Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville

The role of place in cultivating artistic practice, communities and audiences is well established and the economic, social and cultural benefits that flow from this are becoming better understood. By contrast, the factors impacting and influencing access to these places is poorly theorised. This paper identifies and examines these factors as they apply to live music in Australia, through a qualitative survey of live music patrons and venues. We compare the themes identified from our data with existing theories of access in the arts, with a particular focus on the ways in which place-based music scenes may encourage or exclude participation. We address the question of how access affects participation within these scenes, as well as how access might be improved.

Enthusiasm, the Creative Industry and the 'Creative Tropical City: Mapping Darwin’s Creative Industries' Project

This paper examines the regulation of nightlife in Melbourne, with a special focus on live music venues. Widespread gentrification of the city centre and inner suburbs has recently created considerable tension between residents and venues. Under pressure from both sides, the state government established the Live Music Taskforce in 2003, and its findings resulted in a semi-formal — albeit largely symbolic — policy reorientation towards the protection of existing music venues. Through a case study of the Live Music Taskforce policy development process, the author argues that the Bracks government's creative cities development strategy and its overriding economic motivations have, in this instance, intersected with the broader cultural needs of Melbourne. However, such productive intersections can in no way be assured by creative industries planning models, whose interest in cultural activity is conditional upon its economic value.

Based on the journal resource from the cqvip database, taking "cultural and creative industry" as the keyword, the paper retrieved all the relevant "CSSCI" documents from 1989 to 2012. After getting the keywords co-occurrence matrix through BIBCOMB software, the paper focused on the keywords analysis which was obtained by the software UCINET and NETDRAW. Then it comes to the conclusion, which shows that development countermeasures, cultural area, cultural creativity and influential factors are the hotspots in present research.

Background People with learning disabilities often rely on support workers in order to take part in arts activities. Yet people with learning disabilities' arts participation remains low, and we know little about how support workers facilitate this. This study, therefore, examines support workers' perspectives on arts participation in the context of their practice. Methods Semi‐structured interviews were conducted with six support workers from a Belgian day centre and analysed using reflexive thematic analysis. Findings Support workers primarily view arts participation in terms of creative and cultural activities for people with learning disabilities. They distinguish these activities from what they refer to as ‘real’ art, which they associate with arts institutions (such as art museums or theatre venues). Such institutional or ‘high’ arts are largely absent from their practice, a gap they attribute to a perceived lack of interest or ability from people they support, as well as to structural accessibility barriers. Conclusions The study highlights that support workers' concept of ‘real’ art aligns with a view of art that is, at its core, inaccessible. Transforming arts institutions to better accommodate people with learning disabilities and their support workers can expand the forms of arts participation currently available to them, particularly in the realm of high arts. Integrating art education into the training of support workers can further enhance this access.

The article deals with a topical issue related to the definition of the role of creative industries in the development of human capital at the regional level. The author underscores the fact that it is the creative industries – encompassing a wide range of activities – that contribute, on the one hand, to the steady development of human capital and, on the other, to economic expansion, regional visibility, and enhanced collaboration and interaction between various entities. The article considers various interpretations of such a term as “human capital” proposed by domestic and foreign researchers. In addition, the author provides a definition of the concept of “creative industries”, officially enshrined in the federal law of the country, and also considers the classification of creative economic activities proposed by the National Research University Higher School of Economics and consisting of 18 names. The article pays special attention to the main aspects of the importance of creative industries in the development of human capital at the regional level, which include the following: formation of innovative competencies, creating conditions for professional growth, increasing the attractiveness of territories for young professionals, strengthening social capital and interregional ties, increasing incomes and improving the well-being of the population of the region. The author concludes that the creative industries play a very important role in the formation of highly qualified personnel, the creation of favorable conditions for the development of the region’s population.

To Brunswick and Beyond: A Geography of Creative and Social Participation for Marginalised Youth

The current interest of policy makers in contemporary popular music should be seen as connected to the growing worldwide interest in development of the creative industries and creative cities. In contrast to the move away from the inner cities that characterised the post-WWII ‘Fordist’ era of capitalism, and its separation of the city into zones of urban production and suburban consumption, the period since the 1980s has seen a growing worldwide interest in the development of cities as sites for creativity and consumption. While this has been driven in part by urban regeneration projects, termed gentrification or ‘yuppification’ by their critics, it has also reflected a growing realisation that, in a creative economy, the wealth of a city or region resides not only in its physical and human capital, but also in the less tangible networks of knowledge capital and social capital that lead to the clustering of creativity and innovation in particular geographical locations. A central element of the cultural ‘competitive advantage’ of cities and regions in a global creative or knowledge-based economy is the significance, diversity and vibrancy of activities in the night-time economy. The night-time economy is a term that is used to describe the diverse range of service-related and creative industries associated with leisure, entertainment, hospitality and tourism, which cater to the ‘liminal zone’ between work and home for the local population, and activities related to travel and tourism for those visiting a city. This paper explores such claims in relation to the popular music industry in Brisbane, and considers the implications of such developments for cultural policy more broadly.

