Download - development in rural territory
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Sustainable cultural ecosystems in rural areas: practices for culture-led development in rural territory
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Arts and Cultural Management at BSB
Elena Borin
PhD in Economics and Doctor Europeaus
Associate Professor - Finance Law and Control Department
ENCATC Research Award for cultural policies and management 2016
Director MSc in Arts and Cultural Management
Coordinator Research Team in Arts and Cultural Management
CEREN, EA 7477 - Burgundy School of Business, Université Bourgogne Franche Comté
Member Scientific Committee international network "Routes towards Sustainability"
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Arts and Cultural Management at BSB
MECIC - Management des Entreprises Culturelles et Industries Créatives (in 2019 celebrates 29th anniversary)
Ranked n.1 Master in Cultural Management in France (Eduniversal 2018)
2012: Research Group in Arts and Cultural Management
2016: MSc Arts and Cultural Management
2017: Creation of the BSB CACM – Centre for Arts and Cultural Management
2017: Culture Track in the MGE program
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Research team Arts and Cultural Management
➢ The BSB ACM research team:
❖Dr Elena Borin, Associate Professor and Coordinator of the Research Group in Arts and Cultural Management , BSB Dijon (Director MSc ACM and Spec.)
❖Dr Mario D'Angelo, HDR, Emeritus professor in cultural management, BSB Dijon
❖Dr Christine Sinapi, Professor in finance and Academic Dean, BSB Dijon
❖Dr. Marilena Vecco, Professor in cultural entrepreneurship – BSB Dijon
❖Jean-Yves Klein, Expert Professor in Cultural Management, BSB Dijon
❖Simeng Chang, Assistant Professor in Accounting and Arts Markets, BSB Dijon
❖Eleonora Montagner, Assistant Professor in Philosophy of Management, BSB Dijon
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Research areas
Both qualitative and quantitative research methods
Our current research is on the following topics:• Arts markets
• Cultural policies
• Cultural governance and management
• Entrepreneurship in the cultural and creative sector
• Culture and sustainable development
CfP IJESB on the topic "Sustainable Entrepreneurship in the Cultural and Creative Sector: Contextualisation, Challenges and Prospects
ENCATC Conference « Diversity and sustainability at work. Policies and practices from culture and education” (Dijon, 2-5 October, 2019)
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Sustainable cultural ecosystems in rural areas: practices for culture-led development in rural territory
➢ Module of 12 hours
➢ Language: English
➢ Schedule of the lessons:• 28 October: 5pm-8pm
• 29 October: 5pm-8pm
• 4 November: 5pm-8pm
• 5 November: 5pm-8pm
• Evaluation: Oral presentation (in groups)
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Objectives of the course
• Understanding the main factors and characteristics for creating cultural ecosystems in urban and rural territories
• Being able to developed a critical analysis of significant cases of cultural ecosystems and their sustainability dimensions (cultural, social, economic, environmental)
• Reflecting on the necessary means to implement cultural ecosystems in rural areas in terms of governance, management, and multi-stakeholders partnerships
• Reflecting culture in rural areas for sustainable development
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Understanding the main factors and characteristics for creating cultural ecosystems in rural territories
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Objectives of the sub-module
1. Understanding the origins and connotations of the « ecosystem » concept
2. Peculiarities of the cultural and creative field and of the ecosystem concept in the CCS
3. Examples of cultural ecosystems in urban areas
4. Points of reflection: what about rural areas?
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« Ecosystems » as a buzz word?
Biology origins and « environmental » links
Links to/among different subjects of the economy and society
Recognition of the interdependencies
Possibility to focus on the links ratherthan on the separations
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Creating ecosystems
• Over the last year, several societal changes (digital innovations, globalisation but also crisis, economic, social and ethical, environment and climate change) have questioned the models of development of society
• New concepts, borrowed by scientific/biological disciplines have emerged to help us interpret these changes
• Among these concepts, the concept of ecosystem seemsparticularly promising
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Why ecosystem approaches?
• Delineating/interpreting the changes on the basis of ecosystem principles
• Concept of ecosystem has been transferred to othersectors
Reflections on:
• Ecosystems concept
• Ecosystems in business, entrepreneurship, tourism…
• Cultural ecosystems and their peculiarities
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Rethinking society and economy as an ecosystems?
