Auckland_as_a_Creative_City_Report_FINAL_EMAIL_VERSION

Auckland as a Creative

City

Committee for Auckland Published December 2014

Contents

Foreword 1

exeCutive SummAry 3

deFining the CreAtive SeCtor 5Recommendations 6

BACkground 11

AuCklAnd’S CreAtive ‘demogrAphy’ 16cReative sectoR economic contRibution 18

why mAke AuCklAnd A CreAtive City? 19case studies 24

next StepS For AuCklAnd AS A CreAtive City 26

FiguRe 1: FRamewoRk FoR developing cultuRal and cReative industRies (ccis) 27

Appendix: internAtionAl CreAtive CitieS 29

bRisbane: economic gRowth 31

cape town: social cohesion 37

singapoRe: innovation 41

bogotá: equality 45

hambuRg: sustainability 49

qingdao: pRepaRing FoR the FutuRe, Respecting the past 55

montRéal: cultuRe 61

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A forward-thinking strategy is vital for Auckland’s success and its goal to become the world’s most liveable city. the ‘Auckland as a Creative City’ project was launched to investigate the potential impact of creative industry initiatives on Auckland’s economy and the social benefits they might bring.

auckland is already a creative city. it holds the majority of new Zealand’s creative talent, and the scale of the creative economy in auckland is larger than anywhere else in new Zealand. design, digital technology and film production have the potential to contribute significantly to growing auckland’s economy, while other creative industries have a lot to offer in terms of positive social outcomes as well as creating a city where talented people want to live and find their future.

the creative sector shapes and defines our identity. Film, literature, photography, theatre, visual art, dance and digital representation drive innovation and growth. arts and culture in particular, are not only forms of entertainment for us to watch and participate in, they also influence how we see ourselves.

there has already been significant consultation and work regarding auckland as a creative city. however, what is missing is a central repository of information and a strategy to integrate arts, culture and creative activities, to ensure their development and funding occurs in an integrated manner. only by determining meaningful objectives for our creative industries can we fully harness the value they provide for auckland.

as a point of comparison, the committee for auckland looked at seven large international creative cities that spanned different continents and cultures: brisbane, cape town, singapore, bogotá, hamburg, qingdao and montréal. we outlined how these seven cities have defined their creative mission and what they hope to achieve by supporting the creative sector. all used metrics to measure performance progress against their strategy to track how their creative sector is flourishing.

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this report outlines successful strategies used by the seven overseas creative cities that auckland could consider to better harness the strengths of its creative industries to achieve a range of economic, social and cultural outcomes that will improve the quality of life across the city.

the key learning is that auckland must focus on what it wants to achieve and get the metrics in place to measure progress. our investigation shows significant local and central government engagement with the creative sector is important to achieve mutually beneficial outcomes.

we have made recommendations with the ultimate outcome of developing auckland’s creative industries so the city can compete internationally for tourists, investment and talent as well as contribute positively to gdp growth by providing education and employment opportunities.

we wish to thank all those who contributed to the funding of the report, particularly auckland philanthropists andrew and Jenny smith.

the committee for auckland encourages auckland’s city leaders to use this report as a starting point that will ultimately lead to a more liveable and enjoyable city in which to live, work and play.

Richard didsbury Chairman Committee for Auckland

Foreword

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exeCutive SummAryinternationally, investing in the creative and cultural industries (CCis)* has been proven to have significant economic and social benefits. this has encouraged cities around the world to invest in their creative and cultural resources, knowledge, talent and diversity to spur innovation and generate wealth.

auckland is new Zealand’s creative city. the economic contribution of ccis to the auckland economy is significant, and much has already been achieved in terms of developing the creative sector by individuals and groups, with pockets of creative activity occurring in different areas throughout auckland. auckland is also in an ideal position to showcase maori culture to an international audience, capitalising on its size and location as a hub of ethnically diverse activity.

continued growth in the creative sector is crucial to help auckland achieve its targets and priorities and to reach its goal of becoming ‘the world’s most liveable city’.

a significant amount of work has been undertaken by numerous organisations across auckland to document the significance of auckland’s ccis and to establish their importance in developing a liveable city. in particular, the arts and culture strategic plan (acsap) (part 1) goes some way towards recognising the value of the arts, culture and creative industries, with its strategic direction to ‘integrate arts and culture into our everyday lives’.

the committee for auckland is pleased to see that work to develop acsap is ongoing, with part 2 of this plan envisaged to encompass a plan that provides details of specific actions to be delivered.

however, the committee would like to see acsap adopt a greater aspirational goal for auckland’s ccis. while the committee agrees with acsap’s strategic direction, it believes that the continued development of acsap presents an opportunity to be more ambitious about growth and development of auckland’s ccis, to see auckland unlock its potential as a creative city and realise the benefits that other creative cities enjoy.

what is needed is a significant widening of scope for the second phase of acsap, to harness the collective strengths of the creative and cultural sector into an overarching plan for delivery.

this report presents a case for developing auckland as a creative city, and recommends what is required to get there as part of work to develop the acsap delivery plan. in doing so, the report examines:

• previous work that has been undertaken to highlight the significance of auckland’s creative sector and the need for action

• current demographics of auckland’s creative sector and its value to the auckland economy

• other creative cities around the world, with a view to informing best practice initiatives and metrics that could be applied to auckland.

* this report adopts a broad definition of creative and cultural industries, recognising that cultural enterprises and creative industries are interrelated, and they both have a role to play in developing auckland as a creative city. this definition has been adapted from various sources, including the ‘heart of the nation’ report,1 the european commission’s green paper ‘unlocking the potential of cultural and

creative industries’,2 and the auckland council’s ‘industry snapshot for auckland: creative sector’.3

1 the heart of the nation: a cultural strategy for aotearoa new Zealand (report summary). heart of the nation project team 2000. available at: http://www.mcdermottmiller.co.nz/projects/hotnation/hotn_summary.pdf

2 available at http://europa.eu/legislation_summaries/culture/cu0006_en.htm#keyterms

3 industry snapshot for auckland: creative sector. auckland council 2013, p. 6.

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design, comprising advertising services, architectural services and graphic design

publishing, including newspaper printing or publishing, other periodical publishing, book and other publishing, and authors

Screen production and creative digital content and radio, covering:

» Film and video production, exhibition and post production services (not distribution)

» tv, including television production and broadcasting and cable/satellite tv

» radio broadcasting services

» digital media, including software publishing, internet publishing and broadcasting and other web and internet related media and applications

performing arts, including services to the arts, performing arts venues, music and theatre productions, and performers

visual arts, including jewellery and silverware manufacturing, photographic studios, and visual arts and crafts

music, including composers, sound recording studios, and recorded media manufacturing and publishing.

deFining the CreAtive SeCtor

Cultural industries: the arts sector, in its broadest definition, where industries producing and distributing goods or services that at the time they are developed are considered to have a specific attribute, use or purpose that embodies or conveys cultural expressions, irrespective of the commercial value they may have.

Creative industries: industries that use culture as an input and have a cultural dimension, although their resources are creativity and intellectual property and they are sustained through generating profits.

within these categories are a range of activities that have their origin in individual creativity, skill and talent, and having a potential for wealth and job creation through generating and exploiting intellectual property. these include the following areas:

reCommendAtionS

this report makes five key recommendations, the ultimate outcome of which is ‘Auckland as a Creative City’ within the context of the strategic direction set by the Auckland plan and ACSAp, enabling it to compete internationally for tourists, investment and talent, as well as contribute positively to gdp growth by providing education and employment opportunities.

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1. undertake a comprehensive mapping exercise to identify the current scope of creative and cultural activity occurring across Auckland. the committee was pleased to see that following consultation on the draft acsap, a mapping exercise was undertaken, which covered the current state of arts and culture venues across the region. acsap notes that this is an ongoing exercise, and the committee is keen to see a broader scope applied in future work to consider the diverse range of ccis that auckland has on offer. the mapping exercise should not only look at venues, but at the full range of current cci activity across auckland, in order to develop a comprehensive understanding of this activity and how it can be aligned and supported as part of acsap (part 2). another key element of this mapping exercise that needs to be taken into consideration is current investment in ccis across auckland and where they get their funding from. For example, central government versus local government funding, as well as other local funding sources, such as local boards, trusts and foundations, and businesses. this is crucial to enable a better understanding of investment, any investment shortages or gaps, and how funding could be better aligned across auckland to support the full spectrum of cci activity. transparency and accountability are essential elements of any strategy to develop and grow auckland’s ccis, particularly if it relies on public funding, as many creative and cultural enterprises do. auckland’s pre-existing visionary creative and cultural community leaders, as well as relevant agencies such as creative new Zealand and local boards and council controlled organisations such as Regional Facilities auckland, waterfront auckland and auckland tourism, events and economic development, should be engaged in this mapping process.

