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Creative Clusters 2002, Sheffield

Creative Clusters Conference 2002
Cultural Industries Quarter, Sheffield
20th – 23rd November 2002


Creative Entrepreneurship

Chaired by Jo Burns.

Is entrepreneurship in the creative sector basically the same as all others? Or are there special issues in play? What are the implications for business support agencies?

1: Creative Businesses Are Special – Myth Or Reality?

John Barnett, Sector Manager, Business Link South Yorkshire

Research proposes that “Creative” businesses are different and suggests that the key issues are time to market, product life cycle, partnering with dominant players and intensity of competition. Are these issues unique to the Creative sector or are they typical of all service based businesses? The presentation is designed to stimulate debate around this question.

2: The Impact of Public Policy on Creative Industries in the UK at the Turn of the Millenium. Does Public Policy Help Or Hinder Creative Enterprise?

Yvonne O’Donovan, CEO, Inspiral

Come and join the great SME-C hunt? Who are these creative entrepreneurs and how do we find them, inspire them, develop them? Are public interventions in the UK likely to kill or cure? Based on the practical experiences of being a serial entrepreneur and delivery agent (poacher turned gamekeeper), this presentation explores existing UK public policy and its rationale and provides a context within which to think about the next three days.

3: Enterprise and the Creative Industries

Paul Jeffcutt, Professor of Management Knowledge, Queen’s University Belfast

A pioneering research and development programme concludes that the Creative Industries of Northern Ireland inhabit an ecology – with multiple-layers, a complexity of interrelationships and a mix of key development factors. In this light, the development strategy for the Creative Industries of NI needs to be based on this ecology, with a coherent and integrated approach to its key leverage points.

Creative and Economic Inclusion

Chaired by Keith Hayman.

Three projects demonstrate how creative industries can make a bridge between between social inclusion and economic development.

1: Music – It’s Not Just Fun!

Frank Wilkes, Manager, Red Tape Studios

Looking at how music can be used as a “lever” to help people learn transferable skills in a less traditional environment.

2: Social Inclusion Through Using The Development Of Arts Industries For Those On The Margins.

Penny Eames, Executive Director, Arts Access Aotearoa

Through working with territorial local authorities and arts organisations, Arts Access Aotearoa staff design Creative Clusters. These clusters include festivals, markets, precincts and art trails.

Photographs of art work by people on the margins, and diagrams and maps of the precincts created will be shown. How the planning is done to enabling the territorial local authorities to analysis and take ownership of the development of their areas and regions will also be described.

3: Developing a Creative and Community Exchange

Richard Motley, Head of Development, CIQ Agency

The presentation will outline the work currently underway aimed at a collaboration process linking the economic opportunities of the creative industries cheap oakley sunglasses high growth employment and business sector to a set of community based economic regeneration and social enterprise pilot projects located in priority neighbourhoods across South Yorkshire.This is a live and evolving project and the seminar is designed to be a two-way exchange of ideas, dissemination and best practice to inform policy development.

Exporting Creativity

Chaired by Mark Robson. Sponsored by Trade Partners UK.

The UK is one of only two net exporters of cultural products. How can businesses best take advantage of the opportunities?

1: The Role Of The British Council In Export Promotion

Andrew Senior, Head of Creative Industries, British Council

Andrew Senior’s presentation will focus on the work of the British Council in supporting the creative industries in the UK, and the thinking behind it. In particular he will look at how the British Council and Trade Partners UK successfully work together on the development of the creative industries. He will also talk about how non-export related work at the British Council – namely the creative industries within a knowledge-based economy – continues to fit in with the export agenda.

2: Trade Partners UK ‘Passport to Export Programme’ in the Creative Clusters.

Jonathan Webber, Senior International Trade Advisor, Birmingham Chamber of Commerce & Trade Partners UK

TPUK’s national Passport to Export Programme is aimed at new/novice exporters. Very well funded, the programme is aimed at developmental and genuine export training needs. In the cheap oakley West Midlands we have refined the process into small, tightly knit Creative clusters. They love it because it works – and I’d like to share what we’ve done – and get some fresh input.