Purpose: This article presents research regarding “new craft”, an emerging and developing part of the local economy in many European cities. The term refers to types of work between traditional manufacturing and creative industries, more innovative and individual than the former and more tangible than most of the latter. Approach: The study was based on a literature review, interviews and analysis of a case study - the post-industrial Praga district of Warsaw, which is an original work of the authors from Warsaw School of Economics and OpenHeritage, a Horizon 2020 project. Findings: The findings encompass specific aspects and characteristics of jobs located on the edges of two groups – traditional manufacturing and creative industries. This research helps to fill a previous gap in the European statistics regarding small-scale production and manufacturing. This part of locality is gaining importance due to (1) a recent stimulus in new forms of production and the testing of innovative, large-scale manufacturing (2) the re-introduction of urban manufacturing which now raises less concern about possible negative environmental impacts (3) the role of local networks during the Covid-19 pandemic. Practical Implications: New craft production is a significant and growing trend in numerous European cities. It should be based on two elements: (1) traditional high quality European craft and manufacturing (2) innovation and creative industries in which the EU wants to be a global leader. Therefore, there is a need for policies, financial mechanisms and statistical recognition that will bring benefits to craftsmen and municipal decision makers.. Originality/value: According to the authors, new craft production to some extent replaces traditional craftspeople but more importantly stimulates innovation. Therefore, its role and characteristics should be discussed further – especially in new post-Covid 19 reality – as a factor in stimulating the development of local economies, including districts and cities.

Australia’s creative industries and the impact COVID-19 had on cultural, employment and economic outputs is examined through the themes creative systems, creative migration, cultural volunteering and cultural tourism. Using a Creative System/Ecosystem theoretical framework, this research takes a retrospective view through data collected during the ‘old normal’ that was pre-pandemic Australia and presents findings on creative and cultural activities occurring in seven statistically determined creative hotspots. These findings are reviewed against the COVID-19 economic stimulus packages created by Australian Federal and State Governments. The research takes a deep dive into the precarious nature of creative employment and migration, cultural volunteering and tourism, through an investigation of Australia’s regional creative economies and points to the existence of a gift economy that sustains many activities that are essential to the Creative Industries.

Over the past two decades the cities in Central and Eastern Europe have witnessed a wide-ranging transformation in many aspects. The introduction of a market-oriented economy after half a century of socialism has brought about deep social, economic, cultural and political changes. The first stage of the changes, the 1990s, involved the patching up of structural holes left by the previous system. The post-socialist city had to face challenges of the future while carrying the ballast of the past. Rapid progress in catching up with the West transformed the city a great deal. Later on, the advent of the 21st century brought a new wave of development processes based, among other things, on creativity and innovation. Hence our contribution aims to explore the role of creativity and creative industries in the post-socialist urban transformation. The article consists of three basic parts. In the first we present the concept of a ‘creative post-socialist city’ and define the position of creative industries in it. We also indicate some similarities to and differences from the West European approaches to this issue. In the second part, examples from Central and Eastern Europe are used in an attempt to elucidate the concept of a ‘creative post-socialist city’ by identifying some basic features of creative actions /processes as well as a creative environment, both exogenous and endogenous. The former is embedded in different local networks, both formal (institutionalised) and informal, whereas the structure of the latter is strongly path-dependent. In the third part we critically discuss the role of local policies on the development of creative industries, pointing out some of their shortcomings and drawing up recommendations for future policy measures.

States that the idea of grouping a number of cultural, commercial and industrial activities together under the banner of the "creative industries" is relatively new but it has already been the focus of considerable interest, discussion and policy making within the UK. Acknowledges that the government has been keen to promote the creative industries as a major success story and a key element in the knowledge economy. Looks at what is seen to constitute the creative industries, reviews some of the evidence about their contribution to the economy and outlines some of the management challenges and the support and promotion initiatives associated with these industries.

The purposes of the article are to identify current innovative information and creative practices of library activities in Ukraine, which have proven their effectiveness, and to substantiate the concept of «information and creative activities of libraries». The methodology of the article is based on a set of general scientific methods of generalization, systematization and forecasting. Research methods are used: information analysis of current current innovative practices of libraries in Ukraine; semantic (semantic) analysis of the subject field of information and creative activity of libraries of Ukraine. The scientific novelty of the article is to summarize the current library practices in innovative information and creative activities of libraries, which after understanding and generalization can be scaled to other libraries of Ukraine and the author's definition of «information and creative activities of libraries» as a purposeful and specially organized system of action and cultural activities, aimed at promoting the improvement of educational and aesthetic and spiritual condition of users, identification and development of creative abilities of people of different ages, organization of their meaningful leisure and implementation of educational activities to access information resources and IT technologies by creating appropriate space for educational-consultant and creative activities. Conclusions. The empirical experience of libraries in the implementation of new forms and methods of information and leisure (recreational, creative) activities requires the delineation of best library practices that have a strong creative component, which in the long run will allow applying the potential of scaling as a process of transferring or expanding and algorithms for interrelated actions at different institutional and managerial levels. Keywords: information and creative activity of libraries, actual practices, innovative projects.

In the last few decades, South Tangerang City has transformed into a supporting city for Jakarta. It has become a popular choice for professionals working in Jakarta who are looking for a more affordable and environmentally friendly residential option. The private sector has been a dominant actor in the housing construction in South Tangerang. The private sector constructs the vast majority of new housing, which is aimed at middle and upper-income households. The massive development of the private sector in many townships such as Bintaro, Alam Sutera, and BSD City has resulted in South Tangerang having good infrastructure of international standard. However, the private sector's massive land ownership causes significant problems for South Tangerang's city development. The study investigates the phenomenon through in-depth interviews with housing stakeholders, including local governments, private developers, and academics in South Tangerang. Land prices in Indonesia have caused affordability issues in South Tangerang. The study investigates how and at what cost this model of private-sector-led development affects housing provision in South Tangerang. This private-sector-led development may have contributed to the problem of rising land prices, making affordable housing difficult to build. Since 2013, no subsidized housing has been built in the South Tangerang area by a private developer because the land price makes it unfeasible. Besides, local government intervention is also limited because the cost of acquiring land for infrastructure and housing development has become expensive. It raised the question of whether this development model, which has made the private sector the sole determinant of housing prices, can be sustained in the future.

From Industrial City to the Creative City: Development Policy Challenges and Liepaja Case