Are You Part of the Creative Economy?

1. Jerry Hembd Associate Professor & Director Northern Center for Community and Economic Development University of Wisconsin-Superior/Extension Are You Part of the Creative Economy? Heyde Center for the Arts Chippewa Falls November 6, 2008

2. Background Perspectives • Economic development • Community development • Workforce development • Creative economy • Wisconsin Arts Board • Creativity • Culture • Community • Commerce

3. Attraction Trends in Economic Development Business and industry Human talent and creativity RetentionExpansion

4. A Thriving Community Starts with a Diverse High-performing Economy: Service Creative Manufacturing Source: Richard Florida Creativity Group, 2007.

5. Who Works in the Creative Sector? Workers in: • Technology and R&D • Arts and culture • Professional and managerial • Education and training

6. How Do You Build the Creative Sector? You need People People are the MAIN driver of economic development

7. To Attract People a Community Needs: • Tolerance: A supportive environment for diverse self-expression • Technology: Accessible ways (mechanisms) for people to turn their talent into market or public goods • Territorial assets: Quality of place Source: Richard Florida Creativity Group, 2007.

8. The 4T Approach to Economic Development Tolerance Talent Regional Growth and Prosperity Territorial Assets Source: Richard Florida Creativity Group, 2007.

9. 1. Austin, TX 2. San Francisco, CA 3. Seattle, WA 4. Burlington, VT 5. Boston, MA 6. Raleigh-Durham, NC 7. Portland, OR 8. Madison, WI 9. Boise, ID 10. Minneapolis, MN 39. Chicago, IL 87. La Crosse, WI 121. Eau Claire, WI 124. Milwaukee, WI 135. Duluth-Superior, MN-WI 165. Green Bay, WI 217. Appleton, WI 262. Janesville, WI 266. Wausau, WI 269. Sheboygan, WI Overall Rankings of Regions on the Creativity Index SOURCE: Florida, Richard. The Rise of the Creative Class. New York: Basic Books, 2004 (Paperback edition).

10. Why Does the Creative Economy Matter? • Represents a change in thinking • Part of a broader community and economic development strategy • Complements manufacturing and industry – infusing products with knowledge and the commodification of ideas • Complements natural resource-based development – research, knowledge, and sustainability

11. Why Does the Creative Economy Matter? • Complements tourism development – arts, crafts, and cultural and natural amenities • Complements workforce development • Complements entrepreneurship and innovation • Complements cluster development strategies • Helps you think about ways to make your community/state attractive to creative people • Points to synergies between artistic-cultural groups and technical-scientific-professional groups

12. What is the Creative Economy? Creative Industries Creative Workforce Creative Communities or Regions Creative Economy

13. The Creative Sector – A Way to Examine the Creative Workforce The Creative Sector consists of a series of occupations that add economic value through their own creativity and knowledge. Super Creative Core Includes occupations in: • Computer and mathematical • Architecture and engineering • Life, physical, and social science • Education, training, and library • Arts, design, entertainment, sports, and media Creative Professionals Includes occupations in: • Management • Business and financial operations • Legal • Healthcare practitioners and technical • High-end sales and sales management

14. The Economic Impact of the Creative Sector Percentage of Income Generated (wage & salary) Percentage of Workforce 47% $2 trillion Creative Sector 30% 39 million employees 26% 33 million employees 44% 56 million employees 23% $1.0 trillion 30% $1.3 trillion Service Sector Manufacturing Sector SOURCE: Florida, Richard. The Flight of the Creative Class. HarperCollins, 2005

17. Artistic Concentrations in U.S. Metropolitan Areas The Big ThreeLos Angeles, New York, and San Francisco The Second Tier Washington DC, Seattle, Boston, Orange County, the Twin Cities, San Diego, and Miami Source: Ann Markusen and Greg Schrock, “The Artistic Dividend: Urban Artistic Specialization and Economic Development Implications.” Urban Studies (September 2006).