• Concept of ecosystems: communities of interacting organisms and their environments
• “complex networks formed because of resource interdependencies” (McCormack, 2011)
• open, flexible, demand-driven, interactive networked architecture and collaborative environments (Boley & Chang, 2007; Bajarin, 2011)
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Definition of ecosystems
• Ecosystems’ individual agents or groups of agents proactively form symbiotic relationships to increase individual benefits and to achieve shared goals; that local interactions determine the global behaviour or state of the system
• Balance is needed to prevent system collapse –Antropocene area? (see Harari, Sapiens - A brief history of Humankind)
• The relationships and interdependencies ensure that resources are consumed effectively and sustainably
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Definition of ecosystems - business
In the business world:
• “ecosystem” is used to describe the relationships among economic entities (producers, distributors, consumers, government agencies, etc.) that, through competition and/or cooperation, facilitate the creation and distribution of a product or service” (Isenberg, 2010)
• the environment in which these entities operate, i.e. in and through which they produce, exchange and consume value, is rapidly changing and requires their relationships to co-evolve
• As ecosystems, business ecosystems often faces the arrival of new species, which requires realignment and redefinition of the relationships that underpin the system. While such new species can emerge out of nowhere through genetic mutations, it is more often the environmental changes that cause or at least facilitate dramatic shifts in power over resources.
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Entrepreneurial ecosystems
• Increasing attention on the ecosystems that favour the development of entrepreneurial activities
• Entrepreneurial ecosystems has been around for a while(Valdez, 1988) but at the centre of the debate over the last 10 years
• “The entrepreneurial ecosystem model or framework is then used to explore the relationship of new business formations to the economic environment” (Valdez, 1988)
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Entrepreneurial ecosystems
• Not only entrepreneurship as a result of the system, but also sees the importance of entrepreneurs as central players (leaders) and policy makers in the creation of the system and in keeping the system healthy
• Transition in policy attention from pushing up the quantity of entrepreneurship (e.g. new firms, self-employment) to the quality of entrepreneurship (e.g. growth and innovation-oriented entrepreneurship) (Stam, 2015)
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Entrepreneurial ecosystemsgainingimportance
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Entrepreneurial ecosystemsgainingimportance
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Examples of entrepreneurial ecosystems
Silicon Valley (USA)
« There is little argument that Silicon Valley is the “gold standard” entrepreneurship ecosystem, home to game-changing giants such as Intel, Oracle, Google, eBay, and Apple. The Valley has it all: technology, money, talent, a critical mass of ventures, and a culture that encourages collaborative innovation and tolerates failure”
(D. Isenberg, 2010 “How to start an entrepreneurial revolution”, HBR)
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But…don’t take the Silicon Valley model acritically!
• In order to explain or create sustainable entrepreneurship, one isolated element in the ecosystem is rarely sufficient
• “Shape the Ecosystem Around Local Conditions”
• Engage the Private Sector from the Start => it implies checking out the private industries that are already exhisting and tailor-made the dialogue and the model of development with them
• “Don’t Overengineer Clusters - Help Them Grow Organically” => holistic approach, no only the government to ensure sustainability of the entrepreneurial ecosystem
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In sum…Etrepreneurial cosystems
• Hwang (2014): the dynamics in the ecosystem and its openness as the main characteristics that distinguish it from other, more static and managed forms of business networks such as industrial districts or clusters
the focus is on establishing the environmental conditions under which their elements can thrive and on making engagement not only
possible but easy
➢ Recognizing the ecosystem’s embeddedness in communities and larger society
➢ creating shared value that simultaneously enhances business competitiveness and advances economic and social conditions (Porter and Kramer (2011)
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What is the concept of ecosystem bringing us in practice?
