka:(Domyślny) Calibri, 10 pt, Polski

Sformatowano: Polski



29

lead in the field of innovativeness in Poland when compared to other European, Asian, or American

cities and regions, its results are running at a fairly low level64

. Another hindrance to the analysis of the

innovation level in the creative sector in the Warsaw District is the lack of clear criteria for the

assessment of the phenomenon of innovativeness in the creative sector, as the devised indices mainly

refer to the level of innovativeness in the economy as a whole or in particular companies (e.g. the

number of patents and publications, institutes and incubators)65

. Innovative solutions implemented in

creative companies are of different character from innovative technologies in their traditional sense,

and therefore are much more elusive in the form of quantitative indices. Below there are brief

characteristics of selected companies operating in the Warsaw District, which can be seen as examples

of innovativeness in the creative sector.

CD Projekt Red computer games

CD Projekt Red is one of the leading publishers and distributors of video games for PCs and consoles,

and since 2009 it has also offered films on DVD and Blu-ray. The company publishes localised (i.e.

translated into the local language) PC, Xbox 360, and Playstation 3 games from many global producers

and publishers. The development and creation of games about the Witcher, Geralt of Rivia, turned out

to be a great success, and the sales of both PC games exceeded 3 million copies. The CD Projekt RED

studio employs world-class Polish and foreign specialists in the fields of graphics, animation, software,

and design.

Internet Group SA software

Internet Group S.A. is a company operating at the meeting point of the counselling and computer

software sectors. It is a holding of companies designing and implementing marketing programmes to

support sales with the utilisation of new media, new technologies, and modern customer-reach

channels (the Internet, call centres, mobile telecommunications). The company’s philosophy is based on

close cooperation between entities, and also on the synergy and integration of products, solutions,

services and customer bases.

Medicalgorithmics sp. z o.o. software

Medicalgorithmics sp. z o.o. is a company operating at the interface of the health-protection, computer

software, and modern medical-equipment sectors. Owing to its technology called Digital Signal

Processing (DSP) the company develops algorithms which enable you to diagnose health problems (e.g.

Pocket ECG, which is a global leader in the field of mobile equipment for diagnosing cardiac

dysrhythmia).

64

Płoszaj A., Olechnicka A., Smętowski M., Wojnar K. (2010). Warszawa innowacyjna – diagnoza potencjału, Opracowanie wykonane na zlecenie Miasta Stołecznego Warszawy. 65

Starczewska-Krzysztoszek M. (2008) – op. cit., Płoszaj A., Olechnicka A., Smętowski M., Wojnar K. (2010) – op. cit.

Sformatowano: Czcionka:Calibri, 10 pt



30

Infinity Media media

Infinity Media is an independent Media House skilled in the planning and sales of all media. Infinity

Media operates on the media and advertising market using the Internet, press, radio, television,

outdoor, and ambients. As a company which is not a part of a large corporation or network, it offers a

personalised customer approach, substantial flexibility, and non-standard solutions. It ensures rapid

contact with a customer by, among other things, the possibility of direct briefing at the level of the

company’s website. The company’s customers include the Allegro group, the City of Poznań, and the

Egmont publishing house.

Macrologic S.A. software

Macrologic S.A. is a company operating at the meeting point of the counselling and computer software

sectors. The company provides modelling services in business processes realised both in operations

management — production, logistics, sales, and marketing, and in auxiliary activities — accounting,

payroll, tangible assets, using IT technologies and modern systems (ERP, HRM, HCM, BI and many

more). These services, thanks to the sharing and exchange of information (information circulation),help

to forecast and plan future operations using full knowledge within the enterprise (finances, control)

while maintaining quality standards (quality management).

Graphology Solutions Group graphological consultancy

Graphology Solutions Group specialises in graphological and coaching using computer software which

studies the style of graphology. Graphological consultations are based on established British standards

and are aimed at top-level managing staff in companies and institutions. The company’s services

support recruitment processes, defining personnel potential and career paths, business partners’ and

team-members’ compatibility assessment, managers’ self-assessment and self-development, coaching

processes, and all other undertakings in human resources departments.

Badi Badi video post-production

Badi Badi is a specialist post-production studio which deals in the post-production of commercials, video

clips and films, 3D animation, and production support on the side of computer-generated special

effects. The company offers support for advertising projects from the stage of the storyboard, design

cooperation, supervising effects at filming locations, projects, and the realisation of digital sets and

backgrounds, to editing, compositing, 3D animations, and sound design. The company also produces

independent animated movies and creates music videos based on special effects and animation.

Papryka & Synowie music production

Papryka & Synowie is a sound studio run by a group of artists which bring together creativity, genuine



31

technique, and perfect understanding of the requirements set by modern music production and its

consumers. The studio offers the following services: custom-made music composition (on-set

composers), advertising jingles composition and realisation, sound effects composition and realisation,

sound post-production and commercials realisation (cinema, radio, TV, the Internet), feature films

sound post-production, film voice-over recording, audiobooks recording and realisation, helpline

recording and realisation, singers, instrumentalists, and band recording, film dubbing, and also sound

material cleaning and reconstruction.

Rodan Systems software

Rodan Systems is an IT company and a supplier of IT systems. The object of the company’s activities is

the production and implementation of application software, as well as the delivery and installation of

utility software. The company is a provider of software which supports information management (own

platform OfficeObjects®), which facilitates comprehensive business-process management, the creation

and publication of electronic forms, and also intelligent data collection and management, as well as

knowledge management. In addition, the Rodan Systems’ package features document circulation and

work-management systems - OfficeObjects® DocMan and OfficeObjects® Document Manager - and also

OfficeObjects® Service Broker for the creation and integration of IT systems, and also for the

implementation of services on Internet portals. The company also offers services for handling digital

signatures, Certification Centres, e-offices, of the implementation of public-procurement processes, and

also of accounting evidence circulation for public and local administration offices of different sizes, as

well as for enterprises.

It is also worthwhile mentioning bridging organisations which are active in supporting technological

transfer in the Warsaw District66

and academic business incubators67

. Our information reveals that none

of these initiatives is particularly focussed on supporting innovativeness in the creative sector.

3.2. Suggesting support tools for the creative sector in Warsaw

Creative entrepreneurship and cooperation, i.e. how to transfer ideas onto the

market The overview of literature and interviews with the representatives of creative industries

conducted for the purposes of this project allows us to suggest tools which aim at the

facilitating and support of creative entrepreneurship and cooperation. The devised tools

should be divided into two groups: 1) diagnostic tools, and 2) development support tools.

66Universities (The Centre for Technology Transfer of the Warsaw University of Technology, University Technology Transfer Centre), JBRs (Technology Transfer and Innovation Promotion Centre at the Institute of Mechanised Construction and Rock Mining, the Mazowieckie Centre of Auxiliary Services for Innovators at the Electrotechnical Institute, The Centre for Innovation and Technology Transfer at the Tele and Radio Research Institute),and NGOs (The TECHNOLOGY PARTNERS Technological Partnership Foundation, the “Innovation Centre FIRE” Foundation, the Energy Conservation Foundation) 67

The Academic Business Incubator (AIP) by the University of Warsaw (38 companies), AIP by the Warsaw University of Technology (60 companies), AIP by Warsaw School of Economics (100 companies), AIP by Łazarski University (16 companies), AIP by Warsaw School of Information Technology (20 companies).



32

Evaluating the creative industries - challenges

The reliable evaluation of the creative sector is a demanding task. First of all, a considerable number of businesses are micro-

companies, whose reporting duties under public statistics are highly limited. On top of that, the creative industry is made up of more than just businesses. A number of artists operate as

freelancers or on the basis of contracts for specific work, which keep them outside the scope of public statistics, and other databases, for that matter. Also, such freelancers frequently form informal cooperation groups, which operate under a shared brand, but are not registered anywhere. This poses a significant problem when it comes to estimating the scale of the creative-activity phenomenon.

This task is further hindered by the sector's dynamism. The practice of establishing partnerships for the purposes of individual undertakings, the need for continuous development of new products, and close relationship with the IT sector, all make the necessary support subject to constant fluctuations. As a result, institutions interested in delivering assistance to the sector have to monitor its evolution on an ongoing basis to be able to provide adequate aid. Periodic quantitative analyses seem to be of particular importance here. However, these do not necessarily have to entail social studies. The sector's condition and its needs can be diagnosed by way of a dialogue, held, for instance, via the platform available on creatives.waw.pl, or regular meetings under the Creative Mixer initiative.

Diagnostic tools boil down to the necessity of conducting thorough research on the state of

development of the creative sector in Warsaw, with special attention given to:

• statistical data – estimating the number and size of creative entities, organised

according to particular industries,

• economic data – estimating

employment, generated value, and

the pace of development of creative

entities,

• drawing up a map of the creative

sector – the identification of

connections between companies to

identify network and cluster-

creation processes68,

• the identification of conditions for

the operation of creative companies,

their specific needs, encountered

barriers, and possible areas of

support by the Local Government.

Such a diagnosis will to identify the precise

scale of the sector’s operations, and also will

point out the main directions for its

development.

Development support tools boil down to the

creation of conditions that are conducive to

the development of entrepreneurship in the

creative sector and also to offering

incentives to the entities to create cooperation networks and clusters. The suggested solutions

include tools of an infrastructural, organisational, and educational character.

Infrastructural tools mean access to buildings, facilitating transport and communication, and

also legal solutions. The implementation of these tools is expensive and hard to carry out.

However, it is worth undertaking such actions, especially due to the fact that they bring about

real change. The suggested infrastructural tools include

• creating incentives to start your own business69

in the form of simplified formal

requirements, introducing tax reliefs, reducing labour-costs taxation, etc., especially in

the case of the first business or for people under 30,

• incentives for creative clusters – e.g. tax reliefs, the possibility of the joint settlement

of projects, and subsidies. The examples from Eastern Poland show that incentives and

subsidies contribute to the dynamic creation of clusters in other industries (e.g. the

68

Prince R. (2010) – op.cit. 69

Zhang H., Wang J., Liu D. (2011) – op. cit.



33

Eastern Casting Cluster “KOM-CAST”, the Świetokrzysko-Podkarpacki Energy Cluster,

the Welding Cluster“ KLASTAL”, the Eastern Green Cluster “Dom Energooszczędny”)70,

• supporting already-existing networks/clusters/associations, etc.,

• incentives, help or consultancy to create majors, specialisations and courses connected

with the creative sector at different levels of education,

• the creation of a sub-fund for the development of the creative sector and/or a

bridging institution providing funds,

• the organisation of cultural events of a supranational, national, and local character,

and their promotion.

Organisational tools relate to the provision of access to the knowledge and experience of other

entrepreneurs and artists, and to help in managing cooperation networks. The implementation

of such tools is cheaper, though it requires more involvement in the process of the

coordination of different groups and entities. The suggested organisational tools include

• the establishment of an Internet cooperation platform between start-ups and

enterprises with an established market position,

• the patronage over or creation of meeting places, organisations/foundations/an

incubator with its own brand and logo relating to Warsaw location71, whose tasks

would be the support of creative companies through

o inviting experts and leaders72 from the sector to give lectures or present

reports concerning their own experiences in running a creative company,

o the exhibition of artists’ works, especially during seminars, lectures, with the

participation of the financial services and traditional business sectors,

o counselling on leveraging financial resources from EU funds and from private

investors,

o counselling on the efficiency of business models in creative sectors,

o counselling and support for emerging entities, which include the creative and

traditional sectors and/or an institution of higher education,

o the promotion of examples of creative sector companies which are successful,

o cooperation with the Warsaw Stock Exchange / New Connect to create an

index of creative companies,

o the creation of a creative companies’ ranking/contest to promote the sector,

• support, counselling, preferential treatment for the main creative companies

comprising the value chain centre, around which gather partners and

subcontractors73,

70

Osiecki A. (2012). Klastry rosną za unijne euro, Rzeczpospolita, 8 maja, s. B5. 71






34

• the promotion of the idea of alumni of schools, high schools, junior high schools,

higher education institutions, etc.,

• the promotion of involvement in the creative sector/cooperation with the creative

sector as an element of business responsibility for social matters among traditional

businesses,

• the creation of social and networking centres in various locations in the city, featuring

free Wi-Fi access, where employees, entrepreneurs from the creative sector, artists,

students, entrepreneurs, people from the financial services sector, etc. could meet. A

coffee-house chain could be invited to cooperate (e.g. Coffee Heaven or Starbucks).

Such centres could also serve as a place to exhibit art,

• the establishment of cooperation with a personnel consultancy agency/portal, which

would provide information on people looking for a job, mainly in the creative sector,

• the acquisition of media patronage – a daily, a magazine (e.g. Forbes), and a

broadcasting station (e.g. TVN, CNBC),

• a change in the business model in selected cultural organisations

o abolishing museum entry fees, like in London, in favour of voluntary

donations, and also the implementation of memberships, and fees for

temporary exhibitions,

o the authorisation of souvenir, gadget, and food sales, as well as the

organisation of events on the cultural organisations’ premises (e.g. in

museums).

