5th Creative Industries Research Seminar 14 December 2017, 14:00-18:00 HKU University of the Arts Utrecht Professorship of Creative Economy Nieuwekade 1, 3500 BM Utrecht The Netherlands www.hku.nl/creativeeconomy
5th Creative Industries Research Seminar 14 December 2017, 14:00-18:00 This recurring research seminar brings together several researchers working on business and management-related questions on the creative industries (including the creative industries as such, as well as the arts and cultural heritage) in and around the Netherlands. The purpose is to exchange experiences, ideas, and (preliminary) research results. LOCATION: HKU University of the Arts Utrecht Nieuwekade 1, 3500 BM Utrecht Room: 329 (3rd floor) 14:00-14:10 Opening PROGRAMME 14:10-14:50 Francesco Chiaravalloti (University of Amsterdam) In dialogue with users. The relevance of opera for society 14:50-15:30 Walter Amerika and Frits Dirk Jan Grotenhuis (U Create) Value Creation with Creative Industries Cross-overs in the Netherlands 15:30-16:10 Jeroen Euwe (HKU University of the Arts Utrecht and Erasmus University Rotterdam) and Elisabetta Lazzaro (HKU University of the Arts Utrecht) 16:10-16:30 Break How important is the cultural and creative sector? From rationale toward unlocking 16:30-17:10 Isabelle De Voldere and Kleitia Zeqo (Idea Consult) Crowdfunding: Reshaping the crowd s engagement in culture 17:10-18:00 Frank Jan de Graaf (University of Applied Sciences Amsterdam), Joost Heinsius (Values for Culture) and Elisabetta Lazzaro (HKU University of the Arts Utrecht) Accessible finance for creatives: Value creation, financial literacy and available financial instruments 18:00- Convivial drink 1
ABSTRACTS In dialogue with users. The relevance of opera for society Francesco Chiaravalloti (University of Amsterdam) Governments find that subsidies to opera companies are (far) too high in relation to the few groups of citizens that the current opera audience represents. This project aims at gaining a deeper understanding of the (ir)relevance of opera for the underrepresented groups, by embracing an ethnological approach to research on the values of arts and culture. In addition, it intends to provide opera companies with tools for an autonomous and continuous monitoring of their relevance to society. Value Creation with Creative Industries Cross-overs in the Netherlands Walter Amerika and Frits Dirk Jan Grotenhuis (U Create) Over the years many studies have been published on different aspects of cultural and creative industries. However, few have focused on the value of creative industries for other economic sectors or societal domains. Insights and empirical results are lacking. Using a policy perspective, this paper describes four cross-overs in the Netherlands in the retail, smart industry, healthcare, and energy sectors. Based on these four cases, a model based on three phases in the development of cross-overs is proposed. Finally, guidelines for organizing cross-overs between creative industries and other sectors are offered. Future studies could further elaborate on the development of cross-over activities in different economic and societal sectors. Statistical evidence is needed to further enhance cross-overs and to demonstrate the creative industries leverage for innovation. How important is the cultural and creative sector? From rationale toward unlocking Jeroen Euwe (HKU University of the Arts Utrecht and Erasmus University Rotterdam) and Elisabetta Lazzaro (HKU University of the Arts Utrecht) The sector of the arts, culture and creative industries or cultural and creative sector (CCS) is considered to be an important contributor to major economy and societal objectives, such as economic growth and social inclusion, beyond its intrinsic cultural value. Since the emergence of the concept in the late 1990s, the importance of the CCS has been investigated in terms of impact and value through a wide realm of contributions, where academic studies have been accompanied by policy papers and consultancy reports. An essential part in determining such a value and impact of the CCS is to identify and capture its direct as well as indirect and wider socio-economic effects. These effects have come to be known as creative spillovers. This paper elaborates on ideas and concepts introduced by Elisabetta Lazzaro during her inaugural lecture on creative crossovers in November 2016. The emergence and definitions of the CCS introduces our critical literature review, where we first overview existing 2