2. hold a CCi symposium to kick-start the process for developing ACSAp (part 2). the consultation feedback on acsap highlighted a significant concern about how the detailed actions of the acsap would be delivered and external stakeholders expressed a desire to be involved in the delivery. 4 the committee considers that the development of acsap (part 2) should be preceded by a gathering of representatives from relevant cci agencies and independent practitioners. this forum would ensure initial buy-in from all those with an interest and stake in implementing acsap, and would help with shaping acsap in a way that reflects the collective views of auckland’s creative and cultural sector. it would also help expedite the process for developing part 2 of acsap. if successful, a symposium of this kind could also be considered on an annual basis, to review progress against acsap actions and to provide a mechanism for recognising successes and areas for improvement.

3. widen the scope of ACSAp in a way that supports a more ambitious goal of ‘Auckland as a Creative City’. the committee is concerned that acsap’s ambition to ‘integrate arts and culture into our everyday lives’ is limited in its ability to galvanise auckland’s cultural and creative community. the committee considers that the ongoing development of acsap provides an opportunity to widen its scope as part of the development of the delivery plan, to help realise a greater aspiration of ‘auckland as a creative city’. Firstly, acsap needs to adopt a broader definition of ccis, as other international creative cities have done and as suggested by the late dr michael volkerling, one of the principal architects of new Zealand’s cultural and creative sectors. acsap should provide a means to ensure the development of these activities occurs in an integrated manner, and to recognise their combined value in terms of building a vibrant and creative city. secondly, acsap (part 2) should draw on previous thinking about developing auckland as a creative city, which has been undertaken by creative leaders and organisations including the committee for auckland, creative coalition auckland and the depot artspace. these agencies should be closely involved in the development of the delivery plan.

4 arts, culture and events committee open agenda. arts, culture and events committee, 28 october 2014, p 19. available at http://infocouncil.aucklandcouncil.govt.nz/open/2014/10/aRt_20141028_agn_4735_at.pdF

other ways in which the committee considers that the scope of acsap could be extended are covered above, and include mapping current cci activity (not just venues) as well as considering current levels of investment in ccis and funding sources, with a view to determining how this investment could be better aligned with acsap’s objectives and key priorities. Finally, the committee is pleased to see that acsap (part 2) will include measures alongside the specific actions to be delivered. well-defined, measurable targets, as adopted by other international creative cities, are needed to reflect the greater ambition and opportunity for auckland’s ccis. investment in ccis should be measurable, to provide evidence of value for money at times when funding may be contestable. if ccis are recognised as valuable, measures for success must be included in city planning and the value of ccis communicated to city stakeholders.

4. establish an advisory board to oversee the implementation of ACSAp and measure progress. the committee notes that an acsap delivery oversight group will be established during the final stage of engagement, as part of the 2015-25 long term plan process.5 the committee considers that this delivery oversight group should help lead and advise auckland council and its relevant council controlled organisations, to ensure their plans and priorities are well-integrated with acsap. the delivery oversight group, and the cultural and creative sector, needs a champion to drive implementation of a strategy. the committee for auckland believes that local government should provide the leadership required to drive implementation, as this is an important strategy towards achieving the goals set out in the auckland plan. the delivery oversight group should oversee progress against acsap and report to the auckland council on agreed key metrics on a regular basis. while some ccis—in particular design and publishing—receive little or no public funds, subsectors of ccis that represent art and culture are dependent on public funding. For this reason, it is imperative

5 arts, culture and events committee open agenda. arts, culture and events committee, 28 october 2014, p 22. available at http://infocouncil.aucklandcouncil.govt.nz/open/2014/10/aRt_20141028_agn_4735_at.pdF

that the value of ccis is recognised and performance measures for the cultural and creative sector are tracked so that the public are informed about how funds are being spent and how the sector is performing.

5. Better communicate what’s on offer and adopt ‘quick win’ initiatives to build Auckland’s reputation as a Creative City. ‘better communicate what’s on offer’ is one of the action areas under goal one of acsap, which is ‘all aucklanders can access and participate in arts and culture’. this was also a priority action that was identified through the acsap consultation survey. the committee supports this priority area and agrees that there should be a greater emphasis on communicating that auckland is already a creative city, and the value ccis have to offer in terms of economic and social outcomes. in addition, the committee for auckland’s research into international creative cities revealed some exciting initiatives that could be applied to auckland, which could be considered for implementation as a way to build momentum. these initiatives supported aims that were common across all of the cities, such as the potential contribution of the ccis to economic growth, the importance of urban design, public transport and public spaces to encourage urban development and vibrancy, and the significant impact of the creative industry on tourism. the initiatives, which are outlined in the table over the page, were chosen by the committee because of their potential contribution to auckland’s goal of becoming the world’s most liveable city, as well as their contribution to the six goals outlined in acsap (access and participation, demonstrate city value and investment, showcase diversity, place making, unique cultural identity and robust and flourishing creative economy).

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Suggested initiatives

Case study city

example of application to Auckland

develop a maori cultural centre Brisbane in the context of acsap, engage maori and relevant cultural organisations to jointly examine options for engaging the public by celebrating and showcasing the richness of maori culture, arts and history through cultural facilities, spaces and events

provide way-finding signage to cultural venues around the city, interpretation

signage on public art, signage at sites of maori cultural significance and on historic buildings (possibly in multiple languages)

Brisbane more signage around the city pointing the way to museums, green space and historic sites

produce an annual booklet celebrating auckland’s achievements in the

creative sector and progress towards the city’s sector goals

Cape town, montréal

annual “creative auckland” publication

develop culture and heritage trails, and publish guides to them as well as to

existing walks and cycle ways

Brisbane, Qingdao create new cultural walks and cycle trails around auckland

ensure there is affordable space for creative workers in and around the city

Cape town, hamburg, Qingdao

angel landlord initiatives as well as the creation of space designed for and dedicated to creative workers

establish one office as the point of contact for the creative sector, with

connections to all organisations involved in the creative/cultural space

Cape town, montréal

nominate an auckland council creative sector department

enable further development of existing creative/cultural clusters of talent

hamburg, Cape town

support the co-location of businesses and practitioners in the creative sector

encourage and promote philanthropic funding

montréal, Singapore develop a creative industries donation website, which is actively promoted by local government

greater development of public transport, public space, green space,

pedestrian access and cycle lanes

Bogotá, hamburg, Cape town, Brisbane

create protected cycle lanes, develop public spaces, ensure public transport options

establish a forum to promote and connect creative practitioners with

international commissioners and to help develop relevant business skills

Brisbane create a forum for creative practitioners to collaborate and connect internationally

BACkground

Considerable work has been undertaken in various forms across Auckland to highlight the importance of its creative sector and to provide a framework for investment and future growth, by organisations including the Auckland Council, the Committee for Auckland, Creative Coalition Auckland and at a grassroots level by the depot Artspace.

this work has made a significant contribution to current thinking about auckland as a creative city.

auckland’s overarching goal, as outlined in the auckland plan produced by the auckland council, is to become ‘the world’s most liveable city.’ the plan highlights the importance of its creative sector, with specific targets to:6

• increase the number of people employed in the creative sector from 26,900 in 2007 to 45,000 by 2040

• increase the number of annual guest nights in auckland from 21.1 million to 29.5 million by 2022

• increase the number of aucklanders actively participating in the arts from 48% in 2010 to 75% by 2040.

in addition, one of auckland’s priorities for the economy is to ‘develop a creative, vibrant international city’ to ‘attract innovative skilled people and investment, and benefit residents and visitors alike.’7 the plan’s arts and culture impact areas also include social outcomes that the creative industry contributes to:8

• strong communities: community pride, involvement and access, increase social cohesion

• education and learning: self-esteem and positive self-image, development of children and youth

• strong economy: attract visitors, generate employment opportunities, support business

• cultural understanding: showcase auckland cultures, development of cultural artforms.

6 the auckland plan chapter 3: auckland’s art and culture; chapter 14: measuring success. auckland council. theplan.theaucklandplan.govt.nz/measuring-progress/

7 the auckland plan. auckland council 2013, p. 168.

8 the auckland plan chapter 3: auckland’s arts and culture. theplan.theaucklandplan.govt.nz/aucklands-art-culture/

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the auckland council finalised its arts and culture strategic action plan (part 1) in october 2014. acsap was split into two parts in response to public feedback on the draft acsap. part 1 is the strategic section of the plan, which outlines six goals:

1. all aucklanders can access and participate in arts and culture

2. auckland values and invests in arts and culture

3. a network of vibrant arts and culture organisations and facilities meets auckland’s diverse needs

4. arts and culture are intrinsic to auckland’s place making

5. auckland celebrates a unique cultural identity

6. auckland has a robust and flourishing creative economy.

while acsap recognises the place of the creative sector alongside arts and cultural activities, its focus is narrow, with its premise ‘to help integrate arts and culture into our everyday lives’.

of fundamental importance to the development of auckland as a creative city is the integration of arts and culture with the creative industries. a similar point was made by late dr michael volkerling, one of the principal architects of new Zealand’s cultural and creative sectors in a subsequent paper to the ‘heart of the nation’9 report, in which he touted the symbiotic nature of the arts and creative industries, noting that their development should occur in an integrated manner.10 euRocities (the network of major european cities) also recognised the importance of integrating cultural and creative industries in its response to the green paper, ‘unlocking the potential of cultural and creative industries’11.