Educational tools refer to the provision of access to knowledge through the organisation of

courses and training courses in the field of entrepreneurship, and of classes conducive to

personal development. The implementation of these tools is cheaper and easier than of other

tools. The suggested educational tools include

• the organisation of programmes and

courses facilitating the simulation of

running one’s own business,

• the organisation of workshops74

for

children and teenagers, and also for adults

developing their creativity. Such

educational activities are aimed at

increasing the opportunities to develop

talent and highly-creative people,

• counselling and support for schools, junior high schools, and higher-education

institutions implementing educational projects aimed at the sector or creative class

development,

74


It’s like giving money to a young entrepreneur who will then go out and buy marketing specialists, a good computer, an ad in a good portal so that the clients come. But this alone won’t make him do good business. This money will have him buying a swimming manual, but he won’t be able to swim anyway. Entrepreneurship, managing a business in general, is a result of experience and not a mere combination of components.



35

• funding/co-funding a publication (available, e.g. on the Internet) depicting case studies

of creative-sector companies which have achieved success. Such examples would serve

as an inspiration for the young and comprise a benchmark for subsequent projects.

Innovation – inter-sector contacts

An overview of the literature and conducted interviews allows us to formulate suggestions for

tools which aim at facilitating innovations in the creative sector and at the meeting point of

this sector and other industries. The tools boil down to the creation of favourable conditions

for the development of innovations in the creative sector and to offering incentives to the

creation of a cooperation network within the sector and also with traditional companies. The

suggested solutions include tools of an infrastructural, organisational, and educational

character.

The suggested infrastructural tools include:

• the creation of incentives to set up one’s

own business or joint ventures between

companies75in the form of deregulatory

actions76, the simplification of formal

requirements, tax reliefs, reducing

additional labour costs, etc.,

• an increase in legal efficiency77, mainly in

order to protect copyrights78, and ensure

agreement performance, to increase trust

in potential business partners and improve the protection of innovations and novel

products/services, as well as to reduce copying solutions by other companies79,

• the improvement of accessibility to databases, scientific articles based on the

examples of open content, open innovation, or open journal80

75


Huang Y.-H. (2011) – op. cit. 77

Zhang H., Wang J., Liu D. (2011) – op. cit.; Raustiala K., Springman C. (2006). The piracy paradox: Innovation and intellectual property in fashion design, UCLA School of Law Research Paper No. 06-04,

Virginia Law Review, Vol. 92, p. 1687-1711. 78

Schultz M., Van Gelder A. (2008). Creative development: Helping poor countries by building creative industries, Kentucky Law Journal, vol. 97, no. 1, 79-148. 79

Hemphill C., Suk J. (2009). The Law, Culture, and Economics of Fashion, Stanford Law Review, Vol. 61. 80

Troxler P. (2009). Open content in the creative industries: A source for service innovation? w: Wolf P., Kazi S., Troxler P., Jonischkeit R. (red.) Supporting service innovation through knowledge management, Bristol: Knowledge Board, Zurich: Swiss Knowledge Management Forum.

People who work as graphic designers,

DTP operators, all those creative jobs, by

definition, and I’ve been aware of this for

ages, all those people are doing odd jobs.

In the evenings, afternoons, weekends,

they do small orders for other creative

companies or directly for people who

need creative designs, irrespective of

whether they operate a business activity

or they work full-time – they will always

do this, and, frankly, it’s up to them if

they wish to formalise their activities

aside from work in the company.



36

• the establishment of a sub-fund for research and development:

o an incentive for entrepreneurs devoting their financial resources to research-

and-development work,

o an increase in R & D financial resources devoted by the city.

Organisational tools refer to the provision of access to the knowledge and experience of other

entrepreneurs and experts, and to supporting cooperation by the creation of bridging

institutions. The city’s key task in the creative sector innovativeness development policy is to

support the establishment of business relations and the exchange of information between

particular entities, which, based on the British example, is indicated to be the main condition

for running such a programme81. The suggested organisational tools include:

• the formulation of a comprehensive support policy82

for the development of

entrepreneurship in the Warsaw area, which entails:

o counselling regarding leveraging financial resources from the EU funds and

private investors,

o promoting examples of innovative companies in the creative sector, which

have achieved success83,

• the creation of conditions for the development of a science park/cluster on the

model of American cities (Boston, San Francisco, San Diego, Seattle, Austin and

Washington DC)84:

o an area prepared for the cooperation of many different companies, on the

condition of the company’s being within the creative sector or maintaining

cooperation with the creative sector. As it has been signalled above, the

companies’ diversity85 is key to the project and should include the necessity for

the development of particular

companies comprising a value

chain86,

o preferential conditions, e.g.

low rent, free Internet access,

o work organisation modelled

on Google solutions –

increased employees’

independence, better work

ergonomics, settlement based

81

Carafa A. (2008). The Creative sector and the knowledge economy in Europe: The United Kingdom’s creative economy programme, Social Science Research Network, http://ssrn.com/abstract=1403465 82


Huang Y.-H. (2011) – op. cit. 84

Wu W. (2005). Dynamic cities and creative clusters, World Bank Policy Research Working Paper No. 3509. 85

Wong P.K., Ho Y.P., Singh A. (2005) – op. cit. 86

Huang Y.-H. (2011) – op. cit.

You must have a desk, a working 24-hour Internet

connection, so that such a person could come any

time, use the Internet, leave a laptop, print

something, so that he could have guests, there

should be a conference room, some space, where

they could take a break, because if they, pardon

the expression, slave away for 14 hours, they

should have a place to go there for an hour and

exercise or just take a nap. If I had a place I’d

install those Japanese hotel tubes, where you can

stash yourself for 8 hours – I mean it’s a proven

American idea, you can Google things there and

find anything, the hairdresser is there, you just

don’t need to go anywhere outside the incubator.

People are also needed – just as in a locksmith’s

workshop it’s not enough to have a machine for

injection moulding, a metalworking machine,

screwdrivers and electricity, but you also need a

Master who will say don’t put your fingers there,

this should be done at this angle, turn here, and

there you really wasted the material, and it could

have been...something good.”



37

on results (ideas), and not on working time,

o the organisation of an annual contest for the most innovative venture of a

company operating in Warsaw (the winners get measurable benefits, e.g. in

the form of free promotion on the websites of the city office),

o the organisation of an annual ranking of innovative companies in the creative

sector in Warsaw,

• the establishment of cooperation and the creation of a platform linking business with

institutions of higher education, including mainly art and technical majors87,

o the creation of an Internet platform, where, on the model of the solutions in

Silicon Valley88, everyone can submit their ideas, even the most crazy and

groundbreaking ones. The lack of formal restrictions for the ideas’ authors can

result in large number of them being submitted on the portal – in the case of

an American http://itsthisforthat.com/ platform, the number of new ideas is

estimated to amount to 100 a month. The platform could become a meeting

place to establish cooperation between creative businesses and financial

institutions (e.g. venture-capital funds), and traditional companies,

o guest appearances of business

representatives during

lessons,

o the possibility of completing

an internship and an

opportunity for students to

find a job,

o access to young and well-

educated personnel,

o the organisation of a national

contest in collaboration with entrepreneurs (on the model of business-case

competitions organised by the world’s best universities), where groups of

students from different majors would solve a case study aimed at the creation

of innovative products or services. The students’ presentations would then be

evaluated by a professional jury composed, chiefly, of entrepreneurs,

financiers, and engineers. The prize would include an opportunity to complete

an internship/be employed in a company,

• offering a “design voucher” -a tool that would motivate both sectors to establish long-

lasting cooperation in a comprehensive manner. A subsidy paid out in a several-stage-

long process, with the involvement of both parties, i.e. the manufacturer and the

creative sector (industrial design), and the cooperation would include at least the

following stages:

1. the selection of an SMP and of a designer,

87

Wu W. (2005) – op. cit. 88

Walewska D. (2012). Sto pomysłów na biznes miesięcznie, Rzeczpospolita, 11 June, p. B.10.

We contacted students from the University of

Technology who learnt how to manage projects

and the design process. Such people can be a kind

of mediator between the engineer, constructor,

producer, technologist and the designer. So

there’s definitely a lot to be done at the level of

teaching, as now everything is based on

cooperation, good cooperation, while all teaching

programmes are far removed from this, and

they’re lacking in discipline, conversation skills,

and good cooperation.



38

2. design audit,

3. counselling that would enable designing particular solutions, feasible

to be implemented in the SMP,

4. a design-production grant,

5. implementation and advisory support at the stage of transferring

applied arts to the SMP (design coaching).

Such support can be given to an SMP within public de minimis support.

• The organisation of meetings with the leaders of innovative businesses, who would

present their papers, and share their experiences in the development of innovative

businesses.

Educational tools refer to the provision of access to knowledge, the organisation of courses,

training courses, classes facilitating the development of innovative attitudes, and

interdisciplinary actions. The implementation of these tools is easier and cheaper than that of

the remaining tools. The suggested educational tools include

• The organisation of training courses for entrepreneurs and managers as key persons

in the development of an organisation, to present management methods increasing

innovativeness89,

• funding/co-funding a publication(available, e.g. on the Internet) depicting the case

studies of creative-sector companies which have achieved success. Such examples

would serve as an inspiration for the young and comprise a benchmark for subsequent

projects.

Incubation (start-up), a production chain

By all means, it appears impossible to suggest one tool for the incubation stimulation and the

effective creation of production chains in creative sectors. The prospective tools should

facilitate the establishment and further development of both enterprises and other

organisational forms, and should include

• tools stimulating the establishment of new entities in the creative sector,

• tools facilitating their further development,

• tools facilitating the establishment and operation of institutions supporting creative

industries.

We should state clearly that the possible direction for the development of a creative

companies’ support system should encourage then to take up risky endeavours and take into

consideration the risk of failure, necessary in this kind of activity. It appears that the creation

of several mutually-complementary services based on the creative incubator would be an

89

Mollick E. (2011). People and process, suits and innovators: The role of individuals in firm performance, Social Science Research Network, http://ssrn.com/abstract=1630546



39

efficient tool. These services would include:

• an investment fund financed within the framework of the JEREMIE or JESSICA

community initiatives,

• a group of experts cooperating with the incubator, and supporting start-up entities at

the stage of a seed in return for remuneration from shares,

• the creation of a one-stop service package aimed at entrepreneurial people, including

an option to register an enterprise, and obtain counsel and access to subsidies.

• the introduction of a business environment institution to the incubator, especially-

accredited entities within the framework of the PARP National System of Services and

private institutions (especially banks, insurance companies, leasing companies, and

high-risk funds),

• the introduction of stringent requirements connected with obtaining support, which

will be inversely proportionate to the selected indices connected with the assessment

of the creative sector entity’s situations, including the age of the entity, the number of

employees, the number of customers, the number of projects implemented, turnover

level, etc.

Therefore, it appears justified to develop such solutions that would enable the effective

expenditures of public

funds, and which would

force the entity receiving

the funds to focus on the

efficiency and efficacy of

undertaken actions.

Needless to say, the basic

condition for the

development of such a

system is the development

of efficiency-assessment criteria, differentiated with regard to particular industries in the

creative sector.

1. Here we should highlight that all supervisory activities should be also aimed, to a

greater extend, at efficiency, rather than at the formalities connected with the proper settling

There may be a person who says, you know, I only want it to look pretty,

or there’s a person who has a somewhat deeper understanding of design

and only through this understanding and some kind of an awareness, a

true, multi-dimensional and close cooperation is established. Truly

worthwhile designs can only be born of cooperation. Cooperation at

every stage, at the stage of creating the design assumptions, setting

goals and tasks, and later a truly-shared analysis of various ideas and

many different concepts. Now, when at any stage of product

implementation the cooperation is there, when you cooperate with

constructors, technologists... but at every stage the designer is present

and active in the creation until the very end, until the moment when the

item is to be photographed, when a campaign is prepared around it,

sometimes when you need to show your face [...] if that’s so, the

cooperation is perfect and it brings, I believe, the greatest chance of

success.



40

of funds. It is worth noting that public funds often impose on the receiving entity restrictions

connected with their low flexibility. The receiver of a subsidy has to settle, within the time limit

provided in the agreement, and present all the documents, stipulated in the agreement,

confirming the timeliness and correctness of the expenditures borne, and their conformity

with regard to budget items and the agreement. Such restrictions force entities that receive

support to concentrate not on the objective of the implemented tasks, but on the correctness

of settling, which means that often, during the implementation of the project, one forgets

about its actual effects, and concentrates on the correctness of accounting for the received

money.

.



41

4. The results of European and global research

4.1. Identified instruments for the support of creative industries

2. The objective of research conducted at the global level was to identify the examples of

actions, initiatives, and instruments implemented in Europe and the whole world, which were

designed to support creative entrepreneurship. Based on the conducted overview, the

examples of the most interesting practices, which can comprise an important source of

inspiration to suggest pilot actions to be implemented in Warsaw, were selected.

3. The identified instruments are being implemented, in the great majority of cases, at

the local level. Such an approach is in line with the specificity of the creative sector entities

whose operations are deeply rooted in their local surroundings. In a few cases the discussed

support instruments are part of a broader development strategy for a city or a region, as Local

Governments more often see the potential of their support in the culture and creative

industries. The local dimension is not without significance from the co-author’s development

perspective – it is the proximity of partners which often serves as an incentive to cooperation.