3: Case study

Kim Knowles, Chief Executive, Midlands Fashion Showcase Ltd

Support for Visual Artists

Chaired by Karen Sherwood.

How are designer / makers and visual artists best supported? This session looks at two studio projects and an innovative market development platform.

1: Persistence Works. A Landmark Purpose-Built Studio Complex For Visual Artists And Craftspeople.

Kate Dore, Director, Yorkshire ArtSpace Society

Maintaining a space for artists and makers in successful creative clusters. How the pioneers can reap the rewards of a successful cultural quarter.

2: The Development And Sale Of Work/Live Units To Cross-Subsidise The Acquisition Costs Of A Major Studio Site In Order To Sustain Affordable Permanent Studio Space For Visual Artists.

Jonathan Harvey, Co-Director, Acme Studios

The project will be presented by the co-founder of Acme Studios, in the context of the development of studio space generally in London and the current threats to the establishment of a sustainable network of affordable space.

The presentation draws on 30 years experience of studio space development and management and presents one model, amongst a number, that has successfully risen to the challenges posed by soaring property prices.

3: Applied Ideas Product Commercialisation Program, Adelaide, Australia. A Programme To Build Collaboration Between Designer-Makers, Manufacturers, Architects And Property Developers

Jane Andrew – Applied Ideas, Executive Director, Craftsouth: Centre for Contemporary Craft & Design

Applied Ideas aims to identify effective ways to partner designer/makers with manufacturing companies. The aim is to build collaboration between designer-makers and manufacturers to produce commercially successful products with high design values.

The Creative Region

Chaired by Martin Manning.

Each of the UK’s ten Regional Development Agencies has designated all or some of the creative industries as a growth sector for their region. So what does this say about regional distinctiveness? Are the creative industries really growing in all parts of the UK, or is this just a bandwagon?

1: Creative Industries And The Regions: A Match Made In Heaven – Or Will It All End In Tears?

Phil Wood, Partner, Comedia

Some argue that in encouraging local creative clusters the English regions are, at best wasting their time, and at worst undermining the competitiveness of London and therefore UK plc. What do the RDAs expect from the creative industries, are the expectations realistic and can the industry deliver? And is cluster strategy helpful or a distracting fad? Evidence drawn from the largest ever study of the creative industries in an English region may shed some light on these and other questions.

2: RDAs and the Creative Industries

Peter Ramsden, Board Member, East Midlands Development Agency

The East Midlands has selected creative industries as one of its five growth clusters. This session will explore how RDAs are working with the sector using this example and seek to explain what the new agencies are looking for in terms of projects, strategies and approaches.

The workshop will explore issues about whether clusters are really spatial and whether the public sector can grow private companies in the creative industries.

3: Thames Gateway And Brighton In The South East – Clusters Of The Imagination?

David Powell, CE, David Powell Associates Ltd (DPA)

David Powell and Pru Robey will present data and conclusions from their 2002 research on the creative and cultural economy in London and South East England – one of the world’s largest and most complex creative “super regions”. We look at how city leaders and planners in Brighton and Thames Gateway want to reconcile the scale of the regeneration task with a creative business community consisting of very small companies, at the role of the city fringe in and around London.

Cultural Quarters

Chaired by Jo Burns.

The Cultural Quarter: a district of intensified cultural production, distribution and exchange. With creative industries becoming increasingly mainstream, how helpful is this idea?

1: Cultural Industry Quarters – From Pre-Industrial To Post-Industrial Production

Graeme Evans, Head of Research, Central St Martins College of Art & Design

Creative Quarters are both long established and re-emerging in the post, or new industrial city. The presentation will draw on historical and contemporary examples in the UK, Europe and North America, focusing on a longitudinal study of the area of Clerkenwell/City Fringe in London. An analysis of the sucess factors and the barriers to sustained creative quarters will be discussed, with pointers for future development strategies.