Openness
Focus on the broader environment, not just a sector
Possibility to interpret the territory as an ecosystem of interactions
This is particularly important for the cultural and creative sector
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Ecosystems in culture: the development of the concept of cultural ecosystems
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KEA -Europeanaffairs(2006): The economyof culture in Europe
Introduction: definition of culture and creative sector
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"The cultural and creative sector is a growing sector, developing at a higher pace than the rest of the economy. The same applies to employment. Indeed this sector provides many different and often highly skilled possibilities, and again the sector’s growth in terms of jobs out-performs the rest of the economy" (KEA, 2006)
Introduction: the cultural and creative sector
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Growing importance of culture and cultural and creative industries
Approaches to "culture"
Anglo-saxon/UK- American approach: focus on culture as creativity - cultural and creative industries, divide between for-profit – not-for-profit cultural organizations
Southern-European: culture as focusing on the core art field, public and private cultural organizations (mainly public)
• New emerging approaches
• Pourous boundaries between the cultural and creative sectors, between public and private, profit and non-profit
• Hybridity and mixed governance and management models combiningpublic, private, community
Cultural and creative sector
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• UNCTAD -United Nations Conference on Trade and Development
• (2015): Report on the Creative economy
Introduction: definition of culture and creativesector
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UNCTAD approach on creative economy
• Creative economy is the creation cycle, production and distribution of goods and services that uses creativity and intellectual capital as primary inputs
• It constitutes a set of activities based on knowledge, focused but not limited to the arts, potentially generating trade revenue and intellectual property rights
• It includes tangible and intangible products or artistic serviceswith creative content, economic value and market objectives;
• It is at the crossroads among the sectors of craft industries, services and heavy industry
• It constitutes a new dynamic sector in world trade.
Introduction: creative economy
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Some data on the cultural and creativesector
• More than 6 million cultural and creative jobs in the EU: ‘cultural and creative employment’, 6.3 million people in the EU were working in a cultural sector or occupation in 2014, that is, 2.9 % of the total number of people in employment
• Cultural and creative jobs relate to activities such as: ‘creative, arts and entertainment activities’, ‘libraries, archives, museums and other cultural activities’, ‘programming and broadcasting activities’, ‘motion picture, video and television programme production, sound recording and music publishing activities’ and ‘specialised design activities’.
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• Main characteristic of the cultural and creative sector:
➢ working time (full-time versus part-time)
➢ multiple job-holding and, for employees, sprecific
contractual status (temporary contracts)
➢ self-employment
• Nearly half (49 %) of all cultural and creative workforce in the EU were self-employed in 2014
• This percentage is much higher than that reported in total employment (15 %).
• Some key countries: • United Kingdom and the
Netherlands (both 65 %)
• Germany and Italy: self-employment in cultural jobs reached 55 %
Some data on the cultural and creativesector
Share of self-employed in cultural and creative emplyment compare with total employement (Source: UNCTAD, 2016)
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Cultural and creative enterprises
• In the EU, cultural market-oriented enterprises made up 6.4 % of all enterprises in total business economy services in 2013
• In 2013: around 675 000 cultural market-oriented enterprises in the EU (corresponded to 6.4 % of all enterprises in total services).
• Cultural enterprises employed close to 2.2 million people (self-employed and employees)
• The cultural sectors’ turnover (the total value of market sales of goods and services) was around EUR 300 billion, which represented 5.3 % of the turnover of total services.
• Smaller average size of cultural enterprises (3 persons employed, as against 5 in services as a whole).
• France and Italy: only Member States with over 100 000 cultural enterprises, each accounting for 15 % of the EU total number of cultural enterprises. Together with Germany (73 000 enterprises) and Spain (68 000), these four countries represented over half of the EU total.
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Survival rate of start-ups
• High resilience of the start-ups in the creative sector (measure in terms of survival after 1 and 5 years)
• On average, across the EU, survival rates for enterprises in total services were about 80 % after one year, 60 % after three and 45 % after five.
• In comparison, enterprises in the films, TV and music did quite well, with survival rates of around 85 % after 1 year, 65 % after 3 years and 55 % after 5 years.
• In contrast, enterprises involved in the sector of libraries and museums were less likely to thrive, with an average of 70 % surviving after one year, falling to 45 % after three years and 35 % after five.