This cooperation, on the other hand, is yet another feature characteristic of creative-sector

entities – especially due to the specificity of the marketed goods, whose life cycle is fairly

small. Thus it is necessary to continually offer new packages, and they are much easier to

generate mutually. The cooperation is often established informally for the purposes of a

particular undertaking or project, and comprises one of the distinguishing features of creative

industries in comparison to other industries. Readiness to cooperate and the understanding of

the benefits stemming from it are also important to the creation of clustering potential in the

area of creative industries.

4. The forms of support presented below are aimed at the creative sector and include

very diverse tools – both due to the offered-support form and the stage of enterprise

development at which support is most effective. The subsequent part of this report analyses

these instruments and suggests a typology of support forms addressed to artists and creative

entrepreneurs. Next, there are four examples of specific initiatives implemented in the world

in the form of mini-studies, presenting the implemented actions in a more detailed fashion.



42

DEPARTURE, an agency for the creative industries Vienna, Austria

� http://www.departure.at/

5. The DEPARTURE agency was established by local authorities (the city of Vienna) in

2003. Its task is to promote entrepreneurship and offer support for the creative sector

companies.

6. DEPARTURE offers several funding programmes aimed at entrepreneurs and people

planning to set up a business, and also supports and promotes the most promising artists in

industries like fashion design, music, audiovisual arts, multimedia, industrial design, publishing

design, and architecture. Currently, there are four different funding programmes available -

Departure Classic (for already-established planning to implement innovations) Departure

Pioneer (for people planning to set up a business), Departure Experts (for self-employed

people seeking counselling support), and Departure Focus (for companies planning to

implement innovations which fit the thematic range set annually by the agency). You can use

counselling services outside the funding programmes, as the agency maintains constant

cooperation with a team of experts in the fields of searching for funding for companies, tax

law, marketing, and product development. Furthermore, the agency is involved in the

organisation of various events, such as festivals and fairs, which, on the one hand, enable the

establishment of contacts in a given industry, and, on the other, promote Vienna as a city

favouring creative industries

➾ funding access

➾ counselling services

➾ promotion

CultuurInvest Flanders, Belgium

� http://www.pmv.eu/en/services/cultuurinvest

One of the sub-funds of PMV, a private investment fund, which specialises in investing in

undertakings in the field of creative industries. It offers the possibility of the provision of

capital to an undertaking which is characterised by substantial market potential –in the form of



43

a subordinated loan or in exchange for shares in the company. Thus, the instrument on offer is

neither a grant nor a subsidy – it rather resembles the functioning of high-risk funds, which

offer support for innovative and developing projects also in other sectors.

One can submit an application via the website of the fund. All the data transferred by an

entrepreneur are treated as confidential. If the application meets all the formal requirements,

the candidate is then invited for an interview. The meeting enables the handing over of

information on the fund’s package and establish if the proposed conditions suit the

entrepreneur. It is also an opportunity to conduct a preliminary reconnaissance, as long as the

entrepreneur is realistic regarding his or her development plans, and depending on the level of

detail which they were drawn. At this stage, each of the parties has to express interest in

further cooperation. In the case of mutual consent, a more detailed analysis of the business

plan is conducted, including the assessment of the venture’s economic potential. Next, the

detailed terms of investment are set. The final decision is made by the fund’s Investment

Committee. Should the decision turn out positive, the funds are also responsible for

conducting the whole process on the organisational side, including attending to legal,

administrative and financial formalities. The fund’s objective is also to accompany the

entrepreneur in the most important actions and offer support (counselling) focussed on the

implementation of the established objectives. The fund has been operating since 2006 and

since then has already invested in 53 enterprises.

➾ funding access

Flanders DC Flanders, Belgium

� http://www.flandersdc.be

This organisation aims at supporting creative entrepreneurship. It conducts research on

creative businesses, innovativeness, and entrepreneurship. Based on their results, it develops

tools for the sector’s support.

The Flanders DC’s support package includes the lease of conference rooms and meetings halls

in a “creativity lab,” an option to use co-working space “Bar d'Office,” and free on-line services

(creativity-level test and team-potential scan). Flanders DC also maintains up-to-date bases of

job offers in the sector and of companies providing services for other entrepreneurs.



44

Furthermore, the package includes:

Workshop sessions concerning creative entrepreneurship. They are aimed at people who

are planning to set up a business, and organised every month in different regions of

Flanders (they encompass such topics as, how to translate an initial idea into a specific

product, building networks of cooperation, creating a communication strategy,

product appraisal, and intellectual-property protection).

The I-Creative internship programme is aimed at the alumni of art schools. Within the

frameworks of the programme, it is possible to complete a 6-month-long internship in

a company or an organisation in the creative sector in Europe. Flanders DC is

responsible for all formal matters connected with the organisation of internships,

supports interns in establishing contacts with employers, and pays out scholarship

(using the funds of the Leonardo da Vinci programme).

The Plato Creative X-Change programme is aimed at people who have already started their

businesses in the creative sector. It offers counselling and mentoring by the

representatives of larger creative enterprises for those who are interested in further

development of their companies.

Cyclic meetings of organisations working for the benefit of the creative sector “Overleg

Creatieve Industrieën.” during the meetings have an opportunity to share information

and experiences, but also to work out common stances on desirable action and

directions for public policies focused on the sectors

➾ space

➾ incubation

➾ training courses

➾ education

The Tallinn Creative Incubator Tallinn, Estonia

� http://www.esa.ee/eng/business-incubators

The Tallinn Creative Incubator is one of three incubators run by the Business Support and

Credit Management Foundation. The other two incubators also have their specialisations – one

directs its services mainly to SMEs in northern Tallinn; the other, however, is oriented at



45

innovations based on high-tech. The incubator’s operations are funded mainly from the city

budget.

The Creative Incubator, opened in 2009, offers the possibility of using office space and the

series of counselling and training services. The incubator’s support is chargeable, but the

services are subsidised up to 75%. Start-up entrepreneurs have an opportunity to establish

contacts with other people who are also starting their businesses in the creative industries

field. In their activities, they are supported by counsellors and mentors, and also can

participate in workshops and seminars organised by the incubator. Among other popular

services there are all events during which the entrepreneurs work out particular solutions

while working in groups. What‘s more, the incubator has on offer an option to use its

conference halls and meetings rooms for the purposes of a given company’s operations.

➾ networking

➾ incubation


➾ promotion

The Viljandi Creative Incubators Foundation Viljandi, Estonia

� http://www.loomeinkubaator.ee/eng

The foundation runs a business incubator specialising in supporting artists and entrepreneurs

whose products are based on metal or textiles. The incubator offers an opportunity to locate

the company in the foundation’s registered office or to use the so-called virtual programme, in

the framework of which the company is run outside the incubator’s registered office, but

benefits from other, mainly counselling, services.

Artists can benefit from the incubator’s support for a period of two years. The incubator’s

package includes access to office appliances, conference halls, workshop space, and

laboratories equipped with an eye to metalwork and textile handicrafts (e.g. lathes, milling

machines, a smith’s workshop, equipment for chemical treatment of metal, looms, sewing and

knitting machines, laundry rooms and machines for cloth dyeing).

The incubator maintains close cooperation with institutions of higher education (one of the



46

fundation’s founders is the University of Tartu). Owing to this, the incubator’s equipment is

also available to the university’s staff and students – the machines are used for the purposes

of practical classes and research projects in the fields of technology and design. The incubator

benefits from the ERDF funds

➾ space


➾ networking

➾ incubation

➾ education

Creative Industries Finland Finland

� http://www.creativeindustries.fi

The Creative Industries Finland centre was established in 2008,when it was given the function

of the coordinator of the Development Programme for Business Growth and the

Internationalisation of Creative Industries. Its operations are coordinated by the Aalto

University School of Economics in cooperation with the Sibelius Academy, the Cities of

Helsinki, Tampere, and Seinäjoki, as well as the Jyväskylä Regional Development Company

JYKES Ltd.

CIF provides information and services for creative industry developers, policy-makers, and key-

interest groups. It prepares publications which present statistical data and commentaries

bringing closer the subject matter of the cultural and creative industries, and by this is also

collects data necessary for the diagnosis of the needs and forecast of trends in these fields. It

also organises cyclical events like seminars and workshops projecting the participation of

international partners.

CIF also collects and publishes information relevant from the point of view of running a

creative company. On the CIF website there is information on, i.a., support programmes for

the creative sector, available funding instruments, and important strategic documents, and

also on institutions and initiatives for the development of the creative sector (also in other

Nordic countries)



47

➾ promotion

➾ analyses, diagnoses

LUKE Tampere, Finland

� http://www.luovatampere.fi

LUKE - The Creative Industries Development Programme aims at the development of the

creative sector, implemented from 2006 to 2011, in the Tampere region in Finland. The

programme was financed from the city and Government funds for regional programmes, and

also co-funded by the EU. Currently, some actions focussed on supporting the creative sector

are still being continued.

The main objective of the programme was to support the establishment and development of

creative enterprises, support networking (within the sector’s framework and also with other

industries), as well as to attract attention, which would translate into the establishment of

enterprises. The programme was an answer to the observed growth in the creative sector’s

potential, with a simultaneous decrease in the importance of the traditional economy in the

region. The support included such activities as training courses, counselling, entrepreneurship

coaching, and networking. Within the framework of the programme, there was also created an

agency which recruited and supervised entrepreneurs which had received support. Currently it

also offers office, workshop, and conference space for artists and entrepreneurs.

➾ space



➾ networking

Maisons de Mode Lille and Roubaix, France

� http://www.maisonsdemode.com

This is an incubator created specifically for young fashion designers within the framework of

cooperation between the cities of Lille and Roubaix with an eye to search for and support



48

young designers’ talents. It offers workshop and boutique space, and also a selection of

services for start-up creative entrepreneurs, all available in two different locations.

Candidates interested in benefitting from support have to go through a selection process,

under which their ideas are scrutinised by experienced designers and people working in

clothing industry. The support is aimed at two groups:

• designers who have already created several author’s collections and are interesting in

creating their own brands using professional counselling,

• designers creating their first collections, who, within the framework of the incubator,

can use one of the seven mini-workshops, seminars, and training courses, and also a

joint distribution channel (a boutique located on the incubator’s premises).

The support programme lasts for two years and is open to designers from the whole world. At

the end of the incubation period, the entrepreneur can open his or her own boutique by using

the option of renting retail space in the incubator.

➾ space


➾ counselling service

➾ promotion

Plaine Images Tourcoing, France

� www.plaine-images.fr

A building complex developed with an eye to providing the indispensable infrastructure for the

development of cultural and creative industries, which base their operations mostly on visual

arts such as video-games development, video production, animation (including computer

animation), and multimedia.

Plaine Images was established in the old industrial area of Tourcoing, a city located in the Lille

conurbation. Within the framework of the available infrastructure, artists and entrepreneurs

can use co-working space (Imaginarium, available free of charge), and also offices for rent.

There were also prepared specialist infrastructure and rooms, including, e.g. recording studios.

Plaine Images was established with an eye to stimulating cooperation between companies,

training institutions, and individual artists and researchers, who, gathered in common space,



49

would have an opportunity to share experiences, conduct joint experiments, and develop

innovative solutions. Plaine Images also offers an incubation programme for start-up creative

entrepreneurs. Aside from work space, it also offers counselling and instructional support.

What‘s more, the contacts between entities operating on the Plaine Images’ premises are

further strengthened by the operation of an entrepreneurs’ club and the organisation of

thematic breakfasts and conferences. Furthermore, as a part of animating social life, there was

created a football team, this activity also entailing the organisation of concerts, exhibitions, or

thematic soirées.

➾ space



➾ incubation

➾ networking

Startwest Investor Nantes, France

� http://www.start-west.com

The objective of Startwest Investor is to promote investments in the creative sector.

A business event has been held to allow the representatives of the creative sector (both start-

ups and longer-operating enterprises) to present their ideas to potential investors – both from

France, and from other European countries. It was held as part of an annual event linking

innovative enterprises looking for funding to kick-start their operations or develop their

businesses with potential sources of funding, organised by the financial cluster located in

Nantes, in partnership with city authorities and chambers of commerce and industry. What

made this event special was the fact that up to that day, it was of a national character, and

now it has achieved European reach.

The endeavours that are to be presented to the investors are first selected from the

application filed during an open call for proposals. Selected artists and entrepreneurs benefit

from training courses and counselling which are to prepare them for the best possible

presentation of their ideas at the aforementioned meeting and during subsequent occasions.

7. Furthermore, this event is also a perfect opportunity to establish contacts both with

potential investors and with other representatives of the creative sector.



50

➾ funding access



➾ networking

Bureau Broedplaatsen Amsterdam, the Netherlands

� http://bureaubroedplaatsen.amsterdam.nl

This organisation created by the City of Amsterdam operates to acquire and maintain

affordable work and residential space for artists and entrepreneurs in the creative industry in

Amsterdam and its vicinity. Some parts of the space have already been commissioned and are

being used by the target group. More are being created, and concerning the third

area/location, a feasibility study is being conducted. What’s more, the organisation encourages

other entities to create such spaces by cooperating with, among others, thematic

organisations, Local-Government units, developers, real-estate agencies, and investors.