18. Thick labor markets Access to a particular lifestyle (natural and cultural amenities; nightlife) Places for social interaction (third-spaces) Diversity (openness or inclusion) Authenticity and uniqueness Identity and identification with place What Are Common Characteristics of Creative Places? Source: Richard Florida – TheRise of the Creative Class – pp 223 - 231

19. The Quality of Place Factor • What’s there:the combination of built environment and the natural environment; a proper setting for pursuit of creative lives. • Who’s there: the diverse kinds of people, interacting and providing cues that anyone can plug into and make a life in that community. • What’s going on: the vibrancy of street life, café culture, arts, music and people engaging in outdoor activities - altogether a lot of active, exciting, creative endeavors. Source: Richard Florida – TheRise of the Creative Class – pp 231 – 32.

20. Ten Strategies to Build Strong Economies and Social Connections through Arts and Culture • Create jobs • Stimulate trade through cultural tourism • Attract investment by creating live/work zones for artists • Diversify the local economy • Improve property and enhance value Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

21. Ten Strategies to Build Strong Economies and Social Connections through Arts and Culture • Promote interaction in public space • Increase civic engagement through cultural celebration • Engage youth • Promote stewardship of place • Broaden participation in the civic agenda Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

22. Create Jobs: Nurture artists and small cultural organizations as businesses and microenterprises to increase employment • Form partnerships between community development corporations and artists and arts groups • Develop financial products and incentives to encourage investments in artist live/work spaces and community arts groups • Establish an arts incubator to provide space, management assistance, technology, and access to funding opportunities • Develop cultural activities to show off artwork and attract visitors • Develop a community of arts organizations representative of the area’s cultural diversity Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

23. Stimulate trade through cultural tourism: Create the right conditions for, and engage in, cultural tourism to bring new resources to the community • Reinforce and validate community identity – museum, visitor center, sense of ethnic focus and connectedness • Advertise community assets to increase tourism • Cultivate growing artistic community • Restore and re-occupy downtown storefronts • Establish or expand facilities such as theaters and art centers • Facilitate business and community collaboration • Provide small business support services Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

24. Attract investment by creating live/work zones for artists: Support artists and artist live/work spaces as anchors around which to build local economies • Create a downtown artist and historic district with live/work space • Provide incentives for property improvement and business and educational programs relocation • Convert factory space to artist studio, gallery, and museum space • Take advantage of vacant mixed-use properties and scenic riverfront, waterfront, and/or historic architecture • Jointly promote historic district and artists • Establish partnerships between government agencies and community groups Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

25. Diversify the local economy: Cluster arts organizations as retail anchors and activity generators to attract and support other enterprises • Develop a more diverse and interactive economy by attracting creative-sector businesses and generating local employment • Create an attractive environment for creative-economy entrepreneurs • Tap area resources such colleges/universities, high net-worth individuals, regional investors, cultural attractions, and existing tourism industries • Reposition area as a creative and distinct community • Coordinate retail businesses and arts activities to increase impact • Expand role of artists through business development support Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

26. Improve property and enhance value: Leverage the proximity of cultural amenities and the artists’ touch to improve property • Promote collaboration between arts, business, and city government • Offer relocation and financial incentives to attract artists • Invest in infrastructure (such as streetscaping) and cultural institutions • Combine and coordinate development of galleries, coffee shops, restaurants, visitor accommodations, and other services for visitors and tourists • Incorporate artist-made elements into housing construction and rehabbing • Develop public spaces that have strong aesthetic qualities and that bring people together Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

27. Best Practices in Building Strong Economies through Arts and Culture • Build on existing assets and capacities . . . begin on a scale appropriate to community’s means and needs • Renew hope, engage the imagination, and create a sense of positive momentum that is both real and symbolic • Project and build upon a distinct identity that focuses the community’s cultural and natural amenities and taps artists and entrepreneurs that reflect and contribute to it • Build and rely upon mutually beneficial relations and exchanges across sectors of the community and among artists • Engage diverse populations, especially youth, in design and realization of projects, activities, and programs; include learning experiences for everyone Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