• The other cultural sectors are in tune with the average of total services, with a slight reservation as regards the long-term life expectancy of enterprises in ‘creative, arts and entertainment activities’ (around 40 % survival after five years)
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Importance of the cultural and creative sector in economic terms
Growing importance of Cultural and CreativeEnterprises, CC start-ups' potential
➢ increasing debate on cultural and creativeentrepreneurship
➢ Co-working spaces
Cultural and creative sector
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Cultural and creative enterprises
Entrepreneurs in the cultural and creative sector are at unease with the label "entrepreneurs" (Klamer, 2011)
Ethical and artistical (intrinsic) motivations
Primary mission of cultural entrepreneurs is to create cultural value for both producers and consumers of cultural goods and services (Aageson, 2008; Acheson et al., 1996; Klamer, 2011; Snyder, Binder M., Mitchell, & Breeden, 2010).
They perform activities to influence shifts in attitudes, beliefs and behaviors (Martin, & Witter, 2011), further cultural values and traditions (Snyder et al., 2010), and influence changes in perceptions of aesthetics and identity (Rentschler, 2007)
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Key characteristics of the cultural and creativeenterprises (1/3):
• Creation of value: • shift of focus from economic value to cultural and ethical value – artistic value, public goods,
public value/s
• Push for growth but not essentially in economic terms"For cultural entrepreneurs economics is an instrument to realize cultural value" (Klamer, 2011)
• Prevalence of SMEs and Micro-enterprises (Greffe, 2010; EC, 2011)
• Problem of financial sustainability – difference in the financing structure of cultural and creative sector (Greffe, 2010)
• Undercapitalized: prevalence of working capital
• Higher involvement of state funding
• Problem of access to bank financing: bias from both sides(Borin, Donato and Sinapi, 2017)
Cultural and creative enterprises
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Key characteristics of the cultural and creative enterprises (2/3):
Strong relation between cultural capital and creative industries flowrishing
Cultural and creative enterprises
Cultural and creativeindustries tend to beestablished in places with high degree of cultural capital and
cultural heritage (bothtangible and intangible)
Cultural and creativeindustries enhance the cultural capital of theirterritory and contribute
to regeneration, growth and innovation
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Key characteristics of the cultural and creativeenterprises (3/3):
Strong relation between cultural capital and creative industries flowrishing
"The Rise of the Creative Class" (Florida, 2002): creativity is closely related to the city where an individual lives
The quality of the city which a person lives, really affects the creativity index of individuals.
But also problems, such as gentrification, exclusion (Florida 2017 – The
New Urban Crisis)
Cultural and creative enterprises
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Economic and financial crisis, decrease of public funding to culture and creative industries in the majority of EU countries due to the impact of economic crisis started in 2008 (Bertacchini et al. 2011)
− co-creation, co-production, crowdsourcing, people raisingand co-working spaces
− alternative financing (ex. crowdfunding)
Cultural and creative enterprises
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Need to rethink the models of development of the cultural sector (Bonet and Donato, 2011) but also to rethink the interactions between cultural and creative sector and its"environment"
Emergence of ecosystem approach to the cultural and creative sector (Holden, 2015; Borin and Donato, 2015)
CHANGES IN THE Cultural and creativeSECTOR
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Cultural ecosystems: development
Two reports in 2004, published almost simultaneously on both sides of the Atlantic, employ ‘ecology’ as a metaphor for the cultural and creative sector (Holden (2004), Rand (2005))
Ecology of culture: ‘the complex interdependencies that shape the demand for and production of arts and cultural offerings’.
• "Culture is often discussed as an economy, but it is better to see it as an ecology, because this viewpoint offers a richer and more complete understanding of the subject" (Holden, 2015)
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Starting point: the ecology of culture could be conceived as three highly interactive spheres (Holden, 2004 – 2008 - 2015)
Cultural ecosystems: development
Publicly fundedculture
Commercial culture
Homemadeculture
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Ecology of culture (Holden, 2015)
Publicly funded culture
Important role for the publicly funded sector, and particularly the larger, long-established and better-funded institutions, as guardians of assets and tradition
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Ecology of culture (Holden, 2015)
Commercial culture
• The commercial cultural sector is defined by the fact that it exists without direct public investment, and individuals and organisations must make an overall profit in order to survive.
• Taken as whole, this part of the cultural sector is of great economic significance
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Ecology of culture (Holden, 2015)
Homemade culture
The sphere of homemade culture is defined by the fact that people do not get paid for their work, (notwithstanding the fact that the organisations that they are working within, such as volunteer museums or community choirs, may receive grants or sponsorship). Homemade culture is a heterogeneous area, encompassing the ‘amateur arts’, ‘voluntary arts’ and the use of internet platforms to share content that is produced without financial reward and is free to the user.