➾ space



51

Westergasfabriek Amsterdam, the Netherlands

� www.westergasfabriek.nl

This “cultural park” which is partly an office block using the redeveloped buildings of an old

gasworks, offers rooms for creative sector companies and cultural organisations and

institutions. On the premises of the structure there are also services and sales premises. The

complex also offers the option to rent halls and outside space for the purposes of exhibitions,

concerts, conferences, meetings, etc.

➾ space

The Creative Factory Rotterdam, the Netherlands

� www.creativefactory.nl

The Creative Factory offers space for start-ups and creative-sector companies. It is located in a

redeveloped post-industrial area. Aside from office space, The Creative Factory also offers

work spaces, such as specialist workshops and a recording studio. It is also a place for

meetings, conferences, and exhibitions.

Apart from making available office space at affordable prices, The Creative Factory aims at

supporting the creation and development of creative enterprises, and also at stimulating

support between the enterprises within the sector, especially by concentrating them in one

location (a potential cluster) and meetings focussed on their networking – also with other

industries. Residents have the option to use the knowledge, experience, and contact networks

of the project’s partners. They are also presented with the opportunity to create their profiles

on the Creative Factory website. The support granted is personalised and adjusted to the most

extent to the needs of a given individual/enterprise.

The Creative Factory is a public-private partnership. The risks connected with its management

are borne by a private entity. The area is rented from the city, which invested in the

redevelopment of the post-industrial area. The public sector, as well as educational enterprises

and institutions such as the City of Rotterdam, Rabobank, KPMG, HOPE Erasmus University,



52

and Technical University of Delft, are all involved in this partnership.

➾ space



➾ networking

Creative Dublin Alliance Dublin, Ireland

• www.creativedublinalliance.ie

The Creative Dublin Alliance is a collaborative leadership network across Dublin’s Local Government,

business, and academia leaders, where the purpose is to develop, manage and promote Dublin’s

international reputation as a city where innovation and creativity thrive. The Alliance is chaired by the

City Manager and the secretariat is provided by the Economic Development Unit of Dublin City Council.

Below please find an overview of selected projects implemented by the Creative Dublin Alliance

PIVOT Dublin

PIVOT Dublin is a design promotion project initiated in 2009 by Dublin City Council. Born out of Dublin's

bid to be designated World Design Capital in 2014 (the title went to Cape Town), PIVOT Dublin provides

a platform to celebrate design's positive impact on social, cultural and economic life.

The project has its website, which presents the city itself, as well as the history and development of

design in Ireland, good practices and organisations, educators and higher-education institutions

operating in this field. In addition, it provides information on upcoming events. Next to its promotional

objectives, the project connects various operators across the design community and raises the potential

of contacts, built on its way towards the World Design Capital. This is achieved both by the Internet

platform and convened meetings.

➾ promotion

➾ networking

Innovation Dublin

Innovation Dublin is a project launched in 2009. As well as serving as a platform for networking, learning

from high-profile professionals, and exchanging views, it provides the presentation and promotional

activities for creative endeavours across urban scientists, businesspersons, and artists. It is part of the



53

European programme, funded from Interreg funds, called The Open Innovation Project, in which Dublin

is partnering with eight other cities.

➾ promotion

➾ networking



54

Design Innovation Voucher Pilot Initiative Ireland

• https://innovationvouchers.ie/design/default.aspx

The Design Innovation Voucher is a pilot initiative launched by the Irish Government, and

implemented as part of its 2012 Employment Programme.

The Programme focusses on encouraging small enterprises based in Ireland to use design. The

Programme is to promote innovation across small businesses, and create a cultural shift in

their approach to innovation, especially when it comes to using design as an innovation tool.

Moreover, it is designed to serve as a stimulus for cooperation between expert representatives

of State-owned universities or research institutes and small companies.

The Voucher gives such enterprises access to know-how. It can help to create and evaluate

design solutions, which could leverage value added and the company's exports. The Initiative is

expected to induce the transfer of design and branding knowledge, in its broad sense, to the

company. This can involve new products and/or services as well as the modification of the

existing range. For instance, the project can serve to develop a prototype design or carry out

specialist individualised training. Typical areas of interest include industrial design, ergonomics,

user-interface design, fashion design, consumer goods, and digital media.

Creative Andrejsala Riga, Latvia

• www.creativeandrejsala.lv

Launched in early 2010 by the Investment and Development agency of Latvia to support the

establishment and development of new competitive businesses in Latvia who are operating in

the field of the creative industry, this business incubator provides the necessary environment

for their business and consultation services.

Support is available for limited companies operating on the market for no longer than two

years from its registration date. All entrepreneurs interested in taking advantage of the



55

incubator are obliged to provide proof of being free from any tax debts and – naturally – to

conform to the definition of the creative industry, as provided by the incubator. The supported

services include secretarial services, accounting advisory services, external funding acquisition

assistance, legal aid, networking support, recruitment assistance, and sales & marketing

consultation. These services are chargeable but newly-established companies are offered

generous discounts (even up to 85%).

The incubator forefathers assume that by 2014 a total of at least 100 will have received

support. About 50 businesses have already enjoyed assistance, and some of them have

managed to experience sufficient growth to leave the incubator, while others are running e-

businesses and do not need to use the incubator office space.

➾ space

➾ networking

➾ incubation

KIK – Creative Industry Association Lithuania

• http://kikas.lt

The Association has been in operation since 2008. At the moment it has 60 members, including

higher schools of the arts, NGO’s, enterprises, associations of artists and creative

businesspersons, and artistes. Its individual members operate in highly-diverse environments,

such as the advertising, industrial design, publishing, music, and film industries.

The purpose behind the Association is to consolidate the creative community and to promote

this industry country-wide. It is also to be the voice of all creative minds and businesspersons

operating in creative industries in the public debate on the development of this sector. Its

activities are to facilitate the process of compiling information on the leading trends in this

area, defining standards in education targeted at the advancement of the creative industry and

setting up international collaborative projects. Also, the Association is dedicated to supporting

its members, and creators in particular, in commercialising their works.

So far, the Association's highlight has been the development of the national programme

entitled “Cultural and Creative Industries in Lithuania,” channelled towards the modernisation

of the education system for artistic schools, while taking into consideration integrated-

education needs, and incorporating training in entrepreneurship. The programme has received



56

EUR 2.7 million worth financial support from the Lithuanian Ministry of Science and Education.

➾ networking

➾ promotion

➾ education

Start a dialogue Bremen, Germany

• http://www.wfb-bremen.de/de/wfb-beraterprofile

Launched in 2008 as a pilot initiative by the WFB (Wirtschaftsförderung Bremen) development

agency, this tool is responsible for creating links between “traditional” industries and the

creative sector. The project established a think tank, bringing together representatives of the

creative sector (operating mainly in industrial design, product development, communications,

graphics, etc.) with long professional experience. The next step was for a beneficiary from a

“traditional” industry, assisted by a member of the think tank, to prepare a support

application. The think tank assessed the standing of a given company and devised

recommendations regarding necessary actions to be taken, particularly in respect of the

existing and preferable sales techniques, including marketing policy, product innovation levels,

communications, etc. Seven such companies took part in the pilot, including one operating in

fish processing (packaging-design assistance) and a coffee producer (marketing-strategy

development).

➾ cooperation assistance

DORTMUND.KREATIV Dortmund, Germany

• http://www.kreativwirtschaft-dortmund.de

Dortmund.Kreativ. organises support for the creative industries, which is provided and funded

solely by the City of Dortmund (the Economic Development Agency and the Office for Cultural

Affairs). The underlying objective behind the initiative was to create favourable conditions for

the creative industries to flourish in the city in terms of sector growth, and to ensure an

atmosphere which would encourage creators to stay in Dortmund.

The range of services available was wide. It included assistance during the establishment and

development of creative businesses (training, consulting services, business networking); the

initiation and expansion of new and existing networks; the organisation of networking



57

meetings and thematic seminars; and also the creation of and providing access to creative

working space and cooperation, often in refurbished post-industrial buildings located both in

the city centre and on the outskirts.

The delivery of support was conditional on the prior screening of the creative industries in

Dortmund and developing an action plan for this sector.

➾ space

➾ access to funds

➾ training

➾ consultancy services

➾ networking



58

Karostar Hamburg, Germany

• www.karostar.de

The Karostar Music House was created with small music-oriented businesses and creators in

mind. It was formed in the shells of post-industrial buildings, formerly occupied by

slaughterhouses. Its primary function is that of a competitive working-space provider (houses

c.a. 33 companies). The occupants also have access to shared facilities (kitchen, conference

room), which helps them network and cooperate with fellow and related professionals. The

creative minds can use three studios, well-suited to sound recording and mastering. They can

use co-working space, too.

Its residents include record labels, concert-booking agencies, publishers, and marketing

experts and agencies. Each of them can rent the offices for five years. The ground level houses

a sales floor. The Karostar Music House was co-funded from the ERDF.

• space

Creative.Quarters The Ruhr Valley, Germany

• http://www.e-c-c-e.de/en/activities/current-

projects/verortung/kreativquartiere-ruhr

Creative.Quarters is a project to set up creative districts, or centres of creative ideas standing

out from the urban landscape. It is designed to foster the balanced and sustainable growth of

the Ruhr valley and the unlocking of the creative potential of the region, as well as to improve

the quality of life, since creative districts are perceived as attractive locations for settlement.

Creative areas frequently emerge in post-industrial districts or city centres, thus contributing

to their re-activation and growth. The establishment of the individual districts engages local

authorities, bodies responsible for zoning and the development of culture and business, but

also businesspersons, with particular focus on the creative industries. Seven creative districts

have been set up so far and two more are currently at the design stage.

• space



59

Creative HQ Wellington, New Zealand

• www.creativehq.co.nz

This business incubator is about supporting the creative industries and innovative businesses.

It delivers comprehensive support to early-stage entrepreneurs. The capital for HQ operations

has been raised from the funds of the Local Government, the Regional Development Agency,

Wellington and the New Zealand Trade and Enterprise, a Government Agency.

At first, each applicant goes through an induction programme. It involves weekly meetings

with his/her dedicated Business Strategist, who is responsible for managing the business idea

and providing assistance in making the most of the resources and contacts the incubator and

its partners provide. First up will be developing the first action plan which will be assessed and

challenged by a Creative HQ panel. Each quarter the participant is reviewed on his/her

progress and financials against the agreed activities and milestones. Throughout this stage

experts are available on a one-on-one basis when needed, to align the potential to achieve the

best opportunities. Start-ups can take part in workshops and training sessions such as

company valuation, investment decision-making, sales and going global. All Creative HQ

service recipients can join CEO Forum meetings, held on a regular basis, to get together and

share the successes, experiences and learning of the entrepreneurial community.

The initiative also offers assistance in raising the capital necessary for building a company. It

has launched its angel investor network, Angel HQ, to provide seed capital in exchange for

equity in the supported companies – usually 5%.

➾ business incubation

➾ training

➾ access to funds

Creative Industries Incubator Óbidos, Portugal

• http://www.pt-obidos.com

Launched under the Technology Park, Obidos, this business incubator delivers support for the

creative industries. Office space aside, incubator clients are provided with access to meeting,

conference and rest & leisure floors. The range of available services includes front-desk and

secretarial office resources.



60

In addition to office space, the Incubator offers assistance services and training to leverage

business development. These include business planning, revision and supervision, help in

tapping into financial resources, promotional and marketing activities for the resident

companies, support with regulatory compliance, including intellectual property management,

and financial advisory services.


➾ training


LX Factory Lisbon, Portugal

• http://www.lxfactory.com

LX Factory is a fine example of the successful revitalisation of post-industrial areas located in

the city and opening it up to creators and entrepreneurs from the creative industries. Next to

its office and workshop spaces, the venue has a stage, which plays host to a wide range of

cultural, promotional, and business events, as well as exhibitions, conferences, etc.

➾ space

Future in Textiles Romania

• http://www.fit21.ro

This is an association of creative souls and entrepreneurs operating in the textile industry. It is

committed to supporting and promoting the Romanian textile sector by way of organising

fairs, shows, exhibitions and international events, combined with publishing activities involving

editorial work and distribution.

The Future in Textiles stands behind the Romanian edition of the Fashion Week, and it has

recently entered into cooperation with the Ministry of the Economy to implement a

programme for financial support to its members who participate in international fairs.

➾ promotion



61

North California Land Trust/Noodle Factory Berkeley, USA

• www.nclt.org

Established in 1973, the NCLT is a trust committed to making homes and community facilities

permanently affordable to the disadvantaged, who would otherwise not be able to cover the

cost of flat rental or purchase at normal market prices. Recently, the Trust has expanded its

offer with artist support. The Noodle Factory Performing Arts Centre is a renovated

performance space, comprising 11 apartment-and-studio facilities, 2 rehearsal rooms (for

performance and concert practice), and a concert hall suitable for various artistic events. The

investment was financed in part from private funds (individual donor donations), and in part

with the use of loans from the Northern California Community Loan Fund and the Federal

Home Loan Bank. Each purchase of an apartment is subject to a partial subsidy and the owner

has the right to sell it on similar conditions, as the subsidy is transferred to the subsequent

owner of the property.

➾ space

The Arts Council’s Arts Business Program New Orleans, USA

• http://www.artscouncilofneworleans.org

This programme focusses on area artists as well as artistic organisations and businesses,

whether associated with the visual arts, stage performance, music, film, or literature,

regardless of whether it is for-profit or non-profit.