2: NEXT LEVEL: Case Study Of The “Quartier21” Cluster In The MuseumsQuartier Vienna.

Wolfgang Waldner, Director, MuseumsQuartier Vienna

The presentation covers the creation of an innovative creative cluster – quartier21 – within a larger cultural complex, the MuseumsQuartier Vienna. It will focus on the special framework and circumstances of the MQ-complex, on aspects of infrastructure, financing, evalution processes, promotion and project management as well as on the experiences in communicating this concept to the various parties involved and to the public.

3: Creative Lewisham

Andrew Carmichael, Director, Creative Lewisham Agency

The Creative Lewisham Agency was set up as a direct result of the Culture and Urban Development Commission for Lewisham, a report by Charles Landry.

The CLA is undertaking a number of developments, forming networks, looking at creative sector specific business support, the capacity building of festival organisations and is planning a new business incubation centre. Sustainability of the creative sector being the key to long term development.

Building for Culture

Chaired by Karen Sherwood.

Three contrasting examples of major urban regeneration projects developments where buldings for cultural production are a key component.

1: The Hothouse, London Fields: A Case Study Exploring A New Build Artists’ Community On A Tight Brownfield Site.

Cany Ash, Partner, Ash Sakula Architects and Freeform Arts Trust

What makes a good physical environment for people working in the cultural industries? Are particular kinds of spaces inherently more conducive to the success of a working community which values mutual support and cross discipline working? The Hothouse, recently completed, is one such place we believe works, and can develop over time to provide a core facility for cultural industries in Hackney.

2: The Workstation & The Showroom

Ian Wild, Chief Executive, Sheffield Media & Exhibition Centre Limited

Case Study of a Cultural Industries Business Centre

3: The Journey Of The Westergasfabriek. How A Former Gas Factory In Amsterdam Is Being Transformed Into A Cultural Park.

Liesbeth Jansen, Director, Westergasfabriek bv

The presentation will show the development of the Westergasfabriek from a former industrial site to a cultural park. Including the role of cultural enterprise, private/public partnerships and the role of public and private bodies and other issues.

Incubating Creativity

Chaired by Martin Yarnit.

What is the best working environment for creative businesses? Is a media centre essentialy any different from other managed workspaces? Does the idea that broadcast and network technologies appear to offer – of a ‘distributed cluster’ – make any real sense?

1: Business Incubation Supporting Creative Entrepreneurs

Amanda Grant, Marketing Manager, UK Business Incubation

This presentation will briefly explore the principles of business incubation and how these apply to supporting arts and creative start-up businesses, and how important business incubation can be to the UK’s creative entrepreneurs. Delegates will be able to take away with them the principles of business incubation practice and the impact these have on the survival of arts and creative small businesses.

2: Building the Creative Industries – Channel 4’s Ideasfactory

Paul Sternberg, Education Editor, Channel 4 Television Corporation

Ideasfactory, to be launched in key parts of the country in 2003, is a Channel 4 initiative that aims to extend the Channel’s commitment to growing the creative industries. Its objective is to develop the talent and skills base and promote new business opportunities through the joint working of a high-profile partnership, (including RDAs education and professional bodies, PACT etc.) events, and the commissioning of ‘productions’ around key creative industry themes.

3: “And After Media Centres Came….?” A Strategy For Developing Super-Networks Of Creative Enterprises

Toby Hyam, Chief Executive, The Media Centre

Toby’s perspective is both a strategic vision and one that he and his colleagues at The Media Centre in Huddersfield (UK) are begining to implement.

This presentation will explore how technology can contribute to this process and how infrastructure for the Creative Industries is as much about telephony and meeting spaces as it is about managed office space in refurbished mills.

Cultural Industries in Small Towns and Rural Areas

Chaired by Jo Burns.

Creative industry development is not restricted to urban areas, but is also having a major impact in rural areas. We showcase evidence from three widely differing projects.

1: Cultural Industries in rural areas. Results and Implications of a Recent Survey in Eastern Austria.