9 the heart of the nation: a cultural strategy for aotearoa new Zealand. heart of the nation project team 2000.

10 heart of the nation: an international perspective. dr michael volkerling, mcdermott miller limited 2000, p. 3.

11 euRocities response to the green paper ‘unlocking the potential of cultural and creative industries’. euRocities 2010.

acsap is a step in the right direction. however a wider scope is necessary as part of the next phase of development of the delivery plan, to fully integrate the arts, culture and creative sectors under one umbrella. this is critical for the development of these industries, to ensure all types of activities are duly considered and to ensure they do not run counter to each other.

From the outset, a broader brush is needed to capture current cci activity, not just cci venues, as part of a delivery plan that consolidates all arts, culture and creative activities. an initial mapping exercise should capture the breadth and scope of activities, where they are situated (both in the cbd and the wider auckland region), how they are funded, and how they can champion ‘auckland as a creative city’ and the economic benefits and improved outcomes this brings.

auckland council undertook a survey of auckland artists in 2013, which revealed that developing affordable work spaces and venues, improving direct funding support, creating opportunities for collaboration with other artists, and promoting artists and the arts as valued were the critical areas in need of development to enable artists to be successful in the city.12

these comments echo responses from the ‘maori and pacific artists; their voices and their needs: a qualitative research project for the southern initiative’. Respondents stated the need for affordable space, business development assistance and training, as well as communication and networking opportunities.

12 valuing artists in auckland: a Report on a survey of artists 2013. auckland council, december 2013.

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the Committee for Auckland put forward a business case proposal titled unleashing the creative economy in november 2012. this suggested that an effective and forward-thinking strategy is vital for auckland’s success and its goal to become the world’s most liveable city. Further to this proposal, the ‘auckland as a creative city’ project was launched, to investigate the potential impact of creative industry initiatives on auckland’s gdp and on social outcomes.13

as part of this project, in July 2013 the committee for auckland commissioned research by prosperous places and urbanism plus, which undertook investigations to establish the best ways to target and enhance the economic and social benefits from auckland’s creative industries and how best to grow specific targeted creative industries in auckland. key informant interviews were completed with industry and local body leaders, which revealed a strong concern about lack of leadership for the creative sector, as well as the need for an overarching strategy that will increase the value of the creative sector to the auckland economy.14 the investigation also found that both local and central government were not pursuing sector-based strategies to enable the full realisation of the benefits creative activities can bring to a city.

earlier this year Creative Coalition Auckland released a ‘living document’ titled ‘creative ecology: a new model for resilience in creative communities’ which provided an initial outline of research into auckland’s creative ecology. the purpose of this work was to provide a new model for resilience in creative communities, which could be further developed with feedback and ideas and applied to ‘strengthen the resilience of auckland’s creative community’15.

13 maori and pacific artists; their voices and their needs: a qualitative research project for the southern initiative. marilyn kohlhase, 2013.

14 unleashing the creative economy. committee for auckland 2012, p. 2.

15 creative ecology: a new model for resilience in creative communities. creative coalition, 2014. http://creativecoalition.tumblr.com/post/79820635151/creative-ecology-living-research-document-version-1

at a grassroots level, the depot Artspace published the ‘alternative grassroots arts and culture plan’ in July 2014 in response to the council’s draft acsap. the alternative grassroots arts and culture plan recognises the contribution of grassroots organisations to fulfilling the six goals for arts and culture outlined in acsap, and ‘offers the means to highlight, reinforce, resource and celebrate the work of the grassroots’ in:

1. accessing and participating in arts and culture

2. meeting auckland’s diverse creative needs

3. developing and operating vibrant arts and culture organisations

4. celebrating unique cultural identity as it appears in distinctive communities across auckland

5. contributing significantly to placemaking and

6. to the creative economy.

as illustrated above, there has already been a significant amount of thinking, consultation and work regarding auckland as a creative city. the continued development of acsap presents an opportunity to consolidate this information and in particular to galvanise support from key stakeholders, as well as individual creative practitioners, in the development and implementation of the delivery plan.

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AuCklAnd’S CreAtive ‘demogrAphy’

as new Zealand’s largest city, auckland is often referred to as the country’s commercial hub. auckland employed almost half (49%) of all people employed in the creative industries in new Zealand in 201216 (including both full and part-time employment).

the total sector size of auckland’s creative sector as at 2012 was17 5.6% of auckland’s businesses and 2.8% of auckland’s employees (17,896 people, based on a total of 642,900 employees)18.

there are employment concentrations of auckland’s creative sector, in particular in the cbd/fringe where employment is densest, along with mt wellington, north harbour and takapuna. most of the creative sector sits in the waitemata local board boundary (57%), while maungakiekie-tamaki has a major share of television employment and albert-eden has more publishing and performing arts.19

the table following shows annual creative sector employment in auckland decreased at a rate of 2.6% (per year) between 2008 and 2012. given that a significant number of workers in the creative sector are self-employed (in 2012, 79% of businesses in the creative sector in auckland were sole practitioners, compared to 68% of all businesses in auckland 20), this may have been partly due to the impact of the global financial crisis.

however, auckland’s annual creative sector employment growth is not indicative of the entire sector, with considerable variability between sub-sectors as illustrated in the table below. in particular, digital media (5.1% pa), performing arts (7.8% pa) and music (5.0% pa) all had healthy growth over the 2008-2012 period, while publishing (-9.8% pa), film and video (-3.5% pa) and design (-2.3% pa) contracted.

16 industry snapshot for auckland: creative sector. auckland council november 2013: tables 6, 7, 8, 9, 10, 11, 12, 13, 14, 15. auckland’s creative industries. the numbers 2009. auckland council, 2009. table 4.2 auckland regional tables.

17 industry snapshot for auckland: creative sector. auckland council november 2013, p 4.

18 new Zealand business demography statistics: at February 2012. statistics new Zealand. www.stats.govt.nz/browse_for_stats/businesses/business_characteristics/businessdemographystatistics_hotpFeb12/commentary.aspx note: because the business demography data was used to estimate creative employment, it has also been used to estimate the proportion of creative workers in the general working population (rather than household labour force survey data).

19 industry snapshot for auckland: creative sector. auckland council, november 2013, p. 4.


table 1: employment by creative sub-sector*, Auckland, and employment growth, Auckland and new Zealand, 2012

auckland’s creative industry employment

auckland’s share of nZ’s creative industry employment

auckland’s annual creative industry employment growth

nZ’s annual creative industry employment growth

2008 2012 2008 2012 2008-2012 2000-2012 2000-2012

design 7,556 6,840 53.2 % 54 % -2.3 % 3.0 % 2.9 %

publishing 5,360 3,200 36 % 37 % -9.8 % -8.0 % -6.6 %

screen production:

tv

2,422 2,530 83 % 85 % 1.2 % 3.5 % 1.9 %

screen production: film & video

1,863 1,616 48.3 % 48 % -3.5 % 0.6 % 0.6 %

Radio 916 1,000 34.9 % 41 % 1.6 % 3.9 % 0.2 %

digital media 606 718 53.9 % 52 % 5.1 % 8.4 % 8.0 %

performing arts

712 948 29.9 % 36 % 7.8 % 0.9 % 1.7 %

visual arts 883 811 34.0 % 34 % -0.9 % -1.7 % -0.2 %

music 194 234 67.3 % 77 % 5.0 % 5.5 % 3.0 %

Creative sector

20,512 17,896 49 % -2.6 % -0.8 % -1.1 %

* this table uses the same definition of ‘creative sector’ as outlined above.

if auckland’s annual creative industry employment growth doesn’t start to rise, auckland will fail to meet the council’s target of 45,000 employed in the creative sector by 2040. to meet this target there needs to be annual growth in employment numbers of 3.35% from the 2012 base of 17,896.

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CreAtive SeCtor eConomiC ContriBution the creative sector’s stand-alone contribution to auckland’s gdp was estimated at $1.8 billion in 2012, which is 2.3% of auckland’s total gdp. this is 40% less than the annual gdp21 per worker (on average) in auckland’s other sectors.22 because this does not include part-time workers, an immediate conclusion that workers in the creative sector are less productive per hour worked cannot be drawn.

the auckland council’s industry snapshot report concluded that the most promising sub-sectors in terms of gdp contribution were design, digital media and film and video production (including post-production), while the design and digital media sub-sectors strengthened their positions as potential enablers for auckland’s future economic development in terms of knowledge and innovation. in addition, film and video production had the potential to be a substantial export earner, which could also support growth in visual and performing arts and music.23

thinking of the creative industries in terms of gdp and employment contributions is important. however, the creative industries that do not perform well on these metrics still offer large benefits in terms of contributing to positive social outcomes. perhaps not surprisingly, the industries that do not perform well economically are those that require ongoing funding support, and make up those industries that are traditionally defined as ‘arts and culture’.