The available assistance includes training in launching and developing your business activity,

and consultations on a wide range of functions, such as business plan verification, venture

organisation support, networking, online profiling and marketing campaigns. Its essential

functionality is aid in the identification of potential funding. In addition, the Programme

provides access to legal assistance, including copyrights, and is committed to serving as a

platform for the exchange of initiatives and bringing the community of its beneficiaries

together. The project was initiated in 1991 as a mission of the Arts Council of New Orleans, a

private, non-profit organisation designated as the City’s official arts agency. In 1999, the

Programme was recognised as a national model when the National Business Incubation



62

Association named it “Business Incubator of the Year.”


➾ training


The Digital Media Centre Barnsley, UK

•

The Digital Media Centre is a vibrant, affordable office and meeting environment. Launched by

the Barnsley Metropolitan Borough Council, the project is backed up by several other

organisations, such as Oxford Innovation, the UK's leading operator of Business and Innovation

Centres.

Its landmark building is designed to support the success and development of creative, digital

and media businesses. This purpose-built centre caters for the specific needs of the above-

mentioned professionals, and offers solutions for businesses at all stages (freelancers, micro-

companies and larger, more established firms). Such a policy is further confirmed in its

services, which range from a virtual office address to regular hot-desking space, to fully-

serviced offices. At the DMC, businesses not only enjoy a vibrant, creative environment, but

can also access professional support to help with running and growing a business. The Centre's

Project and Incubation Director provides hands-on business support and access to a network

of external experts, programmes and services. With regular networking opportunities, informal

seminars and social events, the DMC introduces its clients to a ready-made community of like-

minded professionals.

➾ space



➾ networking

The Civic Barnsley, UK

• www.barnsleycivic.co.uk

Situated in a historic building in Barnsley town centre, the Civic is a cultural and creative hub.

The site of the Civic has long been used as a public hall for the people of Barnsley. It not only



63

hosts various performances and exhibitions but also provides studio, workshop and office

spaces, which are home to local creative organisations.

➾ space

The Creative Industries Network for Innovation

(CIiNet)

Bristol, UK

• www.swscreen.co.uk

CIiNet serves as a tool for supporting the process of transforming innovative ideas into new,

marketable products, with particular attention to its development milestones. This utilises

various projects and programmes to overcome barriers arising on various stages of product

implementation. The beneficiaries of CliNet's services include mainly the creative industries

with a focus on digital technologies.

CliNet is an initiative under the Solutions for Business Programme, designed to support small

enterprises operating in five high-growth sectors in the south-west of England. It mobilises

funds from the Regional Development Agency, its partner institutions and EU resources

(European Regional Development Fund).

➾ training


➾ space

➾ networking

➾ research support

First Thursday (creative breakfasts) Dundee, UK

• www.creativedundee.com

Creative Dundee is about regular get-togethers organised by Interactive Tayside, an agency

resulting from a joint effort of public-sector institutions (e.g. the Government of Scotland,

Dundee City Council) and schools of higher education (University of Dundee, Perth College,



64

Angus College), to connect and promote the digital media industries in the Tayside area.

Events are organised to connect like-minded individuals by providing networking opportunities

with the potential for building collaborations. Meetings are held on the first Thursday of each

month between 8:30 and 10:00. Usually, there is no clear agenda agreed, and the gatherings

create a casual atmosphere, which encourages their participants to share ideas on topics of

their choice within a small community.

Interactive Tayside's regular newsletter for artists and digital-media sector is distributed by e-

mail every two weeks and covers highlights of events, job offers, and project opportunities.

➾ networking

CIDA – Cultural Industries Development Agency London, UK

• www.cida.co.uk

CIDA is a public-funded agency. Its funders include the authorities of several London Boroughs,

the European Union ESF and the European Regional Development Fund.

CIDA works to support the creative industries (consulting in entrepreneurship, assistance in

strategic planning, promotion and marketing, external funding, collaboration), to promote

cultural diversity and the creative industries and culture branches, to gather information and

provide individuals and institutions, engaged in developing public policies for the creative

sectors, with the necessary data.

Membership of the organisation is open especially to artists, persons committed to launching

their own creative business, and already-existing such companies or culture establishments.

CIDA members enjoy the opportunity of building contacts with other creative professionals

(via networking events and training workshops), and access to guidance on business practice

to provide sustainable services and ensure growth.

➾ networking

➾ training

➾ promotion

Incredibol! - Bologna's Creative Innovation Bologna, Italy



65

• www.incredibol.net

Promoted by the Municipality of Bologna (and its partners), the Incredibol! Project is designed

to support the creative professions in the city and its vicinity. It provides assistance to young

creative professionals operating in the cultural field, in particular during their start-up phase,

to help develop their ideas into businesses. Incredibol! is a broad network of partners, both

public and private, that are already working, individually, in Bologna and its region. The project

was launched in 2010.

The range of available services has been expanded. At the moment, the tools for transforming

an idea into business are as follows – office space, grants, training and consulting services,

business-management support, and promotion. Initiatives to receive support are selected by

way of tender procedures.


➾ access to funds

➾ training


H-Farm Treviso, Italy

• http://www.h-farmventures.com

H-Farm is a Venture Incubator (a hybrid model that combines the functions of a business

incubator and seed seed/venture capital), whose mission is to accelerate the development of

Internet start-ups. It grants the finance necessary for the early-stage activities, and provides

consultancy services. As an incubator, it delivers an inspiring workplace, centralised general

administration, a press office, and human resources, as well as legal and financial advisory

services. H-Farm partners support portfolio start-ups throughout their incubation by assisting

them in defining commercial strategies, business plans, and exit strategies.

➾ access to funds





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4.2. A summary of the identified instruments - typology

An overview of foreign-support instruments available at the European and global levels

indicates a wide range of assistance services provided by various institutions to the creative

industries. Despite the significant diversification of these tools, it is possible to distinguish the

following support areas

• workspace for artists and businessmen,

• networking,

• training and consulting services,

• funds,

• evaluation,

• promotion.

Workspace for artists and businessmen generally includes office space (often within business-

incubator facilities), studio and workshop space, such as an atelier with professional

equipment (e.g. painting studios, recording studios, or computer rooms with specialist

software), as well as co-working space, conference rooms and meeting space. Frequently, it is

available under the incubation framework, such as in the Viljandi incubator, Estonia. Another

solution, found in the USA, is residential and workshop space (e.g. Noodle Factory), provided

for local artists. The most comprehensive strategy in this field involves the establishment of

the so-called Creative Districts. They generally come into being as a result of the revitalisation

of industrial areas located on urban grounds, and the produced benefits are twofold. On the

one hand, the representatives of the creative industries are given access to meeting and

workspaces, and on the other, dilapidated venues are brought back to life and returned to the

city. They are also given new functions, such as hosting artistic and cultural events, exhibitions

and conferences. This approach is embodied by Creative Quarters, Germany.

Networking includes tools designed to facilitate cooperation between the agents operating in

the culture and creative sectors. These include various measures devised to build new business

relationships, both within and across industries (with other participants of the value chain and

with so-called traditional industries) and generate business opportunities between the creative



67

industries and potential capital providers. An interesting concept, introduced in the last

domain, has been represented by Startwest, France. The idea behind it is to pre-organise

meetings between prospective venture-capital investors and hand-picked creative enterprises,

well trained and coached to neatly present their businesses, for which they are seeking

funding. Activities targetted at achieving this end focus on arranging meetings, but they also

deliver on-line platforms to showcase entities operating in a given field or location, which are

aimed at allowing access to specialists with relevant expertise (this solution has been

employed by PIVOT Dublin, Ireland); newsletters; staff-exchange programmes and internships,

such as the I-Creative programme, which encourages internships in cultural and creative

institutions/organisations for graduates of studies associated with the creative industries.

Cooperation building is also advanced by the physical concentration of enterprises, which can

be seen in incubators and creative districts (e.g. Creative Andrejsala, Latvia).

Training and consulting services is a category to encompass instruments developed to achieve

the business competence necessary to engage in business activities. This grouping covers

various tools addressed to entrepreneurs at various stages of development, from students in

creative domains to freelance artists, start-ups, and well-established companies. The available

support takes different forms. Frequently, these include traditional training, but more tailored

models, such as individual sessions offered, e.g. by H-Farm, Italy, are gaining in popularity.

Other schemes that are experiencing growing interest include business coaching and

mentoring at various development stages, as provided by the Creative HQ, New Zealand. A

worthwhile instrument, delivered by the Tallinn Creative Incubator, Estonia, is group

workshops, whose objective is to share and jointly solve problems encountered by their

participants on a daily basis. The vast portfolio of forms aside, this set of tools is also

characterised by diversification in terms of subject areas addressed. However, what they have

in common is creative business activity. The issues put on the table either include typical

aspects of business activity, such as the law, finances, accounting, business plan development,

and company start-up; or specific problems characteristic of the cultural and creative

industries, such as intellectual-property rights protection or marketing strategies for creative

products/services.

The funds category was aligned with the support for the creative industries which involves

access to financial resources. Pecuniary aid can be either non-repayable, in the form of grants,

or repayable, as the popular venture funds (H-Farm, Italy) or business angels (Creative HQ,

New Zealand). It is not uncommon to see financial assistance, especially if subject to



68

repayment, supplemented with consulting in business operations/growth, which takes into

account the development stage of a company when it receives funding. A fund that specialises

in investments in creative undertakings can be exemplified by Cultuurinvest, implemented in

Flanders, Belgium. For details, please consult mini-studies.

Support is also available through research and evaluation studies of the creative industries to

develop and introduce public policies. It may not be direct support to benefit specific entities,

but it delivers a valuable contribution to the improvement of business opportunities in this

area. Such initiatives have been launched by the Cultural Industries Development Agency

(CIDA), London, and the Creative Industries Centre, Finland.

Supporting the creative industry through promotion usually serves as a supplementary

measure to other types of support and involves the organisation of campaigns, festivals, fairs,

etc. A popular practice is to create the company/artist's profile on the website run by the

incubator or creative district where a given entity is based (e.g. Creative Factory, Rotterdam,

the Netherlands). Promotional benefits can also be derived from the participation in industry

associations, such as Future in Textiles, Romania.



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70

4.3. Case studies

Creative entrepreneurship and cooperation, or how to transfer ideas to the market

Creative HQ

Creative HQ is a business incubator which offers comprehensive support to anyone on their

way to establishing a company, as well as start-ups. It was established in 2003 to unlock the

economic potential of the Wellington area. Already at that time, creative and innovation-led

businesses were being seen by the Wellington authorities as showing considerable potential for

boosting the economy.

Creative HQ is run by a foundation, established by two public-sector institutions - Grow Wellington, a

regional development agency, and New

Zealand Trade and Enterprise (NZTE), a

Government agency focussed on supporting

growth in New Zealand. The incubator is led

by a team comprising 10 professionals,

including business strategists, knowledge

commercialisation, and capital raising.

The initiative is based on limited space - it

provides open-space rooms, divided by

mobile partition walls to create workspaces

for groups of several people. Entrepreneurs

can also use a shared front desk, a kitchen,

and a meeting room.

The incubator provides support for 1-2

years, during which portfolio companies are given the opportunity to acquire knowledge and

skills to polish their business idea so that it is ready to enter the market. Participants learn, i.a.,

how to develop a company development strategy, prepare action plan, source investors, build

the company's organisational structure, and supervise its standing. Creative HQ's charges can

take advantage of the available office space to rent a desk, or work in another place and visit

the facility only when they are in need of assistance (virtual business incubation). For a

monthly payment ($300), start-ups are given access to all the facilities, and office equipment,

Grow Wellington and NZTE

Creative HQ operates as a foundation, established by two

public-sector institutions. The first is Grow Wellington, a

development agency instituted by the local authorities. The

second founder is the New Zealand Trade and Enterprise

Government agency (NZTE). Both institutions are to engage in

supporting entrepreneurship and target their services to start-

ups, well-established companies, and foreign investors alike.

Grow Wellington delivers services such as business idea

assessment, export business activation, and external fund

raising. The NZTE, on the other hand, provides consulting and

training services, mediation in establishing international

cooperation, and innovative project financing. An interesting

initiative, sparked by the NZTE, is Better by Design - a

programme to promote and encourage the use of design (both

industrial and service architecture) among "traditional"

industries, especially on the verge of launching export activity.



71

and can take part in networking events, seminars, and workshop sessions. To be eligible for

using all the events organised by the incubator, virtual incubation programme participants

make an annual payment ($600).

All participants are assigned a mentor (a business strategist), who is to provide them with the

necessary assistance throughout the programme. Mentors not only help to discover

opportunities to be seized (incubator resources, partner networks), but also oversee the

project work on a weekly basis.

The first step is to develop a business concept, together with a corresponding action plan.

These are then assessed and challenged by a Creative HQ panel. A positive evaluation is

necessary to qualify for the next round.

Creative HQ attaches a lot of weight to the evaluation of the potential business ideas. Only ideas

that are considered to be well-prepared and viable are given the opportunity to receive the

comprehensive assistance. For instance, last year, only 9 out of 142 ideas made it to the stage

where they were forged into businesses.