Erich Pöettschacher, Managing Director, Instinct Domain

In January 2002 the consultancy firm Instinct Domain presented the surprising results of a Cultural Industries survey which was carried out in the Austrian region of Burgenland. Astonishing employment figures and the importance of the sector for microbusinesses outside the Cultural Industries have become strategic arguments in the long term development plan of a region facing enormous challenges in the years to come.

2: Coastal & Market Towns Initiative – How Can Creative Clusters/Cultural Industries Contribute To Rural & Market Town Regeneration?

Chris Huxley, Director, Bridport Arts Centre

Participants will be asked to redefine the creative cluster model as an enabling infrastructure for rural communities and economies by taking into consideration the particular strengths of rural creative industries as well as the barriers inhibiting their growth.

3: The Royal Shakespeare Company’s Redevelopment Project

Jonathan Pope, RSC Redevelopment Director, Royal Shakespeare Company

The RSC is one of the UK’s leading creative businesses. Guardian of the world’s best-known cultural icon, the company employs 500 people, turns over ¬£35m pa and was the first arts recipient of the Queen’s Award for Export. The RSC has now embarked on a process of radical change, touching all aspects of its operation. Jonathan Pope’s presentation describes the plans for redevelopment of the company’s14-acre estate in Stratford, the complexities of delivering this project, and its economic implications.

Communications Networks

Chaired by Andi Stamp. Sponsored by Wired Workplace.

We showcase three leading projects that have used network technology to make groups of creative businesses more productive.

1: The Wired Workplace Network – From Inception To Now

Allan Rooms, Commercial Manager, W2 Networking Ltd – The Wired Workplace

The presentation will focus on how we set the company up, what the benefits were and what problems we encountered or didn’t envisage. We will also cover how we effectively manage the network whilst also making sure that all the end users’ needs are met whilst still maintaining that personal touch.

2: How We Built Bristol Interactive Cluster

Paul Hassan, Director of Business and Development, South West Screen

The project’s aim was to ensure that traditional analogue linear companies and web-based companies collaborate to ensure Bristol maximised its role in the new media economy. I will outline the factors that allowed the development of an interactive cluster in Bristol and explain the objectives and successes of the Bristol Interactive Cluster.

3: How the Media Sector has Developed in Sussex and the South East

Emily Aitken, Executive Director, Wired Sussex

You will hear from Wired Sussex, the leading business development agency, about how the vibrant new media cluster in Sussex has developed over the last five years, as well as how their unique business model is now being successfully replicated across the South-East.

Remaking the Apartheid City

Chaired by Martin Manning.

Culture, Creative Clusters and the Johannesburg Development Agency.

The extraordinary history of Johannesburg will be summarised – and illustrated. The role of the Johannesburg Development Agency and the cultural sector in transforming the Apartheid City will be discussed – and celebrated. Questions and issues will be raised about the applicability of European Urban models to an African City – and debated.

Case Study of Newtown. Johannesburg’s Cultural Quarter.

1: Steve Topham, Director, International Organisation Development

2: Peter Stark, Director, Centre for Cultural Policy and Management

3: Xoliswa Ngema, Newtown Project Officer, Johannesburg Development Agency

Creative Cities

Chaired by Martin Yarnit.

‘They said it could never happen here’. Cities seem to be inherently creative places, but city leaders are often inherently conservative. Here are three tales of winning out against the odds.

1: Brokering Cultural Change – A Review Of Creative Renewal And Capacity Building Strategies In Wollongong, An Industrial Coastal Port In Australia

Amanda Buckland, Co-ordinator of Cultural Services, Wollongong City Council

The nuts and bolts guide to developing a Cultural Industry Strategy to position and revision a declining steel city as a emerging cultural hub. A review of a five year development process including practical steps, planning strategies and project showcases. Direct from Wollongong, host of the first local government driven cultural industry brokerage in Australia.

2: Creative Communities Can Be Planned.

Ian Elwick, Chairman, Brighton Media Centre

Brighton: the inside story. This is one cluster which did not happen by accident.