Homemade culture speaks to the heart of individual and communal identity.
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The ecology of culture
Treating culture as an ecology, not only as an economy, changes the viewpoint:
• In the first place, an ecology is explicitly non-hierarchical: one part does not exist to serve another => all parts of the cultural system are interdependent and, in this sense equal, and equally valuable: all parts are needed to make the whole.
• The phrase ‘the ecology of culture’ implies that culture is a communal phenomenon, with disparate elements coming together to produce a whole; where ‘audiences’ create culture just as much as do ‘artists’. Culture is a social process.
• The concept of ecology helps us to see our position in relation to culture. As with the natural ecosystem, the cultural ecosystem is not separate from us, or related to us, but rather we are embedded in it – it makes us, at the same time as we make it. Culture is a process of constant formation, where our views and decisions are moulded by what we see, read, make, watch and listen to.
(Source: Holden, 2015)
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The ecology of culture
• Ecology deploys many useful concepts that are transferable into the field of culture• co-operation and collaboration held in balance;
• existential threats coming from outside the system;
• positive and negative feedback loops;
• self-regulating systems;
• mutual dependence; interactions, linkages; patterns.
• dynamism;
• fragility and robustness;
• global environmental capacity
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Changing scenario for culture
• Changing of the taxonomy of culture:• “The taxonomy of culture (and hence the way that is thought of as a
whole ecology) is being affected by technology, which is changing both the role of media (crudely put, theatre audiences over 40 read newspaper critics; the under-40s consult blogs) and creative possibilities (drawing on i-pads; creating an audience through Youtube; collaborating by Skype)”
• “Culture in the future is more likely to be described in terms of fluid movements and startling shifts” (Holden, 2015)
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Implications: the « third places » concept in relation to the production and diffusion of
culture
Culture, espacially homemade and commercial, is key to the harmonious development of an ecosystem
Importance of places where culture is produced« informally »
« Third places » as a spaces for culture and socializationneeded by a sustainable approach to society (Oldenburg,
1989)
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Characteristic of a functional space in societies
«THIRD PLACES» :
• decisive importance in the growth of society
• contributing to the creation of a real civil commitment and to the definition of a precise sense of place
• third-party places are comfortable, welcoming, easily accessible, generally free or low-cost environments where people can relax and socialise with each other
• places where a community can find itself as a whole, where it is possible to meet people with similar interests and become familiar with them
• places of leisure and entertainment but also of intellectual discussion and construction of new ideals.
(« The Great Good Place”, Ray Oldenburg, 1989)
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Cultural ecosystems andThird places
Third places as new spaces of interaction/intersection between the different subjects of the cultural ecosystem
Examples: cultural centers
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Ecology of culture as a regenerative life cycle
"An ecological approach concentrates on relationships and patterns within the overall system, showing how careers develop, ideas transfer, money flows, and product and content move, to and fro, around and between the funded, homemade and commercial subsectors"
"The cultural dynamism of today rests on a global inheritance going back thousands of years; and decisions taken now about things as various as the music in schools, and licensing and arts education will affect both the near and distant future"
(Holden, 2015)
Ecosystem approaches: developments
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Ecosystem approaches: the peculiarities of culture
• ‘…the need is for a system to create spaces in which something can happen’ (Crossick, 2006).