The start-up session is a five-week-long programme for people who have a business idea. It helps

to challenge, develop and benchmark the initial ideas. The programme involves weekly practical

workshops and one-on-one expert sessions. Meetings provide the participants with an

opportunity to discuss their ideas, share their experiences, and draw on the expertise of

experienced business strategists. They will also learn the basic mechanisms for laying the

foundations for business, developing its marketing strategy and tapping into investors pockets.

What is of interest, Creative HQ takes 5% of the shares in all successful undertakings. Therefore, it

comes as no surprise that standards it follows resemble the approach of venture capital investors.

The Creative HQ Team strives to minimise investment risk by a painstaking evaluation of business

ideas. And since Creative HQ is a public-sector foundation, it is even more legitimate on the

grounds of rational public spending.

Each quarter participants are reviewed on their progress. Creative HQ experts verify both

whether the agreed activities and milestones are achieved and check the financial health of

the emerging company. When necessary, they bring in the expertise to work out the steps

required for tackling the encountered problems, while also indicating the relevant incubator

resources that can be employed. Next to monitoring activity, the Creative HQ expert team gets

together to benchmark the performance of all businesses. Every two months, a CEO Forum is

held where all of the Creative HQ start-ups gather to share their experience.



72

The incubator cooperates with the community of investors and business angels, and lends a

hand in preparing business presentations to source funding. Creative HQ is also in close

contact with partners dealing in tax and legal consulting, communication-strategy design,

branding, PR, and website architecture. Tapped into an external partner and expert network,

Creative HQ convenes many events for artists, novice entrepreneurs and existing companies,

with an urge to grow. This involves, i.a., alignment with an angel investor network (one-on-one

sessions with the authors of business ideas and investors), involving successful entrepreneurs

who wish to share their experience with others, information meetings on the available forms

of assistance, expert workshops on going global, marketing, and new technologies, to name

but a few. In addition, each week

Start-up Head2Head is held, where

incubator start-ups get to talk their

business idea out and pick other

entrepreneurs' brains.

From the moment it was established,

over 80 businesses have left Creative

HQ and survived the critical period of

the first 2 years. They operate, i.a., in

web and mobile app design, apparel

and jewellery design, 2D animation,

graphical design, and book editorial

and publishing.

iCreative

I-Creative is an international internship programme for graduates of creative specialities from

Flanders, which paves the way for employment in European companies to gain valuable work

experience. It is implemented as a grant project under the Leonardo Da Vinci EU Programme,

which ensures the necessary financing.

The support involves the organisation of internships in innovation-driven businesses

(industrial, design, advertising agencies, architectural firms) and other cultural establishments

(e.g. theatres, museums, art galleries), where participants are involved in the process of

Creative industries in Wellington (NZ)

The capital of New Zealand has based its brand on the strength of the

creative sector. It is an area where film, music, fashion and visual arts

flourish. The city has put emphasis of the role played by the creative

industries in its 2006-2016 Economic Development Strategy, which reflects

the vision of Creative Wellington - Innovation Capital. The City authorities

channel their efforts into supporting this sector by making annual awards

for artists and businessmen who contribute to promoting Wellington and

New Zealand through culture. A local financing programme has also been

launched for grassroots initiatives, blending culture, creative endeavours

and social integration, pursued by local communities (Creative

Communities). The sector is also backed up by the local university

(Wellington Institute of Technology), which has established a new field of

study in creative technologies.



73

designing or developing existing products. The internship can last up to 6 months. The

arranged services include administrative considerations, contact assistance, pre-internship

training, and scholarships to cover travel and accommodation costs, whose amount is

determined by the internship period and destination. The weekly allowance ranges between

€209 and €229.

Host companies are required to have their focus channelled into creative projects, and show

experience or interest in design. They are responsible for providing trainees with a mentor for

supervision, and to predetermine their scope of responsibilities (e.g. select a target project for

each trainee). Host companies can also offer remuneration, irrespective of the support a given

trainee receives under the Programme.

Available internship destinations include Bulgaria, Cyprus, the Czech Republic, Denmark,

Estonia, Finland, France, Greece, Spain, the Netherlands, Ireland, Iceland, Lichtenstein,

Lithuania, Luxemburg, Latvia, Malta, Norway, Poland, Portugal, Romania, Slovakia, Slovenia,

Switzerland, Sweden, Turkey, the UK, and Italy.

Internships took place between August 2012 and May 2012 (second edition). Another round is

scheduled for 2014.

The Programme is targetted at graduates of creative specialities from Flanders who have no

more than two years’ professional experience. Applicants should prove their BA or MA/MSc

qualifications in

• architecture,

• the audiovisual industry,

• the visual arts,

• communications/PR,

• planning,

• publishing,

• games,

• fashion,

• the music industry,

• the new media, or

Flanders DC

Flanders DC is an organisation committed to supporting creative projects. It

achieves this end by engaging in research on creativity, innovativeness,

entrepreneurship and creative industries, which form the basis for introducing

support instruments and other initiatives of various kinds. Flanders DC

provides conference and co-working space, as well as meeting rooms; it

delivers free on-line services, such as creativity testing; it maintains a database

to present current job offers in the creative sector; it convenes regular

workshop sessions for artists who plan on engaging in business activities. Apart

from its I-Creative internship programme, the Plato Creative X-Change

Programme, addressed to already-existing creative businesses, is also worthy

of note. Within its framework renowned creative undertakings with well-

established market positions provide assistance to other businesses that are

seeking growth opportunities.



74

• the performance arts.

Applicants interested in participating in the internship programme should first contact their

target companies/organisations and receive preliminary approval. At this stage, it is

recommended that they hand in their CV, covering letter and portfolio, so that a given

business can assess their skills against the potential position. Applicants can fall back on the

Programme administrator or its partners in establishing contact. The Programme administrator

can also provide the addresses of websites with regular announcements of internship calls for

applications. In case of difficulties in finding a suitable vacancy, host companies from previous

years are contacted.

The application, which is the first stage on the way to being admitted onto the project, should

indicate preferred businesses. Applicants should list at least three companies/organisations

they consider most attractive. Ideally, they should already at this stage deliver letters of intent

signed by the host company, although it is not obligatory and can take place later. Such a letter

of intent should provide a general profile of the company, indicate the recipient department

and give other useful information, such as the trainee’s scope of responsibilities, description of

the target project, etc. The application should also be appended with the applicant's CV and

covering letter.

The next stage involves an interview, which helps to get to know each applicant and his/her

motivation. It may prove useful to have some knowledge of the selected

companies/organisations. Any letters of intent from the target company will work in favour of

a given applicant, as they confirm that internship vacancies are available.

If an application is accepted, a month before the first day at work a given applicant is required

to submit three documents to the Programme administrator, namely information notes on the

host company/organisation, the letter of intent (prepared in accordance with specific

requirements, and in particular presenting the internship offer), and an agreement concluded

between the applicant, the host company, and the Programme administrator (Flanders DC).

Prior to the call for applicants, Flanders DC has organised meetings for potentially-interested

parties to present the initiative and explain the prerequisites for qualifying for participation

and support.

Innovation – inter-sector contacts



75

Beraterpool Dialogförderung

This is a project carried out in 2008 by WFB, a regional development agency in Bremen. The

initiative was designed to encourage closer dialogue and cooperation between the so-called

traditional and creative industries in Bremen. Its objective was to establish new and develop

existing business structures and partnerships, which allow the generating of innovative

solutions for local small and medium-sized enterprises.

The initiators of the undertaking noticed that many businesses in traditional industries, such as

industrial processing, commerce or logistics, were often unaware of the potential benefits they

could unlock through cooperation with the creative industry. Such a state of affairs could result in

missed opportunities for developing fresh

business ideas. Companies operating within a

trusted and perpetuated framework risk the

loss of their competitive position if their rival

companies are quick enough in adjusting to

market fluctuations and in introducing

innovative solutions to addressing customer

needs. Dynamic markets call for instant

reaction and the ability to adapt to the

processes under way, but also to continuously

improve products and services. Considering the

aspect of building a competitive edge, it is also

essential to reach the customer through a coherent and effective communication policy and

marketing instruments.

Beraterpool Dialogförderung was developed to increase awareness, on the one hand, and to

provide an incentive to businesses, which would perhaps fail to seek cooperation with the

creative industry on their own, on the other. To attain this end, small cooperation projects

between creative businesses and traditional small and medium-sized enterprises were offered

financial support.

Under a joint initiative, a team of experts was formed, comprising creative-sector professionals,

such as consulting companies with expertise in industrial design, product development and

marketing. Creative specialists were entrusted with the task of determining the fundamental issues

WFB Economic Development

WFB is a company founded in the Free Hanseatic City of Bremen

to pursue projects connected with economic advancement and

achieving the true economic potential of the State. As a regional

development agency, WFB engages in multiple actions to support

entrepreneurship, such as micro-loans to start businesses, funds

for innovative projects related to the implementation of new

technologies, and consulting services for businessmen who are

seeking partners, external financing or real estate. In addition, it

provides assistance to foreign investors, e.g. by helping to find a

desirable location or satisfy all the formal requirements

necessary to launch a business in Bremen.



76

for a given undertaking and put forward plausible solutions to boost its potential. Therefore, they

acted as consultants for enterprises interested in improving their performance based on innovative

communication, marketing, and design

solutions. For such guidance to work, each

expert (consultant) had to satisfy the

following conditions

• have at least five years’

experience in delivering services

to companies,

• have expertise and know-how in

marketing, innovation

implementation, or process

analysis, and

• exhibit an interdisciplinary

approach to problem-solving.

The project was open to businesses operating in any "traditional" industry. Anyone interested

in receiving support had to complete a form (application), which included key information on

the company and its current condition. Subsequently, applications were assessed by a team of

creative-sector experts, whose task was to analyse the current standing of the company and to

recommend a specific course of action to support it to achieve further growth. Consultations

covered

• an analysis of the current portfolio,

• an evaluation of market orientation and outlets,

• a process analysis and action plan design,

• the monitoring of the modification process.

For their contribution, creative-industry experts received €800 a day. Consultations could last

up to five days.

As a pilot project implemented in 2008, three business representatives (a creative agency, an

interdisciplinary design institute, and a communications-design specialist) were included in the

group of experts. In total, seven projects were pulled off to improve the performance of

Creative industries in Bremen (DE)

Bremen is the capital city of the smallest of the German States, the Free

Hanseatic City of Bremen. The State’s economic-development strategy

to a large extent draws on the creative industries. In 2011 a multi-

department creative-industry team was established to develop a draft

development strategy for cultural and creative establishments in the

2011-2015 perspective. Both the city and the whole State will contribute

to building a brand of a welcoming creative destination. It is noteworthy

that recently the city has pulled through quite a number of initiatives

targetted at stimulating creative industries to grow, i.a. by making

dilapidated and derelict buildings accessible from time to time to

undertakings drawing on art and social integration (ZZZ Bremen

initiative), launching a business incubator at the Academy of Fine Arts,

and arranging meetings, known as Klub Dialog, to facilitate networking

between artists.



77

companies which benefited from the consulting services. The projects included the

introduction of new packaging design for a fish-processing company, a new marketing strategy

for a coffee producer, and a communications strategy for a drinks vendor. Other beneficiaries

include a software house, a construction company and a design office.

The project has been continued as “MSP Offensive” (Mittelstandsoffensive). Based on previous

findings, WFB has decided to extend the range of available services. Currently, businesses can

take advantage of expertise in both the creative and ICT sectors. Therefore, the focus is on

companies that wish to gain a competitive edge by partnering with creative businesses or

introducing new IT systems. As far as creative experts’ support is concerned, it can involve, as

it has before, 5 days of consultations, while guidance on Information and Communication

Technologies allows 3 days. The team of experts is currently composed of 17 companies, which

specialise in business-policy development, marketing, internet and mobile-tool design,

computer-mediated communication (CMC), copyrights and industrial-design rights.

The experience of WFB shows that in the immediate future it will be necessary to redefine the

principles which underlie the Beraterpool Dialogförderung initiative. Above all, it has proven

rather challenging to find relevant professionals in the creative sector which have broad expertise

in business management and change management, that would enable an accurate assessment

and allow them to put forward solutions aligned with their partners in the “traditional” sector. The

next edition of the project will perhaps involve the assistance of specialists with the relevant

know-how.

In addition, more financial resources will need to be mobilised per consulting package. The

existing framework of five consulting days proved insufficient in many cases, since the

development and introduction of new design or marketing strategy requires significantly more

time. Nevertheless, the desire for furthering cooperation between the creative industries and

their more “traditional” counterparts is strong, so WFB intends to continue advancements in this

field. The latest initiative that sparks interest is a newly-launched internship programme for

graduates of creative studies on higher-education institutions, the Brennerei Next Generation Lab

(www.brennerei-lab.de).



78

Business incubation (start-up), supply chain

Culturinvest

CulturInvest is an investment fund to

leverage support for cultural enterprises

and undertakings. It was launched in 2006

on the initiative of the authorities of

Flanders, as a response to the lack of

private investment in the sector. The fund

is to open up new opportunities for the

creative industry via cultural projects and

creative products/services. Support is

available for all activities within the value

chain (e.g. product/service design,

production or distribution).