3: Newcastle-Gateshead – the World’s Eighth Most Creative city?

Christopher Bailey, Associate Dean, School of Arts and Social Sciences, Northumbria University

This case study takes a holistic view of the complex of development initiatives currently taking shape on the banks of the Tyne. The presentation will illustrate the major cultural investments and strategies currently underway, describe and assess the relative importance of some pre-disposing factors, identify the roles of the principal agents, describe current evaluations of the outcomes of cultural investment and strategies, and summarise some lessons learned

London’s Creative Capital

Chaired by Keith Hayman.

Home to global players in broadcasting, publishing, performing arts, architecture, fashion, music, the arts and antiques trade, and also enjoying a roaring trade in cultural tourism, London is arguably the world’s creative capital. So what should be the focus of its cultural regeneration policies? What, and whose, is London’s creative capital?

1: Creativity: London’s Core Business

Alan Freeman, Economist, Greater London Authority

This GLA report, offering authoritative estimates of London’s output, employment and productivity, found the sector was London’s second largest and fastest growing.

London is uniquely placed to supply a steadily-growing demand for diversity, offering a talented and diverse workforce combined with a hi-tech infrastructure to deliver to precise specifications and exact timetables.

A new relationship between London and the regions will allow UK to take advantage of London’s unique assets.

2: Creative London

Graham Hitchen, Head of Creative Industries, London Development Agency

3: The Cultural Commission

Paul Owens, Partner, Burns Owens Partnership

Researching Creativity

Chaired by Andi Stamp.

In Search of the Killer Fact.

Creative industry development is often stymied because it is not mapped properly and thus it is poorly visible in the official statistics. What kind of research will make polical leaders pay attention?

1: Creative Community Indicators: How Are We To Measure Progress Towards Vibrant, Creative Regions?

Brendan Rawson, Director, Community and Neighborhood Programs, Cultural Initiatives Silicon Valley

How do we measure the health and vitality of our creative industry clusters?

The creative sector must proactively make its case as a priority for economic regeneration. Objective, quantitative indicators are an important tool for illustrating the sector’s impact on both the local economy and community life. This presentation will describe how we have tackled this issue in Silicon Valley.

2: Internationalising the Creative Industries

Stuart Cunningham, Director, Creative Industries Research, Queensland University of Technology

What’s happening with the Creative Industries idea outside the UK? This presentation looks at the headline research projects arising from a significant university restructuring around the creative industries idea in Brisbane, Australia. These projects are intended to identify the scope, dynamics and direction of the creative industries in various countries, with a view to informing industry and government policy, and advancing debate on the conceptualisation of the field.

3: Public, Non-Profit and Private Cultural Sector. Culture is not replaceable – but who guarantees its future?

Sabine Peternell, Cultural Industries Researcher, University of Applied Arts Vienna

New visions have to be developed to turn the aesthetic and economic aspects of culture into an innovative living force. They are to support the artists, strengthen culture industries in the public, non-profit and private cultural sector, and enable sustainable development. A research team with members from Switzerland, Germany and Austria is developing a new approach to research into the core areas of culture industries in the narrower sense.

Creative Business in Yorkshire

Chaired by Martin Yarnit. Sponsored by Yorkshire Forward.

As part of the Digital Industries Cluster, Yorkshire Forward has targeted the creative sector for investment. This investment is in four main areas – skills, business networks, technology sharing and marketing. Business engagement is crucial and this session will outline both how industry areas such as the computer games sector can engage with development agencies so that both organisations get value from the relationship. The second part of the session will outline how Yorkshire Forward are working with industry to ensure that skills programmes are better focused on market demand rather than supplier push.

1: Engaging the Games Industry

Robert Ling, Sector Specialist, Yorkshire Forward

The presentation starts from the inception of the project idea through initial discussions with Games Companies from around the Yorkshire Region to the development of a basis for a regional network. The interaction with Universities, Training organisations and other agencies such as the Chamber of Commerce, Business Link, Tradepartners UK and other RDA’s in providing a platform where business can develop, while getting all the support they require.