28. Best Practices in Building Strong Economies through Arts and Culture • Utilize familiar public and private spaces that foster social interaction among neighbors, artists, visitors, and community partners • Include intermediaries in leadership roles who understand and can “translate” ideas and skills from one sector or culture to others • Help artists and entrepreneurs establish ownership, especially in under-utilized spaces that have capacity for living, work and mixed-used development • Incorporate multiple activities and policies that promote artists, cultural products, and community events based upon long-term impacts and benefits Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

29. Promote interaction in public space: Engage people in public spaces through public art and collective cultural experience • Celebrate creativity and cultural identity through public events (such as a recurring event with evocative underlying symbolism) • Support public art projects utilizing existing natural and/or built amenities • Use public art and storytelling to celebrate history and natural assets • Partner with social service, education, and civic groups to promote community volunteerism • Restore and cultivate natural elements with community help Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

30. Increase civic participation through cultural celebrations: Strengthen connections between neighbors through cultural celebrations and festivals • Involve the community in creating events, parades, etc., that celebrate diverse people, arts, history, and foods • Create original work that incorporates the issues, people, and cultures of the community • Encourage diversity of participants and artistic styles • Develop partnerships between cultural and community-based groups • Provide free public access to historical sites and contemporary art • Promote the community’s cultural resources Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

31. Engage youth: Include young people in civic affairs and enterprises through meaningful work and activity • Create an artistic apprentice program for youth, including at-risk youth • Provide and environment supportive of diverse forms and styles • Develop marketable skills and youth-adult relationships • Provide opportunities to have voice through exhibitions, commercial services, and public presentations • Provide responsible paid employment that promotes economic development and provides a springboard to postsecondary opportunities • Create stronger role of youth in community and civic affairs Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

32. Promote stewardship of place: Develop civic pride and responsibility through good “place making” and design practices • Facilitate community involvement and citizen experience in planning and employ good place-making design principles • Develop public space that reflects community interests • Nurture community identity • Use listening and observation as key organizing, design, and management strategies • Nurture and acknowledge indigenous leadership • Create an environment where culture is respected and where people can relate to each other across cultures through what they have in common Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

33. Broaden participation in the civic agenda: Expand involvement in civic issues and governance through community-centered arts and cultural practices • Involve artists in the community design process • Incorporate public art into the community • Develop facilities to fit the physical setting and preserve aesthetic, historic, and environmental resources • Build community consensus and ownership through the establishment of a local review committee • Use art to begin conversations about a divisive topic • Create understanding through a structured dialog process Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

34. Best Practices in Using Arts and Culture to Build Social Connections • Build on the history and unique qualities of place, drawing on the community’s creative assets and cultural traditions • Begin small, employing visible aesthetic and symbolic actions that reframe the value of diversity, youth, and creativity to build momentum • Acknowledge everyone as “expert” with regard to their culture and community; exercise respect and include divergent viewpoints • Incorporate learning as an ongoing process to enable people to respectfully cross boundaries into unfamiliar cultures; embrace difference and controversy as opportunities Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

35. Best Practices in Using Arts and Culture to Build Social Connections • Engage diverse stakeholders, especially youth, in visioning, planning, and sharing ongoing responsibilities; use participatory processes • Conduct events and activities in familiar public spaces understanding that people have different culturally based relationships to these spaces • Build organizational and cross-sector partnerships, working with existing groups of neighborhood residents and stakeholders • Value and elevate design and the planning process both as art forms and as the subject of public policy • Coordinate activities to complement other economic and civic projects that build upon economic and human assets Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

36. Steps for Creative Community Builders • Assess your situation and goals • Identify and recruit effective partners • Map values, strengths, assets, and history • Focus on your key asset, vision, identity, and core strategies • Craft a plan that brings the identity to life • Secure funding, policy support, and media coverage Source: Borrup, Tom, with Partners for Livable Communities. The Creative Community Builder’s Handbook. St. Paul, MN: Fieldstone Alliance Publishing Center, 2006.

37. Questions?

38. For More Information Jerry Hembd Northern Center for Community and Economic DevelopmentUniversity of Wisconsin-Superior/ExtensionBelknap & Catlin, PO Box 2000 Superior, Wisconsin 54880 Web: www.uwsuper.edu/ncced Phone 715-394-8208 E-mail: jhembd@uwsuper.edu