21 industry snapshot for auckland: creative sector. auckland council, november 2013.



why mAke AuCklAnd A CreAtive City?

auckland already is a creative city. as illustrated previously, auckland holds the majority of new Zealand’s creative talent, and the scale of the creative economy in auckland is larger than anywhere else in new Zealand. design, digital technology and film production have the potential to contribute to growing auckland’s economy, while other creative industries have a lot to offer in terms of contributing to positive social outcomes.

the creative sector reflects, shapes and defines auckland’s identity. Film, literature, photography, theatre, visual art, dance and digital representation have the potential to drive innovation and growth. creative industries are also a record of our society and influence how we think of life in the city and our place in it. the creative sector, and arts and culture in particular, are not only forms of entertainment for us to watch and participate in, they also influence how we see ourselves.

auckland has many incredible visionaries working within the creative sector; however currently they tend to perform their roles in isolation. at an organisational level, leaders in the creative sector hold responsibility for different aspects and funding pools, but they also tend to operate in silos.

For example, central government funding is provided through business development grants and agencies such as creative new Zealand, the new Zealand Film commission and nZ on air, while local government funding also makes a significant investment in the creative sector in auckland, through council controlled organisations such as Regional Facilities auckland, waterfront auckland and auckland tourism, events and economic development. creative activities are also funded at a local level by local boards, trusts and foundations, and businesses.

an assessment of current investment and funding sources would be useful for informing whether funding models are as effective as they could be, or whether some alignment is needed to reflect the mutual importance of all creative activities.

there are pockets of organic cultural and creative sector development occurring across auckland, however this too is not aligned or documented in a way that illustrates its full scope and contribution to auckland’s creative economy, particularly in areas outside of the cbd/fringe area. For example, cultural expression, music and dance are well-known to be creating significant social benefits for communities in west and south auckland, while maori and pacific communities have embraced visual arts and hip-hop culture in other areas.

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these are only two examples of pockets of ccis that are occurring across auckland. a comprehensive mapping exercise, as suggested by the alternative grassroots arts and culture creative action plan, and as undertaken in relation to venues by acsap, would be of significant benefit.

a further benefit of a mapping exercise would be to identify the scope of ethnic diversity occurring in auckland’s creative sector, including those activities that have maori elements. according to tourism new Zealand, maori culture is one of the main reasons tourists visit new Zealand, second only to our landscapes.24 the ‘tourism new Zealand visitor experience monitor’ found that two out of every five visitors in 2010/11 focused solely on maori culture or an activity that had an element of maori culture, and that maori cultural performances have the highest levels of participation (a third of all in visitors in 2010/11).25 auckland is in an ideal position to showcase new Zealand’s creative talents that include maori culture to an international audience, as well as auckland’s diversity, with its large and ethnically diverse migrant population. parts of the creative sector in its broader sense may have opportunities to create economic value using cultural assets and maori and pacific elements.26

a mapping exercise would also be useful for looking at the value creative industries have to offer more widely, in terms of learning and development of children and young people. For example, participating in arts and culture programmes has the potential to improve non-cognitive skills,27 including enthusiasm and drive, persistence, work ethic, professionalism and conscientiousness. the committee for auckland’s proposed skills agenda, ‘Fuelling our economy’ pointed out that non-cognitive skills are perceived as important hiring criteria by auckland employers but reported as widely lacking, therefore developing these skills in early childhood and later in life is critical.28

Finally, promoting participation and interest in creative activities requires consideration of appropriate levels of access, which may have implications for the digital industry, as well as for public transport and urban design.

the digital space can offer open access to collections of art and culture, professional networks, provide exhibition space and act as a direct channel to market. providing broadband capability, access to computers and the skills to operate them are crucial to enabling participation in the creative sector of the future.

similarly, public transport and urban design are enablers of participation in the creative sector. For example, affordable living and working areas, quality public spaces, and foot and cycle paths are all recognised as crucial to vibrant, liveable cities.

24 maori tourism. tourism new Zealand, 2013. http://www.tourismnewzealand.com/about-the-tourism-industry/m%c4%81ori-tourism/

25 visitor experience monitor: maori cultural activities summary 2008/2011. tourism new Zealand, 2011. http://www.tourismnewzealand.com/media/548081/vem_maori_cultural_activities_summary_2008_-_2011.pdf

26 working with sectors (unpublished presentation notes). ateed, 2011. cited in industry snapshot for auckland: creative sector. auckland council, november 2013, p. 7.

27 evaluation of sistema aotearoa. institute of public policy, aut university, 2012. http://www.mch.govt.nz/files/evaluation%20of%20sistema%20aotearoa%202012%20(d-0452269).pdF

28 Fuelling our economy: proposed skills agenda: auckland workforce skills from the employers’ perspective. committee for auckland (2012). http://www.committeeforauckland.co.nz/images/skills_project_booklet_Final.pdf.

relevAnCe to the ArtS And Culture StrAtegiC ACtion plAn

acsap is a useful starting point in supporting the development of auckland as a creative city. however, a wider, all-encompassing approach is needed to recognise and consolidate all current arts, culture and creative activities, and to ensure their development – and funding – occurs in an integrated manner, with all interested practitioners and stakeholders engaged in the process.

this approach is necessary to support a more ambitious goal, not only to integrate arts and culture into the everyday lives of aucklanders, but to fully grasp the opportunity for auckland to be recognised as a creative city alongside other international creative cities, and to leverage the economic and social benefits that stem from this aspiration.

the committee considers that this could be done by adopting a wider scope in the development of part 2 of acsap, by extending the definition of ‘arts and culture’ to ‘ccis’, undertaking a wide-ranging mapping exercise that looks at current cci activity and investment sources, getting all agencies, stakeholders, individual visionaries on board, and by adopting a comprehensive set of metrics by which to measure growth in cci activity. the resulting actions, which are to be outlined in acsap (part 2), should flow from this approach.

the committee hopes to see acsap further sharpened and refined as part of this next phase of development, which presents an opportunity to recognise auckland as a creative city and galvanise the support of the creative community behind this goal. while the committee continues to support acsap’s current strategic direction to ‘integrate arts and culture into our everyday lives’, it considers there is a strong case for lifting the aspiration for auckland to be globally recognised as a creative city as part of the acsap process.

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leSSonS From CreAtive City leAderS And internAtionAl CreAtive CitieS

the rationale for cities to invest in their creative sectors has been given a substantial amount of international attention. An overview is provided below, followed by case studies of seven international creative cities.

Reasons for investing in the creative sector are numerous and include: regenerating neglected urban space, celebrating a vibrant and diverse cultural scene, promoting economic development,29 improving sustainability, increasing tourist numbers, promoting participation in the arts, promoting social cohesion, developing small businesses and attracting skilled migrants.

charles landry, one of the world’s leading advocates of the ‘creative city’,30 describes the benefits of investing in arts, culture and heritage as reaching across a range of social and economic factors. social benefits include establishing a sense of identity for the city, assisting with the integration of newcomers and the social inclusion of all citizens in city life, encouraging civic engagement and increasing the perceived quality of life. economic benefits include encouraging innovation, regenerating neglected urban areas, and adding value to property developments.31

landry does not attempt to quantify these benefits; however another strong supporter of creative cities, Richard Florida, included metrics as part of his book, the Rise of the creative class. Florida asserts that cities should focus on the three t’s of technology, talent and tolerance, and that these appear in varying forms in many cities’ creative and cultural plans. Florida proposes that talented people go to places they find attractive, rather than to cities that have the best corporate incentives.32

29 how to support creative industries. good practices from european cities. creative metropoles, 2010.

30 creativity, culture & the city: a question of interconnection. charles landry supported by the ministry of Family, children, youth, culture and sport of the state of north Rhine-westphalia, 2010.

31 creativity, culture & the city: a question of interconnection. charles landry supported by the ministry of Family, children, youth, culture and sport of the state of north Rhine-westphalia, 2010.

32 the Rise of the creative class: why cities without gays and rock bands are losing the economic development race. Richard Florida. washington monthly, may 2002.

the creative metropoles network (a network project connecting 11 metropolitan cities in europe, which is focused on comparing their urban policies adopted to strengthen the economic potential of the creative economy) identified four key strategies for investing in the creative sector:

• provide affordable spaces to creative individuals and businesses that are suited to their needs (sound proofing for musicians, storage spaces for visual artists, etc)

• use creative industries as a source of employment, in particular during difficult economic times

• draw publicity to a city through encouraging a creative initiative, in particular for cities wishing to increase their international profile

• Regenerate neglected urban spaces, such as former industrial sites, is a popular driver for supporting the creative industries.33

33 how to support creative industries. good practices from european cities. creative metropoles, 2010.

creative metropoles also provides a list of practical actions to take to reach four identified aims.