It is important to note that the instrument

is repayable, as the assistance involves investment in the project, not a grant. Therefore, the

fund expects to recoup the investment and benefit from a specific-rate return, which is absent

in non-repayable programmes. The purpose of such a mechanism is to ensure sustainability.

The resources available under CultuurInvest amount to € 21 m. The Fund has already invested

€ 9.2m, with € 6.6m in loans and the remaining € 2.6m as capital. However, the overall value of

the investments made is € 18.6. This is in line with the Fund’s requirements, that for a capital

increase, the business, or another entity, contribute financially to a given undertaking, at least

as generously as the Fund.

Support can take the following forms

• subordinated loan (short- and long-term),

• recapitalisation,

• combination of the above.

PMV

Fund management has been entrusted to an independent

investment firm, Participatie Maatschappij Vlaanderen

(PMV). One of the reasons behind this decision was to put

emphasis on the repayable nature of the instrument and its

distinctiveness compared with other tools available in the

Flanders Region to support the cultural and creative sectors.

PMV focusses on local investments in Flanders, and in

particular on businesses operating in renewable energy, bio-

technology, sustainable technologies, natural sciences, and

major infrastructural projects. The company follows strictly

financial criteria, but it also takes the social and economic

consequences of its target investments into consideration.

When it comes to the CultuurInvest Fund, PMV not only

provides financial support, but also assumes the role of

partner to the candidate creative business.



79

When it comes to loans, it can be one-off assistance or a series of tranches spread over a

longer time. The fund does not require personal collateral for a loan to be granted, which

would be necessary for a bank loan. Interest rates for loans granted by CulturInvest

correspond to the EU interest rates for Belgium, provided that the minimum rate is 4% plus

risk premium. Interest rates are revised on an annual basis based on EU metrics, whereas the

updated interest rate cannot be lower than the previous one plus 2%.

Recapitalisation, on the other hand, is available only through a capital increase. Businesses are

required to put their own or another entity’s (e.g. a bank’s) funds into the project, in the

amount corresponding to the Fund’s contribution. The cap for CultuurInvest contribution per

each 6-months’ period, is € 500 thousand, and the investment ceiling for a single company is €

1 m.

The initial focus is on micro businesses and SMEs, which operate in the cultural or creative

industries, such as

• computer games,

• the new media,

• the audio-visual arts,

• fine arts,

• the music and concert industries,

• design, including fashion design and graphical design,

• fashion,

• publishing,

• the performance arts,

• distribution in visual arts,

• communications and marketing,

• architecture, and

• cultural heritage.

Businesses seeking support are required to have the form of a company or an NGO, and to be

based in Flanders or in the Capital of Belgium.



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The main objective of the Fund is to deliver support to creative industries. Moreover, the Fund

invests in undertakings designed to support artists and artistic projects. These are, for

instance, companies which provide legal aid or business assistance for artists, or help in the

distribution of artistic products. Investments of this kind are backed up, since they facilitate

the process of marketing artistic output and delivering it to the target audience in the most

effective manner possible.

The nature of this instrument has a material impact on the support-qualification mechanism.

The evaluation is to the largest extent determined by the contents of a business plan and the

qualifications of its authors. The cultural value of a given undertaking is also of some

importance, although not crucial.

Selection is preceded by the evaluation of applications and a discussion to talk over the

business plans with the entrepreneurs. The procedure is not predetermined in terms of time

and can take as long as might prove necessary. The responsibility for the selection lies with the

Fund’s management, while the decision on whether to give the project the green light is at the

sole discretion of the Fund’s Investment Committee. The Fund also comprises the Strategic

Committee responsible for controlling the Fund’s objectives, activity and investment decisions.

The investment procedure involves

1. an application form,

2. an orientation meeting,

3. extensive investment analysis,

4. an initial proposal, and

5. the decision of the Fund’s Investment Committee.

The procedure starts with submitting an application form. Generally, this takes place by

electronic means via a dedicated website and is followed by delivering a signed form in print.

The form gives business data on the company, the relevant industry, the project in question

and the financial resources needed. This information is needed to introduce the undertaking to

the Fund’s management.



81

The next stage involves an orientation

meeting between the representatives of

the Fund and the business, where both

parties talk over each other’s expectations

and requirements. On the one hand, an

entrepreneur can determine whether

he/she finds acceptable the Funds financing

terms, such as the expected investment

return rate. And on the other, the Fund

carries out an evaluation of the candidate’s

qualifications and the project against their

potential for achieving success on the

market. The meeting is to help the Fund

arrive at the decision on whether to carry on or pull out of the project. The most common

reasons for the Fund’s withdrawal at this stage are the project’s insufficient elaboration or

poor quality, which cannot promise a successful outcome.

In the event of a positive assessment from both parties, an in-depth analysis is performed to

deliver the final business plan. At this stage, profitability is essential. The assessment is based

on a scheme developed by the Fund to investigate the building blocks of the potential

business, which are considered paramount for success in the cultural or creative sectors, or, in

other words, the market potential of the target product and business positioning (in terms of

its quality, price, geographical reach, etc.). The business plan is there to put forward a financial

plan, made up of two major components – (1) a rough cash-flow plan for the first two years,

and (2) a long-term plan (3-5 years’ perspective), to facilitate the evaluation of growth and

profitability over time. In the event of there being problems with delivering the financial plan,

the Fund provides assistance in the form of a relevant template. Information contained in the

plan serves as a basis for discussing the financing aspect, i.e. the need for financial support, as

well as its amount and mechanism, so accuracy in drawing up the plan is emphasised.

The next element to undergo review are the authors of the project. The authors are assessed

against their potential to pull the business plan through. The scrutiny focusses on aspects such

as the authors’ previously-implemented projects and qualifications. However, neither

shortcomings in the business plan nor insufficient qualifications will necessarily blight the

The creative sector in Flanders

The creative sector plays an important role in Flanders.

Research carried out in 2011 (Guiette A., Jacobs S.,

Schramme A., Vandenbempt K., Creative Industries in

Flanders. Mapping and economic analysis – a summary,

Flanders DC, 2011) showed that the sector’s proportion of

the Region’s GDP is 3%, which corresponds to € 7 bn. The

industry employs 120 thousand people, or 4.3% of the

professionally active workforce in the Region, while 13.5% of

self-employed individuals report the creative sector as their

core business field. Twelve areas have been established

within the sector, including fashion, the audiovisual arts, the

performance arts, games, the music industry, design, and

architecture. Being aware of the industry’s importance to

the Region, the authorities are committed to supporting and

stimulating it with a wide array of instruments. Flanders DC

is of particular importance in this field.



82

support, as long as a given business exhibits the necessary market potential, and the authors

are ready to take their management skills to the next level.

Finally, it is noteworthy that the in-depth analysis involves close cooperation between the

company and the Fund, which also engages other partners, such as experts and co-funders.

Moreover, the Fund reserves the right to delegate assessment at this stage to external

specialists.

If the analysis gives the project the go-ahead, particularly in respect of the business plan and

its authors, as well as the financing needs and mechanisms, a preliminary contract is drawn up

between the business and the Fund. In cases where the support is limited to a loan, the

contract specifies conditions such as the amount of the loan, the crediting period, the return

rate, repayment conditions, and possible modifications to the loan. If, however, capital

increase comes into play, an additional valuation of the business is carried out to determine

the value of the new shares, and the contract provides for such issues as dividend policy, the

Fund’s participation in business management, the decision-making principles, and share

purchase/sales. When the undertaking wins approval, the preliminary contract is used as the

basis for the final agreement between the parties.

The preliminary co-financing contract also introduces the project to the Investment

Committee, which is the body responsible for authorising the project support. On top of that,

the Committee has the authority to add supplementary provisions to the contract. After the

successful application and authors’ approval for financing conditions, the Fund initiates further

procedures (legal, administrative, financial) to launch the investment. Subsequently, the

business continues to receive support in order to maximise chances for a successful outcome.

Before it was put to operation, the blueprint for the Fund was presented to the European

Commission to ensure that the prospective support does not hijack fair competition and does

not disturb the market. The programme was given the green light and its activities are

endorsed by the EC.



83

5. The roadmap

The results of research carried out on the local, European and global levels have been put

together in the form of a roadmap. The diagram illustrates the identified instruments available

for furthering entrepreneurship and clustering in the creative industries. Its starting point is

the procedure for the development of creative clusters, in a fairly broad sense, since, for a

cluster to be established, it is necessary that individual artists engage in commercial activity.

Development stages have been assigned processes which correspond to research areas of

interest identified under the project.

In consideration of the above, the process sprouts with the artist, who embarks on bringing

his/her activities to the market, and whose undertaking enters the start-up stage. The support

available at this stage focusses on incubation and business promotion, or, to put it differently,

assistance in forging the artist’s idea into a business. The identified instruments include space,

or a business “playground”, for artists and entrepreneurs, training to deliver business

competence, as well as funds, and individual consulting assistance throughout the business

set-up. At this stage, it is also vital to advance the qualifications of creative professionals with a

view to aligning them to market requirements, so that artists are well equipped to operate in

the commercial environment (deficiencies in this area are frequently put forward as the weak

point of creative and cultural professionals).

The start-up phase is followed by a continued growth. In the case of creative undertakings, it is

fundamental to seek cooperation with other entities, and business partnership has time and

time again proven fundamental to a successful outcome. Contacts between different sectors,

either with other creative or non-creative operators, are of special value. Such relationships

give birth to innovation, both to the benefit of creative and so-called “traditional” industries,

hence innovation encompasses companies at various stages of development, from

independent businesses to partnerships. At this point, support comes as a stimulus for

collaboration between and the promotion of cultural and creative industries. The utilised tools

include on-line platforms to facilitate contact opportunities for potential partners, networking

events, a shared space (incubator) conducive to new business relationships, internships and

staff-exchange programmes, grants for joint projects to stimulate teamwork, and some



84

explicitly promotion-oriented measures, such as fairs and festivals.

Subsequent incentives to progress cooperation encourage independent businesses to engage

in business partnerships in relation to other operators within the value chain, which are then

cemented to establish a cluster. Intensified cooperation, ending up in a cluster, forms the third

process, known as clustering. At this stage, the support continues to foster and strengthen

cooperation and promotion, which can take the form of creative districts, joint sessions to

address business problems, and industry-specific associations, as well as campaigns, fairs and

festivals. Some direct steps are also taken to establish clusters. To this end, an institution is

appointed as cluster coordinator to work to invite companies to entering the cluster, but also

stimulate and manage its development.



85



86

6. Conclusions and recommendations

The produced output allowed the authors of this report to suggest instruments which, to their

minds, could help streamline the processes defined in the individual mini studies. It also gave

rise to general postulates, which, so the authors believe, will serve as efficient stimuli for the

creative industry in Warsaw. The activities should address the following aspects

1. Sector evaluation and growth monitoring as actions to develop tools for a live preview

over sector advancements, from organisation registration to supervision over growth

conditions and needs, carried out on an ongoing basis.

2. Delivering a suitable infrastructure to facilitate business incubation and build

cooperation between the creative and traditional sectors.

3. Furthering the grant system and financial engineering instruments to provide financial

support necessary to satisfy the needs of such companies.

4. Educational projects channelled to stimulate entrepreneurship in this sector and to

deliver the necessary professionals.

5. Marketing operations to inspire collaboration, establish new organisations in this

sector, and promote it outside Warsaw.

Please consult the table below for measures put forward to consolidate the creative industry

in Warsaw. Wherever possible, the initiatives that have already been planted were indicated

alongside the institutions and the projects identified in Europe which could serve as a potential

source of inspiration for the development of new undertakings in a given area.

Raport początkowy: Badanie sektora kreatywnego

na potrzeby projektu European Creative Cluster Lab (ECCL)

87

Cre

ati

ve

en

tre

pre

ne

urs

hip

an

d

coo

pe

rati

on

Cre

ati

ve

in

no

va

tio

n

Cre

ati

ve

in

cub

ati

on

an

d s

up

ply

ch

ain

Recommendation SWOT Current state of affairs Tools Global

initiatives

1 2 3

Recommendation

target group

The development of evaluation instruments for the creative industry

A

comprehensive

analysis of the

current

condition of the

creative sector

S – identify growth patterns for the

sector and the number of operators

W – costs and time

O – opportunity to specify the

desirable growth orientation

(concentration on selected industries)

T – considerable sector volatility, data

fluctuation, the need for updating, the

issue of the assessment’s

representative value

References:

• Mirosław Grochowski –

Sektor Kreatywny w

Warszawie potencjał i

Warunki Rozwoju 2010

• Znaczenie Gospodarcze

Sektora Kultury – IBS

2010

• Polityka Wspierania

Kreatywności jako

czynnika stymulującego

rozwój… - Fuhrman/

Grochowski/

Mańkowska/ Zegar 2010

Estimating the number and size of

creative businesses in individual

sectors

Estimating the employment,

generated value and pace of growth

in creative businesses

Establishing the creative sector

roadmap by identifying and

developing the connections pattern

to explore the processes behind

network and cluster formation

Identifying directions for growth in

innovative businesses

CIDA (UK),

Creative

Industries

Finland (FI)

� �

Evaluation can

take place on

all levels,

depending on

information

demand

The development of infrastructure oriented to the creative sector

Creating

incentives to

S – real and noticeable support for

companies

Programmes designed by

Employment Agencies to

The simplification of formal

requirements, the introduction of tax

� �

National

authorities



88

establish

independent

businesses

W – implementation problems

(Government/ parliament decision)

O – boosting the sector’s

competitiveness

T – none

finance start-ups, under

the Labour Fund and

Human Capital

Operational Programme

funds.

reliefs, limited labour cost tax, etc. –

especially for the first commercial

undertakings of individuals below

the age of 30

(Ministry of the

Economy)

Incentives for

creative

clusters

S – real and noticeable support for

companies

W – problems with assessing the

efficiency of such measures

O – increasing opportunities for

growth/starting a business activity

T – managing the sector’s

development at the expense of their

industries (complaints against

discrimination)

Business incubators and

their statutory activities.