Other interpretations of the ecosystem approaches emerged
Cultural ecosystems in relation to the broader socio, economic and environmental ecosystems as a way to enhance the potential of cultural and creative sector
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Cultural ecosystemamong the broader
ecosystemto enable the flowrishingof cultural and creativeindustries and start-up: need for coordination and common strategyamong the differentsubjects (Bonet and
Donato, 2011; Borin and Donato, 2015)
Cultural ecosystems: development
Public authorities, public cultural institutions
Cultural and creativeindustries
Other stakeholders(associations and citizens)
Other sectors of the territory
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Cultural ecosystem: implications
• Cultural and creative sector is not isolated from othersectors
• Connections between culture and other industries
• Culture as connected and reflecting on other sectors
• Culture interpreted in terms of co-creation, co-management and co-governance• Participatory governance and participatory management • Co-creation and community-based creation (Malik, Chapain &
Comunian, 2017)• Local cultural ecosystems: Public-private partnerships (Ferri and
Zan, 2014) and multi-stakeholders partnerships (Borin, 2016)
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Cultural ecosystem: implications
1. Thinking of the cultural and creativesector as an ecosystem means thinkingof the different art/cultural/creative as interconnected and linked to othersectors
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Cultural ecosystem: implications
Artists are stakeholders in various CC sector
• Tom Ford fashion and cinema
• Jeff Koons and Louis Vuitton – visual art and fashion
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Cultural ecosystem: implications
Collaborations between sectorsand cross-pollination:
Experts from one CC sectorintervening in other sectors
https://www.youtube.com/watch?time_continue=1&v=_vTQI6Vw5nY
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Cultural ecosystem: implications
The Roncalli Circus (Germany) and holographic experiences, intersection between differentindustrieshttps://www.youtube.com/watch?v=q3KbgGJux4E
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Cultural ecosystem: implications
Collaboration between Google art project and some of the most important museums and CH institutions
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Cultural ecosystem: implications
2. Different way to interpret the relationship of the community and the different stakeholders• Participatory management and governance
practices• Multi-stakeholder partnerships
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Examples of ecosystem thinking
Participatorymanagement practices at the TATE Gallery(UK)
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Examples of ecosystem thinking
Participatorygovernance practices
Birmingham Cultural Strategy2016-2019 (UK)
• Development throughconsultation
• Local arts fora
• Citizens will co-design cultural activities
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Cultural ecosystem: implications
3. Different way to interpret the territoryand the interconnections with the local resources• Local territorial ecosystems: Multi-stakeholder
partnerships
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Examples of ecosystem thinking
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Cultural ecosystems thinking
Public authorities, public cultural institutions
Cultural and creativeindustries
Other stakeholders(associations and citizens)
Other sectors of the territory
Need to work on the coordination of the actors of the territorial ecosystem in order to create the sustainingenvironment for for-profit and non-profit organizationsin the cultural and creativesector
Cultural identity of the territory as starting point for the dialogue
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Cultural ecosystem among the broader ecosystemto enable the flowrishing of cultural and creative industries and start-up: need for
coordination and common strategy among the different subjects (Borin and Donato, 2015; Borin, 2018)
Cultural ecosystems?
Public authorities, public cultural
institutions
Cultural and creative industries
Other stakeholders(associations and
citizens)
Other sectors of the territory
Need to work on the coordination of the actors of the territorial ecosystem in order to create the sustainingenvironment for for-profit and non-profit organizations in the cultural and creative sector
Cultural identity of the territory as starting point for the dialogue
Central role of the cultural organizationand local cultural heritage authorities in shaping this ecosystem
CULTURAL VALUES AND IDENTITIES
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Peculiarities of start-up and entrepreneurshipin the cultural and creative sector
IN THE CASE OF CCIs:Culture central role: not as societal norms or success stories but as cultural patrimony and cultural identity of the territory, as trigger for cultural and creativeentrepreneurship
Central role of government and public sector (in multiple-dimension): in creating identity, in creating dialogue and in fosteringthe ecoystem implementation for letting CCS thrive(Borin, 2018)
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(Source: Oliveira et al. 2014)
Cultural ecosystems: development
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Cultural ecosystems: development
(Source: Oliveira et al. 2015)
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Cultural and creative sector and ecosystems…and now?
Micro-approach as traditional approach in the management of cultural organizations
Meso approach as new governance system and management model of the territory
Meso territorial ecosystems based on culture
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• Need for high-level of coordination among the different actors
• Need for multi-level, multi-stakeholders governance schemes
• Flexibile model for unlocking the potential of cultural and creative enterprises
MESO LEVEL: cultural ecosystems strategies for enhancing the cultural identity of the territory
Cultural entrepreneurship and CC start-up thrive in places where ecosystem initiatives are in place for developing the cultural identity of a territory
➢ Need for well-defined governance structures, multi-stakeholders promotedby public authorities
Cultural ecosystems at a city or broader level?