Aim Actionaccess to finance for

creative businesses1. supporting business start-up with grants, advice and

support and incubation space

2. targeted financing for creative businesses through dedicated venture capital funds

build business capacity and internationalisation

of creative industries

1. cluster promotion for business enhancement

2. developing interdisciplinary cooperation

3. coordinating actors and activities

enhancing demand for creative industries

1. multi-targeted festivals

2. education enhancing creative industries

3. using creative industries for enhancing city attractiveness

spaces for creative industries and creative

city districts

1. creating space for business enhancement

2. multifunctional spaces

3. bottom-up creative space development

4. developing urban districts with creative industries

similarly, a green paper produced as part of the european agenda for culture, entitled ‘unlocking the potential of cultural and creative industries’, identified a number of enablers for creative cities, such as providing affordable spaces for experimentation, innovation and entrepreneurship; improving the matching of worker skills to business needs; simplifying access to funding; ensuring unique local and regional elements are communicated as part of a tourism offering; and facilitating the mobility and circulation of cultural creative works.

in response to this paper, the eurocities network identified three critical areas of focus that support the development of the creative industries:34

• Focus on developing an economy based on knowledge and innovation

• promote a resource efficient, sustainable economy

• create a job market that delivers social, economic and territorial cohesion.

34 eurocities response to the green paper ‘unlocking the potential of cultural and creative industries’ eurocities, July 2010.

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CASe StudieS

As a point of comparison for Auckland as a Creative City, the Committee for Auckland looked at seven large international creative cities that spanned different continents and cultures: Brisbane, Cape town, Singapore, Bogotá, hamburg, Qingdao and montréal.

the committee looked at how these seven cities have defined their creative mission, what they hope to achieve by supporting the creative sector and how they measure performance. a summary of the findings from this analysis and relevance to auckland is provided below. more detailed case studies for each country are attached as an appendix.

the cities tended to combine the traditional definition of creative industries with arts, culture and urban planning to produce a vision for their cities. the cities all adopted very different, specific objectives for their interest and investment in creative industries. For example, economic growth (brisbane), social cohesion (cape town), innovation (singapore), equality (bogotá), sustainability (hamburg), preparing for the future and respecting the past (qingdao) and culture (montréal).

there were some common aims across all of the cities, such as the potential contribution of the ccis to economic growth, the importance of urban design, public transport and public spaces to encourage urban development and vibrancy, and the significant impact of the creative industry on tourism.

some cities had very specific areas of focus. For example, brisbane’s strategy included a focus on showcasing aboriginal culture, with initiatives underway such as an art trail and a cultural centre to showcase aboriginal exhibitions as well as live cultural performances. cape town had a strong focus on design, likely as a consequence of winning the world design capital title, with many creative projects stemming from this accolade.

montréal was noted for the engagement of its civic and national leadership to implement its strategy and for co-opting existing cultural bodies to help lead the project.

one potential tension that arose for some cities as a consequence of urban development and the creation of public spaces was gentrification, making previously affordable areas in urban centres too expensive for creative residents. For example, hamburg’s drive to attract the creative class alienated some of the city’s artists, musicians and social activists, who banded together to protest the city’s redevelopment.

bogotá has also experienced some unexpected consequences, with the transformation of urban space coming at a cost to poor residents, who have been displaced by developments, resulting in loss of homes, community networks, jobs, property and access to social services.

all of the cities used some form of metrics to measure progress against their strategy and aims. most cities used quantitative measures only, such as attendance and ticket sales for major events and festivals, new creative businesses and initiatives, such as public artworks, galleries, publications and websites, levels of employment and economic data in terms of revenue, value and contribution to gdp.

brisbane’s strategy also includes qualitative measures which it intends to obtain through market research surveys asking questions such as whether the city is expressive, vibrant and attractive to new residents, and whether there is a perception that the creative sector is flourishing.

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next StepS For AuCklAnd AS A CreAtive City

this report reveals a number of strategies used by overseas creative cities that Auckland could employ to better harness the strengths of its regional creative industries and to achieve a range of economic, social and cultural outcomes that will improve the quality of life across the city.

the key learning from international creative city leaders is that auckland needs to focus on what it wants to achieve, and to get the right metrics in place to measure progress. our investigation into international best practice also shows significant local and central government engagement with the creative sector is important to achieve mutually beneficial outcomes.

it is imperative that a mapping exercise is undertaken as a first step to understand the extent to which auckland is already a creative city, the value it has to offer, and what areas it should focus on in terms of future growth. a mapping exercise will also enable the development of metrics, and ensure that a comprehensive understanding of the current state is achieved (ie, numbers of creative activities) before it is measured.

in developing the delivery plan for acsap (part 2), the following framework provides a useful point of reference. this framework was developed by the european union open method of coordination expert group on cultural and creative industries as part of a policy handbook on how cultural and creative industries contribute to economic transformation through smart specialisation.

this framework reflects different elements that should be considered in the development of ccis: the current environment for ccis (including a mapping component), strengthening ccis (including consideration of access to funding, as well as physical infrastructure) and ‘spill-over effects’ in terms of the economic and social benefits produced by the cultural and creative sector.

Spillover effects Aim: bridging ccis with rest of the society and

economy

innovation and productivity

tourism and branding

education and lifelong learning

Regional development

social innovation and well being

environmental sustainability

CreAting preConditionS

Aim: favourable environment for developing ccis

strategies policies measures

awareness-raising information services

strategic alliances institutional framework

mapping studies

Strengthening CCis

Aim: competitive and exporting creative

enterprises

network and clusters

access to finance

creative business incubation

physical in-frastructure

capacity building

Figure 1: FrAmework For developing CulturAl And CreAtive induStrieS (CCiS)35

35 how can cultural and creative industries contribute to economic transformation through smart specialisation? policy handbook. european union open method of coordination expert group on cultural and creative industries, 2012, p. 4.

beyond the initial framework for developing a strategy for auckland as a creative city, there are a number of specific initiatives from other creative cities that auckland could consider emulating, which are outlined in the table below.

the committee has chosen these initiatives because of their potential contribution to auckland’s goal of becoming the world’s most liveable city, as well as their contribution to the six goals outlined in auckland’s draft arts and culture strategic action plan (access and participation, demonstrate city value, showcase diversity, place making, unique cultural identity and robust creative economy).

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Appendix: internAtionAl CreAtive CitieS

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BriSBAne: eConomiC growth

brisbane city council’s strategic interest in creative industries has a strong economic focus. the vision articulated in creative brisbane. creative economy. 2013-22 is for a “creative and prosperous brisbane […] a vibrant, creative and liveable city that attracts and supports talented people from around the world.”36as articulated in the plan, the motives behind developing the creative sector are attracting and retaining talent, helping creative businesses gain market share both domestically and internationally, and encouraging innovation in other sectors.37

a 2011 brisbane council report found that to succeed beyond what they termed the “resources boom”, the council had to pay attention to the creative sector. proactively supporting local businesses; providing a world-class urban environment; and encouraging innovation, entrepreneurship and creativity were key steps towards attracting top international talent to the city. the creative brisbane strategy was developed in response to those findings, and describes how brisbane’s creative economy will be supported through developing audiences and markets for creative products and services, developing the skills necessary to a creative workforce, supporting businesses, providing both hard and soft infrastructure and improving the governance and regulatory environment for business.38

aspiring to be one of the top 10 lifestyle cities in the world by 2031, brisbane has three major goals to achieve the vision of becoming a global hub for resource and related service industry businesses with strong business and cultural links to asia. queensland’s capital city has decided its advantages lie in culture, lifestyle, climate and attitude, and its three goals build on these advantages to create a vibrant city.

36 creative brisbane. creative economy. 2013-22. http://www.brisbane.qld.gov.au/sites/default/files/creative_brisbane_creative_economy_2013-2022.pdf



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CreAtive BriSBAne, CreAtive eConomy goAlS

goal description targets Strategiesexpressive

city: identity

showcasing events, cultural heritage & tourism, advancing the night-time economy

1. diverse & authentic voices

2. attractive & exciting city life

3. vibrant city spaces

» partnerships, grants, festivals and events support. embrace place in asia-pacific

» develop city brand, public spaces and embrace the river

» public space, creative precincts, heritage and walking trails, public art, laneways programme

energetic city:

growth

bring money and new ideas to the city by encouraging new people and trade

4. skilled & talented workforce

5. innovative, creative enterprise

6. highly regarded products

» grants, sister city exchanges, international student attraction, industry engagement with trade missions

» employment creation, tourism, training, networking & mentoring, start-up support, council to partner to develop creative industries

» space for creative industry start-ups, venues, council to assist with city-wide communication and marketing for creative industries

enthusiastic city:

leAderShip

leadership, connectivity and relationships to generate and sustain success

7. shared and inspiring ideas

8. collaborative partnerships

9. Responsive infrastructure

» advocacy for investment in creative industries, encourage collaboration, free workshops, “how to” guides, sister city exchanges, database for local creatives (employment, tenders, brokering opportunities), develop ‘visit brisbane’ website to reflect creative industries