2: Skills Commissioning Strategy to meet the needs of Creative Industries

Paul Pascoe, E-Campus Skills Project Manager, Yorkshire Forward Regional Development Agency

3: Skills Commissioning strategy to meet the needs of the creative industries

Jo Spreckley, Chief Executive, Yorks Media Training Consortium/Screen Yorkshire

Young People

Chaired by Keith Hayman.

The early bird catches the pearl. We examine three projects aimed at opening up the world of creative work to young people.

1: Early Days For Early Years – An Arts And Early Years Learning Network For The North West

Ruth Churchill Dower, Director, ISAACS UK, International Solutions for Arts and Cultural Strategy

Henry Ford said ‘whether you think you can or whether you think you can’t, you’re absolutely right’. This extends to the perception you have of your own creativity, and it starts right back at birth. This session looks at the context for, and amazing achievements from, creativity in early years learning (0 – 5), highlighting the North West arts and early years partnership. Ideal for artists, project managers, early years providers, government officers in cultural, social or lifelong learning.

2: Starting a Creative Career

Simon Kensdale, Creative Industries Officer, Wigan Council

The Jumpstart scheme assisted a group of young people to make the transition into self-employment within the creative industries sector. This has benefited them but it has also benefited Wigan. I look at some of the ‘hows’ and some of the ‘whys’ of intervention.

3: FLYA Online – A Case Study Of Young People, Creativity And New Media In East London.

Natalie Melton, Director, Antersite

Can entrepreneurial businesses play a valuable role in regeneration initiatives? Antersite will be sharing their experiences of running a work-based learning project for young people for Leaside Regeneration. Backed up by recent research findings into training and skills development in ICT, the case study should offer a valuable perspective around training and routes to employment for young people.

People Networks

Chaired by Andi Stamp.

The world of the creative industries is a notoriously fragmented one. This session uses three very different case studies to open a discussion about mediated networks.

1: Beehive Online Community Network – Closing The Digital Divide

Elaine Pritchard, Project Manager, Northcliffe Electronic Publishing

Why does Northcliffe, the largest publisher of regional daily newspapers in the UK, give away free websites – and provide ongoing support in developing them – to not-for-profit groups? Elaine Pritchard will explain all – and tell you how the Beehive Online Community Network is removing barriers like money, time and skills which have traditionally prevented many small organisations from benefiting from the Internet.

2: Supporting the Creative Cluster? – The Role of the Creative Intermediary

Tom Fleming, Creative Consultant & Programme Manager, Cultural Industries Development Agency

The presentation will introduce the concept of the ‘creative intermediary’ as having a key role in supporting the development of creative clusters, networks and supply chains. Using examples drawn from the Cultural Industries Development Agency in East London, Tom Fleming will provide an open assessment of the problems, potential and challenges facing a Creative Intermediary in a sector that some would argue moves too fast to be touched.

3: Capacity Building in Local Cultural Planning – The Municipal Cultural Planning Project (MCPP)

Greg Baeker, Managing Director, ACP (Arts and Cultural Planning) Consulting

Local government in Canada today is limited by cultural policy models and assumptions inherited from senior levels of government out of synch with the realities of cities. The information and research base to inform decision-making is also weak and still developing. The Municipal Cultural Planning Project was a response to these challenges. It employed a series of web based knowledge transfer and exchange tools that will be described and evaluated in this session.

The Broadband Debate

Chaired by Anthony Lilley. Sponsored by Digital Content Forum.

1: The Impact and Future of Broadband

Russell Kay, Director, Visual Sciences Ltd

2: Broadbandshow

Hugh Mason, Partner, Pembridge Partnership

Broadbandshow is a Bristol Interactive Cluster Project combining applications and content development with hands-on demonstration to potential users across the South West region.

3: Broadband Britain – Who Benefits?

Steve Buckley, Director, Community Media Association

How will Broadband change the way we do business? What will be the social impact? An overview and commentary on the key issues for Broadband in the context of communications reform.