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Further reflections
Some examples of cultural ecosystem in urban spacesfrom the UK:
• The experience of Liverpool ECoc 2008
• FACT Foundation « small ecosystem »
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Liverpool ECoC 2008
• Liverpool (UK) was European Capital of Culture in 2008
• Candidature started in 2000-2002
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Background: the ECoC program
Since 1985, the European Capital of Culture is a city designated by the European Union (EU) for a period of one calendar year during which it organises a series of cultural events with a strong pan-European dimension
Liverpool ECoC 2008
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Liverpool ECoC 2008
• It is important to understand Liverpool’s year as European Capital of Culture in 2008 within a wider economic, social and political context
• Historical important port in 17th-19th century
• But later, historic gap in socio-economic performance between Liverpool and the rest of the country
• by the late 1970s and early 1980s the city was suffering the effects of national recession with high unemployment, a low skilled work force and a depleted business sector
• Decrease in population, lack of sense of belonging
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Liverpool ECoC 2008
1) The main branded programme of events -‘Liverpool 08’ - and related activity, co-ordinated by the Liverpool Culture Company with a wide range of stakeholders over six themed years, with a budget of £129.9million.
2) The intersection with the wider city regeneration and re-imaging programme, which emerged out of public and private partnerships and was funded mainly by private capital to a value of £4billion over eight years.
• To positively reposition Liverpool to a national and international audience and to encourage more visitors to the city and the North West
• To encourage and increase participation in cultural activity by people from communities across Merseyside and the wider region
• To create a legacy of long-term growth and sustainability in the city’s cultural sector
• To develop greater recognition, nationally and internationally, for the role of arts and culture in making our cities better places to live, work and visit
3)The broader European context involving European Commission (EC) guidelines and engagement with ECoC stakeholders from the rest of Europe. Liverpool received discrete funding of just over £800k from the EC to support directly the European dimension of the Liverpool ECoC.
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Ecosystem approaches: governance
• How can we coordinate such an ecosystem?
• The presence of an ecosystem approach was evident in the governance body of the ECoC, the Liverpool Culture Company
• The governance changed over time (from 14 members in 2000, to 21 in 2003, to 28 in 2005 and finally reduced again in 2007)
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Liverpool ECoC 2008
• The Liverpool Culture Company was the managing and commissioning body for the Liverpool ECoC (organisationreplaced by the Culture Liverpool and Tourism business units within Liverpool City Council in 2009)
• The term Liverpool ECoC events is used to include all activities delivered by, directly funded by or procured by Liverpool Culture Company, with the specific exclusion of those activities undertaken by organisations as part of their Regularly Funded Organisation (RFO) response rather than with additional Liverpool ECoC specific funding.
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Governance composition
Liverpool culture
company
Liverpool John
MooresUniversity
City Council and
opposingparties
senior figures from
otherbusiness
sectors (not cultural)
local media representati
ves(including
BBC)
Representatives of local
cultural institutions
Representative of
tourismsector
Representatives of local associations
Citizens were not involved in the governancestructure (onlythrough associations’ representatives) but wereactively involved as volunteers, audience and with targetedinitiatives throughout the ECoCimplementation and deliveryphases
E.G. Creative Communitiesteam, and its work across the communities of Liverpool from 2005 onwards => they were involved in the design of the events and their management
• 971 active volunteers for the ECoC• 8,770 people had signed up online
to be 08Ambassadors
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Results of the ECoC 2008
• 7,000+ activities in 2008
• An audience of 9.8 million
• 80%+ of audiences rated the events ‘good’ or ‘very good’
But also long term results for the city and the Merseyside area
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Results of the ECoC 2008
• Liverpool’s approach to ECoC governance was the result of extensive partnership across public, private and third sectors:
• This has contributed to the repositioning of culture as more central to cross-sectoral agendas, and reflected in the city-wide cultural strategy for 2008 to 2013
• There were 1,683 creative industry enterprises in Liverpool employing 11,000 people => growth of 8% in the number of enterprises since 2004
• 68% of UK businesses believed the ECoC had a positive impact on Liverpool’s image
• 85% Residents agreed that the city was “a good place to live” (a 20% rise compared to before the the ECoC )
STRONGER CULTURAL IDENTITY AND SENSE OF BELONGING