» local and central government, lord mayor’s creative brisbane advisory board

» inventory of existing spaces for cultural & creative use, encourage creative industry use of underused and public spaces, public transport

according to a recent report, queensland is home to only 15.5% of australia’s creative workforce, behind new south wales (37.9%) and victoria (27.6%).39 brisbane houses the largest research branch of the australian Research council centre of excellence for creative industries and innovation, at the queensland university of technology. the centre launched a $1.2 million investment fund in July 2013 to assist creative industry start-ups. the fund is the first of its kind in australia and will provide up to $150,000 in capital per application to retain creative talent in queensland.40

an initiative in support of one creative industry is heat architecture. established in 2008 by the queensland state government, the aim is to promote queensland talent as a coherent brand and to connect practitioners with commissioners across australia, china, europe, the middle east and north america. creative practitioners in the initiative are architects, interior designers, landscape architects, public artists and master planners. heat provides a forum for practitioners to connect and collaborate, as well as develop business skills relevant to entering international markets and increasing media coverage. heat also represents queensland architects at events such as the venice architecture biennnale (2008 and 2010) and the shanghai world expo (2010).41

under the first goal of creative brisbane, expressive city, one of the actions is to renew the “indigenous aspirations strategy”. brisbane has two initiatives focused on showcasing aboriginal culture that auckland should note.

the first is art trails. brisbane city council has developed three bushland cultural trails, as a means of preserving and communicating aboriginal cultural heritage.42 the second initiative is a cultural centre that can be used to showcase aboriginal exhibitions as well as live cultural performances. plans for an aboriginal culture centre in brisbane’s musgrave park began in 1985, with council commitment to the park granted in 1998. however, due to disagreement within the indigenous community regarding its location and governance, construction has not yet begun.43

39 valuing australia’s creative industries final report. creative industries innovation centre, december 2013.

40 http://www.creativeenterprise.com.au/cea/articles/cea-launches-investment-fund

41 http://heatarchitecture.com.au

42 http://www.brisbane.qld.gov.au/facilities-recreation/sports-leisure/walking/walking-trails/heritage-trails/aboriginal-culture-trails

43 http://www.brisbanetimes.com.au/queensland/musgrave-park-cultural-centre-hopes-revived-20120521-1z19j.html

meASuring SuCCeSS

the creative brisbane plan contains measures of the plan’s success.44 while not all of these are easily measured, they do include both quantitative and qualitative measures.

the quantitative measures are:

• increase in new enterprises

• observable improvement in graduate retention rates

• higher resident and visitor spending on cultural activity

• increased corporate investment in the local creative sector

• improvements in public art and architecture

• increased use of public space

• cultural facilities and workspaces appearing in mixed-use developments

Qualitative measures will be obtained through market research surveys, with the following themes:

• is the city expressive?

• do we value vibrancy?

• does our creative message match the brisbane experience?

• would you recommend brisbane to others?

• could you live here permanently?

• is the creative sector growing in productivity, confidence, and connectivity?

• is brisbane more vital and vibrant, and is it easier to attract talented labour?


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CApe town: SoCiAl CoheSion

in 2005, cape town identified the contribution that the creative sector could make to the region. as mike van graan, director of the african arts institute and unesco technical expert on the convention on the protection and promotion of the diversity of cultural expressions, states in his paper: “the ongoing cultural and racial tensions and faultlines within the province [western cape], necessitate an urgent need for creative industries that will not only make an economic contribution to the region and create jobs, but also serve to intervene culturally and make a contribution to social stability and cohesion.”45

the potential of the city’s creative industries led to the creation of creative cape town. Founded in 2006 by the cape town partnership, a public private partnership, creative cape town aims to transform the city into “a leading centre for knowledge, innovation, creativity and culture in africa and the south.”46 it produces the cape town annual, focusing attention on the city’s creative

and knowledge industries, as well as organising creative week cape town to showcase local creative talent and creativity.

Following the 2009 release of the creative cape town annual publication, it became clear the city was home to many designers. the 2010 annual then

focused on cape town’s bid for world design capital 2014, and creative cape town has been the driving force behind the world design capital bid.

other initiatives headed by the organisation include the development of the design and innovation district (the Fringe), as well as a proposal to redevelop city hall into a cultural venue for local musicians.47 the purpose of the world design capital bid was to position cape town as a global city, and the Fringe was established to stimulate the economy by providing a location for a design cluster to develop.

45 cultural industries, arts, culture and creative arts first paper. towards an understanding of the current nature and scope of the creative industries in the western cape. mike van graan, www.westerncape.gov.za/other/2005/11/final_first_paper_cultural_industries_printing.pdf

46 www.creativecapetown.com/about/

47 www.creativecapetown.com/about/

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the vision for Cape town as articulated in the world design Capital bid is:48

• to transform greater cape town through design, into a sustainable, productive african city, bridging historical divides and building social and economic inclusion

• develop the local design industry through developing capacity and building networks and collaborative partnerships

• build a greater appreciation and understanding of the value of design to increase demand for design services

• educate and inspire a new generation of design practitioners and thinkers

• expand the local and international market for south african design-led products, services and systems

• build inclusive relationships and bridge divides between communities, institutions, industry, south african cities and across the continent

many projects that focus on social cohesion have arisen as a result of winning the world design capital title. in total, cape town hosted 460 transformative design projects in 2014 that covered four themes of african innovation: global conversation, bridging the divide, today for tomorrow and beautiful space, beautiful things.49

creative cape town also works closely with the cape town partnership on issues of city design and liveability. according to their website, they define a liveable city as one that is “a dense, inclusive and sustainable city, one in which citizens are mobile and connected.” it also states its support for integrated rapid transport (iRt) and its commitment to becoming a smart city.50

tourism is also a recognised benefit of investment in the creative industries. cape town’s tourism plan links the benefits of the creative industries to tourism and encourages the development of experience-based tourism products, alongside supporting cultural, environmental and extreme sports products.51

48 www.wdccapetown2014.com/static/7hude38ssw6xgyRi8Xwtoyk4hkwrlRzdswarwubF5ag.pdf

49 http://www.wdccapetown2014.com/projects/project/409

50 www.creativecapetown.net/design-in-the-central-city/public-space-for-public-life/

51 www.capetown.travel/uploads/files/draft_tourism_development_Framework_march_2013_city_of_cape_town.pdf

meASuring SuCCeSS

the world design city strategy states that success of the year of design will be measured through an impact assessment.52 however, other planning documents give indications of cape town measures that are relevant to the development of a creative city.

cape town partnership’s annual report is presented in a creative way, providing a map of cape town marking the year’s most significant project locations, a short description of each project and the goals or areas of focus. For the creative sector, the most relevant projects were: 53

52 www.wdccapetown2014.com/static/7hude38ssw6xgyRi8Xwtoyk4hkwrlRzdswarwubF5ag.pdf

53 www.capetownpartnership.co.za/wp-content/uploads/2013/11/ctp_annual_Report_2014_lowResweb.pdf

the Fringe creative cluster: the cluster’s location in a historically significant site, alongside concern that gentrification of the area will displace current residents, prompted the Fringe to shift its focus from marketing and branding the area as a creative cluster to ensuring design is used as a way of bridging community divides while creating economic opportunities that benefit all residents.

Free monthly music concerts: many galleries in the central city remain open late on the first thursday of each month. the city all sessions will add to the central city night life by providing free monthly music concerts in greenmarket square, with Riebeeck square made available for food trucks for the night.

City hall sessions: Revitalising the historic civic building as a public cultural asset has been achieved by hosting music concerts; the venue is now so popular that free concerts are now held in greenmarket square as space is often unavailable in the hall.

meet the makers: supporting local creative talent and promoting the economic benefits of the creative sector. this initiative showcases the personalities, spaces and processes of local “makers”, from architects to educators, designers to dancers.

Creative week: encompassing exhibitions, performances, walking tours and public lectures, the annual crowd-sourced festival encourages participation by allowing all residents to add their own events to the creative week calendar, which are promoted though social and traditional media. the most recent festival covered 140 events, showcasing the diversity of culture and creativity.

Creative nestlings: providing young creatives with a place to exhibit work, provide access to creative networks and begin careers in the creative industries. this social enterprise publishes artist profiles on their website, host film screenings, exhibitions and monthly networking sessions.

green clusters: urban agriculture to protect the urban environment, create jobs, improve soil, air and water quality while contributing to youth education, as well as providing people with the opportunity to connect with their surroundings.

SingApore: innovAtionin 2002, Singapore developed a plan to stimulate growth in the creative industries, building on the arts and culture development plan “renaissance City” launched in 2000. the city sees the benefits of encouraging the sector largely through the contribution to innovation and thereby differentiating Singapore product and service offerings from its competitors.

the Renaissance city plan iii, published in 2008, outlined the city’s vision and goals to 2015, and also reviewed progress on Renaissance plans i and ii. the aim was to gain international recognition for singapore’s arts and culture, create a more vibrant arts and culture scene, increase demand and appreciation for arts and culture, and contribute to national pride and a sense of ownership.54

the challenges that singapore’s arts and culture sector faced were identified as increasing competition from other cities worldwide for talent, investment and wealth, as well as pressure from social and cultural differences between singapore nationals and migrants.

the ministry of culture community and youth is responsible for monitoring and supporting singapore’s arts and culture scene, and they produce an annual publication regarding progress in the sector.

