Xin (Crossroads)
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Transcript of Xin (Crossroads)
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Creative Entrepreneurs and Creative Clusters in Shanghai
Prof. Justin O’Connor Dr. Xin GuQueensland University of Technology
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About the Research• Australian Research Council (Linkage project) – Designing creative
clusters in China and Australia (2009 – 2012)• Five areas:
– Design (using urban informatics tools)– Theorization of cluster models in the west– Methdologies for ‘soft infrastructure’ in China and Australia– Mapping and Statistics– Management and business services– Intercultural policy exchange
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‘those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property ’ (Department of Culture, Media and Sports, 1998)
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The idea of ‘creative clusters’Initially used to identify why certain places persisted over time and adapted.
Clusters come from a complex set of sources and interpreted in different ways
Clusters about locality and embedded knowledge – not just agglomeration but ‘atmosphere’.
1980s: a way of pro-actively creating such areas.
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Creative cluster as policy in UK
It is about:Urban RegenerationCity Branding, Re-imagine the city
It’s also about:Cultural/ Creative Industries – SMEs in particularShifted from generic business support to social networks
development services (eg. CIDS)Local vs. Global
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Re-framing Creative Industries in China
China’s Creative Economy Era has arrived!
From ‘Made in China’ to ‘Created in China’
It’s about ‘catching up’ the west; the successful western model have been replicated uncritically – especially ‘creative clusters’
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Creative Cluster as policy in China
Post-industrial cities (such as Shanghai) – similar problems to the west, but different ‘language’
Creative Cluster Development Policy as Creative Industries Development Policy – recognize SMEs but gather them in clusters
Justify economic importance of creative clusters
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The Shanghai Model
• Definition of Cis in Shanghai: Research and Development; Architecture and Design; Media
Communication; Design Consultancy; Fashion consumption • Industries re-structuring: it’s about value chain – to
retain talent and profits• Re-inventing its colonial past – city branding• Creative Industries as liberating and progressive: an
escape route for ‘cultural’ SMEs
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Cluster Fever
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Where are the profits in cluster development?
• Tax deduction• Rent deduction• Government Fund (differentiated by districts)• Advertisement• Big events/exhibition• Investment in surrounding properties• Shares in businesses within clusters
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M50 – from grassroots to flagship
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M50
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‘Image Tunnel’
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First Wave - From Artist to EntrepreneurArtist : Han Yu QiDirector of Image Tunnel
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The Image Tunnel Contradiction
• ‘Han is not a real artist; she is a capitalist’• ‘Image Tunnel is no different to any other
commercial practices’• ‘Image tunnel ripped off my IP’• ‘Han is naïve’
Han: I am an artist first and cultural entrepreneur second!
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From work studio to art market
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Place of production and Place of consumption combined
It’s good because:• Networking• First hand knowledge about the art market• Co-brandingBut the problems are:• Noisy, increasing rent, disruption by visitors…• Hard to retain Cliché in an ‘open’ market• Being associated with ‘too commercial’
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The ‘clustering’ effect
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Deja Vu…
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• Multimedia artist• It’s alright to make
money for artists• Marketization is good but
it’s a different kind of market
Second wave - Chen Hang Feng
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Vitamin water Guy
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Separation of Place of production and consumption
• It doesn’t matter whether it’s a cluster or not• It has to be cheap, very very cheap• I like quietness when I am working. So definitely
no visitors• Convenient
Chen: cultural entrepreneur is about learning as you go, you have to find your own way. This has always been the situation in China.
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Don’t draw attention to yourself!
• Hideaway space for artists in the city• Limited infrastructure & Resources within the
cluster – it’s a strategy• Cluster has no recognition in the city, artists’
social activity happen elsewhere. It’s purely for production
• Unstable future – owned by the state, prone to be sold to commercial developer
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Landscape of cultural economy in the city
• It’s about economic discourse, but also social and cultural ones
• Distinctiveness of local cultural economy• The ecology of ‘creative milieu’• Market embedded in local socio-cultural
context
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• Creative clusters is not just place of production nor should it be about cultural consumption.
• The creative ecology demands substances that are able to connect creative entrepreneurs – their work and social life for the exchange of ideas.
• This will then lead to urban issues not vice verse.