Tax reliefs, shared project

settlement, grants

�

Different

Governmental

levels,

depending on

policy

objectives and

implemented

instruments

Increasing the

confidence of

business

partners,

protecting

innovation and

ground-

breaking

products

S – important element to protect

intellectual rights

W – implementation problems

(Governmental/Parliamentary

decision)

O – stimulus for innovation growth

and fresh products

T – negligible, possible difficulties in

transfer between the companies

Patent Office operations

Improved regulations, especially in

terms of copyrights

�

National

authorities



89

Supporting the

existing

networks/clust

ers/association

s

S – opportunities for furthering

cooperation between businesses

W – difficulties in coordination and

output measurement

O – opportunities for cluster growth,

commercial impact maximisation,

synergy effects

T – lack of coordination, difficulties in

rising to the challenge of large projects

Cluster clubs

Warsaw and Mazowsze

Region Employer

Association

Incentives, assistance and consulting

services to create majors,

specialisations and courses on

various levels of education,

connected with creative sectors

The organisation and promotion of

cultural events at the local, national

and supra-national levels

KIK (LT),

Future in

Textiles (RO),

Tartu Centre

for creative

Industries

(EE)

�

National

authorities

All levels,

depending on

current

situation

Ensuring funds

for the creative

sector

S – ensuring key components for

sector growth and raising the

awareness of the financial

consequences of creative projects

W – difficult to source, especially

during the slowdown

O – growth opportunities for the most

promising projects, opportunities to

establish collaboration between

various industries

T – lack of interest, artificial growth

(inflating the bubble in the creative

sector)

Business Environment

Institution package

Establishing a sub-fund to advance

the creative industry and/or bidding

institution to provide funds

Establishing a sub-fund for the R&D

in innovative projects as an incentive

for businesses, which allocate their

resources to R&D, increasing the

amount of funds earmarked by the

city for R&D

Establishing an investment fund,

financed e.g. under the JEREMIE or

JESSICA EC initiatives

Departure

(AT),

Cultuurinvest

(BE),

Startwest

Investor (FR),

Incredibol!

(IT), H-Farm

(IT)

� � �

National

authorities or

local

Governments

Establishing S – building up a community engaged Databases available in the Establishing an Internet platform, KIK (LV), � National



90

cooperation

and creating a

platform with

higher-

education

institutions to

satisfy the

business need

for

professionals,

especially in

artistic or

technical

majors

in the creative sector

W – difficulties in prospective output

measurement

O – opportunities for interaction

between different circles, using the

potential of young people who enter

the job market

T – limited funds, low interest

Information Processing

Centre

creatives.waw.pl

innovation website

where anyone can share their most

innovative business ideas. No formal

requirements for authors can result

in a large number of submissions

Opportunities for internships and

finding jobs for graduates

Access to young professionals

Organising a nationwide competition

in cooperation with the business

environment (in the style of business

case competitions organised by

leading universities)

Tartu Centre

for Creative

Industries

(EE), Viljandi

Creative

Incubators

Foundation

(EE)

authorities

District

Employment

Agencies

National

authorities

Administrative support for the creative sector

Increasing the

availability of

databases and

scientific

articles on the

creative sector

S – low cost

W – requires cooperation with

researchers and consultants who

would have to authorise the use of

their works

O – the popularisation of the subject,

access to a wealth of data, case

Information Processing

Centre

Virtual Entrepreneurship

Builder, the City of

Warsaw

Establishing open-content, open-

innovation, and open-journal

functionalities

Creative

Industries

Finland (FI),

Dortmund.Kr

eativ (DE),

Flanders DC

(BE)

�

Such a

repository can

be initiated at

any level, as

necessary



91

studies, etc.

T – the danger of low interest on the

part of the target audience

Increasing the

availability of

financial

resources for

the creative

sector under

public funds via

specific

institutions

responsible for

the

redistribution

of funds

S – channelling public support for the

industries which look promising for the

Polish economy

W – public resources need to support

other industries in the Polish economy

as well

O – EU funds can somehow extend the

public-funding package

T – these funds hinge on the economic

situation of Poland and the EU

The activity of institutions providing support for the creative

industry

• District Employment Agencies – assistance under

statutory services (e.g. job placement as well as training,

internships, professional qualifications,

standard/supplementary equipment sponsoring, and

others)

• Higher education and R&D – support in the form of

internship openings and innovation transfer

• Self-regulatory organisation (SRO) – support in the form

of seminar meetings and lobbying

• Loan funds – loan services subsidised from EU funds

• Business incubators – consulting and training under

statutory services

Departure

(AT),

Creative HQ

(NZ)

� � �

National

authorities,

regional

authorities, and

business-

related

institutions

Facilitating

cooperation

between start-

ups and well-

established

S – low cost, relatively straightforward

implementation

W – low trust level, difficulties in

prospective output measurement

O – establishing a platform for

Creatives.waw.pl Establishing an Internet platform Interactive

Tayside (UK),

Creative

Factory

(NL), PIVOT

�

Local

authorities and

local business-

related

institutions



92

companies,

which are

seeking to

expand their

portfolio

cooperation between the creative

sector and the traditional business

T – the danger of poor interest on the

part of the target audience, the risk of

poor profitability of business ideas

Dublin (IE) (close location

of partners is

essential for

this type of

initiatives)

Assuming

patronage or

providing a

meeting place,

organisations/

foundations/an

incubator with

their own

brand and logo,

which make

reference to

the Warsaw

area

S – efficient measures for the

promotion of the creative sector and

its integration with other branches of

the economy

W – requires work and financial input,

and complex coordination

O – the opportunity to create a

community and meeting place, to

promote the creative sector in the

media, to win important partners

(stock exchange), opportunities for

integrating various environments and

delivering expertise to further the

sector's development

T – the danger of poor interest on the

part of the target audience

Targowa 56

Creativity Centre

Smolna 6

Entrepreneurship Centre

Sector expert and leader lectures

Opportunity for exhibiting the works

of artists, especially during seminar

sessions,

Consulting on taking advantage of EU

funds

Consulting on seeking financial

support from private investors

Consulting on the suitability of

individual business models for the

creative industry

Introducing the business-related

institutions' package to the

incubator, particularly when it comes

to entities authorised under the

National System of Services for

SME’s within the Polish Agency for

Enterprise Development (KSU PARP)

Dortmund.Kr

eativ (DE),

Creative HQ

(NZ),

Interactive

Tayside (UK),

Flanders DC

(BE), Creative

Factory (NL),

Technopark

Obidos (PT),

LUKE (FI), H-

Farm (IT),

Creative

Adrejsala

(LV)

� �

Business-

related

institutions,

Local

Government

Business-

related

institutions



93

network and private institutions

(particularly banks, insurance

companies, leasing companies, and

venture-capital funds

Consulting and support for

businesses operating in the creative

and traditional sectors and/or

higher-education institutions

Cooperation with the Warsaw Stock

Exchange (GPW)/New Connect to

develop an index of creative

businesses

Establishing a ranking of creative

companies/ Competition for the

Creative Company of the Year to

promote the sector

Business-

related

institutions

Supporting

networking

projects and

building

business

relationships

between

S – real place for meetings,

integration, sharing ideas, building a

community and atmosphere of

creativity and innovation


and complex coordination

O – an opportunity to use the city's

Targowa 56

Creativity Centre

Smolna 6

Entrepreneurship Centre

Meetings under the

Creative Mikser

Stimulating involvement

in/cooperation with the creative

sector among traditional businesses,

as an element of corporate social

responsibility (as part of CSR reports,

instituting the corporate patronage

of culture)

Dortmund.Kr

eativ (DE),

Interactive

Tayside (UK),

Creative

Factory (NL),

LUKE (FI),

�

National

authorities,

business-

related

institutions

with regional or

national reach



94

different

sectors

potential (HR, artists, business,

finances) in the fashion following

foreign solutions

T – the risk of a missed opportunity,

project drift, abuse of infrastructure,

culture commercialisation

Websites to help find

employment

Establishing 3 social and networking

centres in various locations within

the city, with free Wi-Fi access, as a

meeting place for creative

professionals and businesspersons,

artists, students, financial-service

operators, etc. The centres can seek

partnership with coffeehouse chains

(e.g. Coffee Heaven or Starbucks).

The centres would also provide

exhibition space for artists.

Establishing cooperation with a

personal-consulting agency/website,

which will deliver a database of job

seekers, mainly in the creative sector

Digital Media

Centre (UK),

CliNET (UK),

Creative

Dublin (IE),

Creative

Incubator in

Tallinn (EE)

Local

Government

supplemented

by partners

Promoting the

creative sector

and

innovativeness

in the industry

S – efficient measures for the

promotion of the creative sector and

its integration with other branches of

the economy

W – difficulties in gathering the

necessary data, requires work and

financial input

O – an opportunity to boost the

Winning media patronage - daily

newspapers, magazines (e.g. Forbes)

and TV network (e.g. TVN, CNBC)

Organising an annual competition for

the most innovative undertaking for

companies operating in Warsaw

Creative

Industries

Finland (FI),

Future in

Textiles (RO),

Departure

(AT), CIDA

(UK), PIVOT

� �

All levels,

depending on

the initiatives

undertaken

Local



95

creative sector's recognisability

(media)

T – the danger of poor interest

(award-winners enjoy tangible

benefits such as free marketing

campaigns on the city hall's website,

etc.)

Compiling an annual ranking of

innovative companies in the creative

sector in the Warsaw District

Dublin (IE),

KIK (LV)

Government or

local business-

related

institution

Creating

conditions for

the

construction of

a

cluster/technol

ogy park

S – setting up a solid infrastructure for

the development of innovativeness to

be used for many years


and coordination

O – an opportunity to use the city's

potential (HR, artists, business,

finances)

T – complaints against discrimination,

the danger of abusing the

infrastructure without producing any

tangible effects

Targowa 56

Creativity Centre

A location tailored to fit the

cooperation of a number of different

businesses, provided they belong to

or cooperate with the creative

sector. The development of

individual companies in the value

chain

Preferential conditions, e.g. rent,

free Internet access

Creative HQ

(NZ),

Technopark

Obidos (PT),

H-Farm (IT),

Digital Medi

Centre (UK),

Karostar

(DE),

Westergasfa

briek (NL). LX

Factory (PT)

�

Business-

related

institution

Education oriented to the creative industry

Promoting

entrepreneursh

ip and active

approach

S – opportunity to develop resourceful

attitudes in the next generations

W – long waiting period to see the

outcome, difficulty in estimating the

Entrepreneurship lessons

Capital City

Entrepreneurship Forum

Kozminski University (ALK)

Organising programmes and courses

to facilitate simulated business-

management experience

Flanders DC

(BE), KIK (LV),

Viljandi

Creative

�

Local

Government



96

efficiency of such measures

O – leveraging the potential to

produce social and economic growth

T – difficulty in foreseeing the

orientation of growth in the future

- Entrepreneurship in the

Creative Industry

Incubators

Foundation

(EE)

Maximising

chances for

talented and

highly-creative

individuals to

grow

S – proactive approach, using the

available resource base (infrastructure,

teachers, artists)

W – long waiting period to see the

outcome, difficulty in estimating the

efficacy of such measures

O – boosting creativity in prospective

employees, opportunities to redirect

the country's economy

T – controlling the industry

development, favouring the creative

industry over the others

Lessons such as

Maths for inquisitive

minds

ECCL

Cross Innovation

Organising workshops for children

and young people, as well as for

adults, to encourage creativity

Consulting and support for primary

schools, lower secondary schools,

and higher-education institutions,

which implement educational

projects designed to advance the

sector or the creative class

Organising training for

entrepreneurs and business

managers, as key professionals in the

development of an organisations, in

a series of sessions presenting

management techniques for higher

innovativeness

KIK (LV),

Viljandi

Creative

Incubators

Foundation

(EE)

� �

Local

Government or

national

authorities

(nation-wide

programme)

Business-

related

institutions

Delivering

inspiration for

S – low cost, re-usability of the

acquired materials

Materials published on

creatives.waw/facebook

Sponsoring/co-funding a publication

(available e.g. on the Internet) to

�

Local

Government



97

young people

and a

benchmark for

subsequent

projects

W – the possibility of the materials

quickly becoming out of date

O – opportunities for the higher

contribution of the creative sector to

the GDP

T – no effects, difficulties in measuring

the outcomes to inputs ratio

describe case studies of successful

creative businesses

98

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a study of the creative sector for the purposes of the european creative cluster lab (eccl) project

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