approaches (and their limitations) in defining the value and impact of the CCS in the rest of the economy and society. By recalling the general economic concepts of spillovers and externalities, we then explore the use of creative spillovers (and other related terms, such as crossovers) in the academic and non-academic literature. A close look is also made at empirical contributions aiming at possible measurements of creative spillovers. We show that, although the concept of creative spillover should be an integral component in the study and in the unlocking of the impact and value of the CCS, this term and its usage remain blurred. By introducing clarity at the roots of meaning, and its use, we finally argue the need for a distinction between planned and unplanned creative spillovers, and that planned creative spillovers deserve their own term: creative crossovers. Crowdfunding: Reshaping the crowd s engagement in culture Isabelle De Voldere and Kleitia Zeqo (Idea Consult) The impact of digitisation - lowering communication costs and outreach - as well as the cultural shift of people wanting to connect more meaningfully with things they do, has made crowdfunding an increasingly popular method of fundraising and community building. Crowdfunding has witnessed a significant increase in Europe in recent years. This study examines to what extent crowdfunding is being used in the cultural and creative sectors (CCS) in Europe. Based on a dataset with information from nearly 75,000 CCS crowdfunding campaigns, the study provides a unique insight into the uptake of crowdfunding since 2013 across different CCS subsectors and EU Member States, as well as into the use of different crowdfunding models, average amounts being raised and success rates. The study shows that running a CCS crowdfunding campaign very often serves other purposes beyond finance, such as audience development, community engagement, skills development, promotion and market research, making it an interesting tool for multiple types of CCS actors, including publicly-owned cultural institutions. The study also touches upon the development of partnerships between crowdfunding platforms and public and/or private funders, matchfunding schemes and other types of services. Based on the analysis, the study puts forward recommendations to policy makers on what is needed for crowdfunding to further develop as a multipurpose tool for CCS practices. The study Crowdfunding: reshaping the crowd s engagement in culture maps and analyses how crowdfunding is currently being used for the benefit of cultural and creative activities, and evaluates to what extent barriers hamper the further integration of crowdfunding in the financing mix and broader practice of CCS actors. As the topic of crowdfunding for CCS touches upon the interest and activities of several stakeholder groups (CCS actors, intermediary organisations supporting CCS actors, crowdfunding platforms, backers and policy makers), the research combined the perspectives of each of these stakeholder groups to come to a 360 analysis. The research involved literature review, stakeholder interviews, data and case study analysis, surveys, expert workshops and crowdsourcing on barriers and options for policy action. The study is accompanied by a website www.crowdfunding4culture.eu that has been developed as a European information hub on everything related to crowdfunding for culture. 3
Accessible finance for creatives: Value creation, financial literacy and available financial instruments Frank Jan de Graaf (University of Applied Sciences Amsterdam), Joost Heinsius (Values for Culture) and Elisabetta Lazzaro (HKU University of the Arts Utrecht) Creative professionals create value in the contexts they work in, as independents, within networks, temporary projects and, in a growing number of cases, within societal challenges and crossovers. There they work in contexts of many stakeholders and diverse interests. All these different contexts are a continuous challenge to their business models. Will the value they create be paid for accordingly? There is often a gap between the value created and the value captured (see e.g. for the Netherlands Kennisen Innovatie Agenda Creatieve Industrie 2017-2019, p.20; Passie gewaardeerd, SER/Raad voor Cultuur, pp. 30-31). The earning capability of the creative industries is under permanent and severe stress. Do creatives have enough insight in the financial consequences of the decisions they take and do they have enough financial literacy to understand the most optimal way of financing their business? The different contexts creatives work in and the various business models creatives apply in their work ask for financial literacy on a higher level than ever before. Do they know the financial sources and mechanisms that are available, are they aware of the con s and pro s of the combinations that can be developed between subsidy, lending, crowdfunding and other sources of financing? We therefore formulate the following problem statement: Which financial instruments will help creatives to reach critical financial objectives in their work and what degree of financial literacy do they need to achieve these objectives? 4