54 Renaissance city plan iii. ministry of information, communications and the arts, singapore, 2008. www.mccy.gov.sg/~/media/mccy-corp/topics/arts/Files/Rcpiii_bk1.ashx

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in 2008, the Renaissance plan iii stated singapore’s goals to 2015 as:55

1. distinctive content - develop a world-class cultural and entertainment

district with major arts and cultural offerings

- position singapore as the choice destination to create and premiere original content focusing on singapore and asia

- showcase “made-in-singapore” content internationally

2. dynamic ecosystem - develop thriving clusters of talent and businesses

- strengthen professional capabilities in arts and culture, in particular, for arts businesses and specialised arts services

- enhance industry exposure and relevance in tertiary and pre-tertiary specialised arts education and training

3. engaged community - enhance and enrich general arts and humanities

education

- strengthen community bonding and pride through arts and culture

- incentivise greater private philanthropy and sponsorship to arts and culture

- strengthen advocacy for arts and culture through research and communication

a strategic review in 2012 of singapore’s arts and culture made a number of recommendations for improving performance to achieve the city’s plans for the creative sector.56 singapore takes a holistic approach to the sector, recognising the potential impact of arts and culture on all members of society.

some of the recommendations in the review reflect singapore’s recognition of the creative sector as a driver for social inclusion. For example, supporting the arts as a form of corporate social responsibility, integrating culture into wellness programmes, utilising the opportunity to communicate personal histories and memories with the next generation through art and culture programmes, showcasing unique place identities of neighbourhoods and ethnic cultures, encouraging the use of commercial space as galleries, and making access to arts and culture convenient through physical and online platforms for locating content.

55 Renaissance city plan iii. ministry of information, communications and the arts, singapore, 2008 www.mccy.gov.sg/~/media/mccy-corp/topics/arts/Files/Rcpiii_bk1.ashx

56 arts and culture strategic Review, Jan 2012. ministry of culture, community and youth. singapore. www.mccy.gov.sg/~/media/mccy-corp/topics/arts/Files/acsR_FinalReport.ashx

meASuring SuCCeSS

ministry of culture community and youth 2013 publication:57

57 http://www.mccy.gov.sg/~/media/mccy-corp/publications/statistics/singapore-cultural-statistics/singaporeculturalstatistics2013final.ashx

Section Subgroup measurement

Arts and cultural scene

i. arts and cultural activities

performing arts activities

breakdown of performances by type

visual arts activities

museum activities

library activitiesii. arts and cultural

organisationsarts companies

arts societiesiii. heritage museums in roundtable

iv. library resources library collections

legal deposits

Arts and cultural engagement

i. attendance at arts and cultural events

ticketed attendance at performing arts events

ticket sales for performing arts events

non-ticketed attendance at arts and cultural eventsii. museum visitorship museum roundtable visitorship

visitorship to nhb museumsiii. library visitorship and services

library visitorship and library loans

digital visitorship, e-retrievals and e-books

nlb library membership

Research and reference

enquiries at libraries

Arts education and participation

in schools

i. arts education Full-time enrolment in tertiary arts courses

breakdown of full-time enrolment in tertiary arts courses

enrolment in school of the arts

students in arts-related co-curricular activities

breakdown of students in arts-related co-curricular activities

Financial support for arts

and culture

i. arts and cultural philanthropy

contributions to arts and culture

ii. government funding

government funding

economic contribution

of the arts and cultural sector

i. arts and cultural manpower

total employment

ii. economic value of the arts and cultural sector

total nominal value-added

total operating receipts

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Bogotá: eQuAlity

Bogotá has defined its goals as becoming a city of culture, promoting Bogotá as a hub for innovative businesses and creative industries. it aims to become a model for implementing creative solutions for urban mobility issues, overcoming challenges of social inclusion, promoting environmental sustainability and the protection of biodiversity.58 the city has made efforts to reduce social inequality and make Bogotá’s many diverse cultural practices more visible. one initiative to raise the profile of diverse cultural practices is the creation of public space that can be used to showcase local creative talent outside traditional cultural institutions.

the development plan bogotá humana (2012-2016) states the aims of reducing segregation and discrimination in the city, confronting issues of climate change and water, and acting to defend and strengthen bogotá’s people.59 the city has declared the objective of public office is to: 60

1. combat social segregation and construct an inclusive, dignified and equitable city

2. construct a city that does not damage the environment and revitalises with public spaces and enhanced mobility

3. combat corruption and instability, embedding democracy through the participation and power of the city’s inhabitants.

clearly, the issue of equality is a priority for the municipal government. however, addressing inequality, while simultaneously transforming the city into a creative hub, has resulted in some unexpected outcomes. For example, while bogotá’s transformation of urban space, in particular in the city centre, has been well received, the creation of new public spaces has come at the cost of some of the city’s poorest residents, as some of the new public spaces are located in areas that were previously slums. a lack of a strategy to re-integrate those displaced by the public space developments has resulted in “loss of homes, community networks, jobs, property, and access to social services.” 61

58 http://en.investinbogota.org/city-marketing-strategy

59 www.culturarecreacionydeporte.gov.co/programas

60 www.bogotahumana.gov.co/index.php/2012-01-04-20-46-15/objetivos-de-la-politica-publica

61 an inside look at bogotá’s urban Renewal From broad urban stories to everyday tales. camilo andrés cifuentes quin (school of architecture of barcelona upc) and nicolas tixier (laboratoire cresson - école nationale supérieure d’architecture de grenoble). upcommons.upc.edu/revistes/bitstream/2099/12584/1/c_2_3.pdf

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the issue of gentrification making previously affordable areas too expensive for creative residents has been raised in london and hamburg, among other cities. “Reclaiming” areas occupied by the city’s most vulnerable as public space goes beyond questions of affordability and to the heart of social equality. however, the city has invested heavily in public transport, in particular cycle and walkways, as well as in dedicated bus lanes that operate like a metro system. public transport was seen as crucial to bogotá’s development, to the point where a former mayor declared that mobility is a matter of social equality; people who cannot afford cars are still entitled to travel throughout the city in which they live easily and safely.62

bogotá is a unesco creative city for music; the first in latin america to be awarded this title. the city offers a wide range of free and open-air music festivals that include rock, salsa, jazz, opera, hip-hop and traditional colombian music. other cultural events taking place in bogotá include the latin american theatre Festival, artbo (international art Fair of bogota), free photography exhibitions throughout the city, Filbo international book Fair, film festivals and a downtown area showcasing bogotá’s architectural heritage.

since 2008 the city has also turned to hosting business-friendly events with the aim of establishing creative industry networks that would strengthen local talent. local film-makers, directors, composers and producers benefit from the bogotá audiovisual market (bam) and the bogotá music market (bomm) events, which are also supported by colombia’s trade promotion agency proexport, the ministry of culture, and the ministry of technology and communications.63 Featured in the mayor of london’s world cities culture Report, bogotá is notable for the emphasis placed on supporting disadvantaged and vulnerable groups, such as through the bibored initiative run through the public library network to promote reading, research, culture and information technologies. 64

62 enrique peñalosa: why buses represent democracy in action. ted talk september 2013. https://www.ted.com/talks/enrique_penalosa_why_buses_represent_democracy_in_action

63 http://en.investinbogota.org

64 www.worldcitiescultureforum.com/cities/bogot%c3%a1

meASuring SuCCeSS

event measuremusic festival • Festival attendance

• number of acts participating in festival

• number of live music venues

theatre festival • number of guest countries featured

• number of international theatre companies featured

• number of ticketed shows

• number of street shows

• number of world premiers

• number of spectators

• number of performance halls

ArtBo international Art Fair

• number of attendees

• number of international galleries participating

• number of works showcased

• number of artists showcased

• number of galleries and cultural centres in bogotá showcasing paintings, sculptures, photographs, video art, performances and digital media

photography • number of exhibition days

• number of annual showcases

• photographic bogota: number of free expositions and audience reached

FilBo international

Book Fair

• number of days running

• number of presenters participating

• number of visitors

Cinema • number of film festivals

Architecture • number of heritage buildings

transport • exclusive bicycle alternate mobility corridors

• number of kilometres of bicycle lanes

• number of citizens regularly using cycle lanes

• mass transit systems:

• number of passengers carrier per day

hAmBurg: SuStAinABility

hamburg plans to transform its waterfront with the new inner city ‘hafen City’ commercial development. the city also has plans to increase access to green space and waterways and improve foot and cycle paths. Awarded the european green Capital title for 2011, hamburg has a strong focus on sustainability, and not only seeks to reduce carbon emissions, reliance on cars and on-street parking, but also to prepare the city for the impact of rising sea levels.

