Monday, October 15, 2012
The NEA's "How Art Works" Research Approach
On September 20, American University hosted the National Endowment for the Arts' unveiling of its HOW ART WORKS report. This report is both the presentation of a systems map as a conceptual framework to inform priorities for research planning and prioritization, and an agenda for the NEA's five-year research strategy. The systems map is both complex and too simple - attempting to articulate and demonstrate how arts expression and experience impacts individuals, communities and society.
For the NEA, the idea of a systems map was chosen because it reflects the world of art itself - as a complex, interrelated connection of people, ideas and the impact of the expression of those ideas. And, if the complexity is well articulated, it provides multiple entries into understanding and reflecting on the components of the system.
The public forum at American University offered a presentation of the systems map by the researcher Tony Seisfeld, partner at Monitor Institute; a presentation by Sunil Iyengar, Director of Research and Analysis, of the NEA; as well as opportunity for Q&A and two panel discussions - one the Impact on Individuals and one on the Impact on Society and Communities. The event is available in individual video segments.
The premise of the systems map to both understand 'how art works' and to inform the next five years of research for the National Endowment for the Arts is quite intriguing. And, intellectually, taking the NEA, and by extension the field, into a brave new world. I found Sunil's articulation of the NEA's research agenda particularly interesting because it provides those of us in the field with a framework to connect with, push against, or propel forward the value and impact of the arts in our world.
If you care about the future of arts research and its societal impact, scanning these videos and getting a copy of the report will be worth your while. Enjoy!
Friday, October 5, 2012
Why Defining the Creative Economy Matters
Let's talk about defining the creative economy and then look at why it matters.
From a national perspective, there is no one accepted
definition or quantification of the ‘creative economy’. This makes assessment
and benchmarking around the country virtually impossible right now. While there
have been definitions for and strategies to develop the creative economies of
the European Union and Australasia, the US is at least fifteen years behind
such a comprehensive approach to this economic sector.
The United Nations Conference on Trade and Development wrote
a Creative Economy Report in 2010 and reported that “in 2008, despite the 12
percent decline in global trade, world trade of creative goods and services
continued its expansion, reaching $592 billion and reflecting an annual growth
rate of 14%. The emerging creative economy has become a leading component of
economic growth, employment, trade and innovation, and social cohesion in most
advanced countries”. For full report go here.
There have been many cities, regions, and states who have
defined and measured their creative economies – each using the definition and
data sets most relevant to their communities. During the fall/winter of
2012/13, a national profile of the various definitions of the creative economy
is being compiled by Christine Harris with the Creative Alliance Milwaukee
under the umbrella of a National Endowment for the Arts grant. This is designed
to shed light on what could become a national definition for measuring the
creative economy across the nation. The research hopes to provide an avenue for
communities to compare and contrast across the country, and set benchmarks for creative
economic development.
There has been much written about how to define and measure
the creative economy in the US. Richard Florida has taken a very wide view with
his distinction of ‘creative class’
talent but definitions of the creative economy are most generally connected to
the production of goods or services generating revenue. Significant research
approaches have come from the New England Foundation for the Arts (see their report) and the leading
consultants in this field, Mount Auburn Associates (their website with their studies). This
is not about the creative process or creative thinking per se, but about
understanding the role and quantifying the impact of creative goods and
services on a community’s economy.
The concept of a creative economy/industry is still quite
new to many development agencies around the country. Creative Alliance
Milwaukee’s Creativity Works! Milwaukee’s Regional
Creative Industries Project 2010 received the first ever grant from the US
Economic Development Agency to support creative economy research. In more recent
years, economic development practitioners, researchers and policy makers are
recognizing the crucial role of creative enterprises and creative workers as
significant to local economic strength and differentiation. Often these
industries are catalysts for change and growth, contributing to place identity
(often referred to as ‘creative placemaking’), competitive advantage, new
employment opportunities and the overall well-being of an area.
Measuring the economic value of an industry sector
includes measuring its enterprises and its workforce. The industries that make
up the creative economy are a set of interlocking industry segments including
nonprofit arts/culture groups, for profit creative businesses and sole
proprietor creatives – all of whom create, produce and distribute products or
services. Therefore, a definition is
suggested below for determining what makes up the creative economy.
Creative Industries: Those
organizations, individuals and companies whose products and services originate
in artistic, cultural, creative and/or aesthetic content.
Generally, the definition includes counting both the
creative businesses and the creative occupations within the industry sector. A
creative business is comprised of those individuals and companies working
within that industry, e.g. architecture firm or recording studio; and a
creative occupation is any occupation which has as its primary purpose tasks
requiring creative or aesthetic skills, e.g. graphic designer whether in an ad
agency or a manufacturer. A more
detailed definition can be found in the aforementioned Creativity Works! report.
Now let's look at why it matters.
There are two things that the creative industries produce –
ideation and conceptualization of new products and services; and revenue.
Casting the net over this interlocking set of businesses and measuring their
economic value often leads to a surprisingly sizable component of any
community’s economy – both in terms of economic output and related jobs. Then,
of course, there is the role these industries play both in new idea and innovative
product development with respect to differentiating competitive advantage and expanding
tourism opportunities.
A strong creative economy is a symbol of a vibrant, clean,
environmentally friendly, and forward-thinking community. The benefits creative
industries and its workers can bring include:
· greater diversity of people and work
opportunities, which is highly attractive to young professionals and their
families – who can work anywhere
· greater ability to attract new employees, who
seek quality of life and a more creative lifestyle
· higher profile in the media if your community is
seen as ‘cool’ and ‘creative’
· a more engaged, interesting citizenry with
increased creativity outlets
· a proven record as a growth industry
· elevated tourism appeal
Finally, it is important to note that unlike any other
industry sector, the creative industries offer a triple return on investment.
First, the industry sector itself represents significant
economic and employment value. When measured, this sector often comes up as
one of the largest industry sectors in a community.
Second, it provides a positive impact on all businesses
by helping them be more creative, differentiating products and services,
supporting a strong tourism and hospitality business, and fostering
artistic/artisan opportunities.
And third, a strong creative economy improves community
attractiveness because people (including creatives!) like to be around
creative people, it fosters a vibrant community life, it helps define the
‘quality of place’ and it enhances quality of life.
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