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urban design plays a large part in the city’s sustainability goals and over the last 30 years hamburg has encouraged brownfield development to control urban sprawl and traffic congestion as well as reduce damage to landscapes and natural habitats. hamburg has more parks and open spaces than any other city in germany and, as home to europe’s third largest port and many canals and waterways, not to mention almost 2,500 bridges that span them, the balance between economic and environmental concerns is visible throughout the city.

the international building exhibition (iba) focuses on the most pressing challenges for urban development: globalisation, migration, economic dynamics, ecocide, shortage of resources and the impact of climate change.65 eight projects directly related to the creative industries are involved with the exhibition. iba hamburg “was relying on the power of art and culture” to design urban space, encourage participation and to strengthen tolerance and openness in social interaction through these fields of action:66

1. strengthening and extending existing creative infrastructure, through supporting sustainable spaces for the arts

2. creative industry support was provided by traditional and unconventional alliances. the project “art makes work” involved the formation of innovative alliances of creative practitioners with qualified partners, the unemployed and non-profit organisations

3. cultural diversity projects have been launched with the involvement of the people in wilhelmsburg and the “auf der veddel” area

4. a platform was developed to bring together creative practitioners, urban developers, citizens and scientists to workshop ideas for art and urban development

outside of the iba, the hamburg ministry of economics, transport and innovation supports eight cluster initiatives. the city feels strongly its current and future growth depends on its ability to foster innovation, with both initial and ongoing training being crucial elements of the cluster policy.

65 www.iba-hamburg.de/en/story/themes-of-the-iba.html

66 www.iba-hamburg.de/en/projects/elbe-islands-creative-quarter/projekt/elbe-islands-creative-quarter-119.html

the hamburg@work cluster was established as one of germany’s first cluster initiatives. hamburg now has established aviation, logistics, media & it and life sciences clusters and is looking to the creative sector, healthcare, maritime industry and renewable energy clusters to drive future growth.

employing professional, experienced managers to run the clusters is the key to their success, alongside investing early in young talent and bringing together businesses, universities and employees. the benefits of the cluster policy as the city council sees it are outlined below:67

one of the clusters is the hamburg kreativ gesellschaft (hamburg creative cluster). a municipal institution founded in 2010, its goal is to be a hub for creative talent in the city and to future-proof the creative industries in hamburg by acting as an interface between the creative industries, as well as other players in business, politics and society.68

67 hamburg’s cluster policy: Reaching the top together. www.hamburg-economy.de/contentblob/1541242/data/clusterpolitik-english).pdf

68 http://kreativgesellschaft.org/

For businessFor the local population

For the location

For universities / research facilities

cooperation with other companies and

universities

improved vocational training and career opportunities

above-average economic growth and job creation

optimal forms of knowledge transfer between business and academia

greater competitiveness

more jobs, greater diversity

outstanding skilled labour

more third-party funding

development of global markets

increased chances of earning higher salaries

more innovative power and dynamism

better equipment

more innovative power and innovations

enhanced quality of life enhanced business profile

ongoing gains in academic excellence

larger pool of well-qualified workers

more domestic and foreign direct investment

greater national and international competitiveness

the hamburg kreativ gesellschaft supports the creative industries across a range of services, such as:

• guidance: advice, coaching, guidance with specific projects, access to network of professionals in the same area, access to supporting services

• premises: identifying appropriate space and properties for those working in the sector and to act as a real-estate intermediary

• start-up support: career counselling consultations, lecture series, working with hamburg’s universities to provide networking opportunities for inter-sectoral collaboration

• tools: workshops to enhance personal and business-related knowledge and networks, enabling the competent and active realisation of projects

• Financing: start-up capital for enterprises, financial support for projects or quick funding for an urgent investment. the kreativ gesellschaft helps creative practitioners by keeping an overview of financial matters and finding the right financing strategy. they have developed a register of supporters, called “the Funding Finder” as well as establishing germany’s first regional crowdfunding platform

the kreativ gesellschaft website has a page for each creative industry describing what is going on the city in that space.

although the city works hard to promote and support the creative industries, hamburg’s drive to attract the ‘creative class’ has alienated some of the city’s artists, musicians and social activists, who have banded together to protest the city’s gentrification.69 as in bogotá, cities must be careful to ensure that existing residents feel included in the city’s plans and future developments.

69 http://thisbigcity.net/hamburgs-creative-class-and-the-post-creative-city/

meASuring SuCCeSS

number of individuals employed

• employed but reliant on social welfare

• immaterially remunerated

• gainfully employed

number of enterprises

individual creative industry share of total creative industry enterprises

revenue

Added value

demographic and economic city data

• population growth (by age bracket)

• gRp (and ranking against other german cities)

• gRp per employee productivity (and ranking against other german cities)

• gRp growth in hamburg vs german average

• employment growth across the whole city

• employment growth by industry (high-level)

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QingdAo: prepAring For the Future, reSpeCting the pASt Qingdao aims to be a city “taking the lead in scientific development, making a leap towards blue economy and constructing a liveable and happy modern international city”.70 this statement speaks to the future; however, Qingdao values its built heritage and natural environment. improving the city’s green space, stimulating the creative industries and more broadly contributing to a culture that values both heritage and innovation are encompassed in the city’s vision.

qingdao has an interesting history as a former german colony (from 1897 – 1914) followed by a period as a Japanese colony (1914-22 and 1938-45). both occupations left their mark on the city’s architecture, and the old german town is a popular location for film shoots. qingdao is also the birthplace of taoism, the home of tsingtao beer, and the location of the olympic sailing stadium.

70 http://202.110.193.14/qd/guide/environment/2014-03-20/482.html

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the land-based natural environment is also valued, as an element of the “liveable and happy” city is ensuring harmony between nature and humanity is maintained. Furthermore, tourism and ecological protection are recognised as beneficial contributions to the city’s development. qingdao’s coastline, nature and culture are valuable tourism assets. public spaces that incorporate culture and natural scenery have been developed in the tourist districts and include the music square, the seaside sculpture park, the china civilisation sculpture street, the qingdao culture street and dani painters’ village.

the city is divided into many different areas. the historical culture and european taste conservation area, houses old european streets, villas and churches. the architectural may wind building, the sailing venue for the 2008 olympic games, the qingdao grand theatre, polar ocean world, as well as the sightseeing paths donghai Road, hongkong Road and macao Road—which run through huiquan square, the china civilization sculpture street, may 4th square, music square, and the seaside sculpture park—are located in the eastern urban sightseeing area. shilaoren national tourist and Recreation Zone houses a golf course, yacht club, international convention centre, cultural centre, sports centre and, once complete, will also be home to the qingdao modern art centre.

laoshan national scenic Resort holds china’s highest coastal peak, and laoshan mountain has been a famous taoist mountain in china for 1,000 years. other famous historical sites in qingdai include the tianzhu mountain cliffside carvings of wei, the remains of the great wall of the qi state and the mahao canal excavated during the yuan dynasty. qingdao agriculture has also been developed as a tourism product, with the shilaoren tourist park, qingdao vegetable sci-tech demonstration park, and the laoshan tea garden being examples of where visitors can experience agricultural demonstrations, festivals related to agriculture (for example the cherry, grape or persimmon festivals), and rural folk-custom experience tours.71

given the importance of the natural environment to the tourism industry, qingdao sees the need to balance industrial development with sustainability and environmental concerns. however, the city is also currently building a reputation as a base for advanced industrial and high-tech manufacturing, a north-east asia international shipping centre and a national marine research centre.

71 http://english.qingdao.gov.cn/n2043295/n2990355/n3003694/index.html

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developing the marine sector is a high priority for the city’s “blue stride” plan. the authorities will boost qingdao’s fishing industry and give support to high-tech marine companies, such as marine engineering as well as building national bases of petrochemical and biochemical industries. environmental protection is an important aspect of these developments, and a desire to strengthen scientific exploration was furthered in 2011 when unesco established a training and Research centre on ocean dynamics and climate in qingdao.72 hosting sailing events during the 2008 olympic games has boosted qingdao’s profile as a marine city, which the “blue stride plan” seeks to enhance further.

in addition to the investment being made into the marine sector, there has also been a great deal of interest in developing the city’s creative industries. For example, the five-billion dollar qingdao oriental movie metropolis industrial park73 —consisting of filmmaking studios and exhibition space as well as museums, hotels and a yacht club—and the development of the qingdao culture and art centre, which will house the museums of modern art, classic art, public arts, and performing arts, as well as a hotel and public space, have drawn attention to qingdao’ potential as a future hub for creative talent.74 For the film industry in particular, qingdao’s distinctive european old town architecture, coastline and forested mountains will be an advantage.

qingdao does not have a single plan for developing the creative industries in general; rather, by targeting the development of specific industries, as well as protecting the city’s built heritage and natural environment, it is emerging on the world stage as a creative city.

72 http://www.unesco.org/new/en/media-services/single-view/news/unesco_sets_up_training_and_research_centre_on_ocean_dynamics_and_climate_in_qingdao_china/#.u98X3oosx8e

73 http://www.ibtimes.com/introducing-qingdao-oriental-movie-metropolis-chinas-plan-outdo-hollywood-1409570

74 www.stevenholl.com/project-detail.php?type=museums&id=136

meASuring SuCCeSS

number of festivals

number of beer brands participating in the annual beer festival

number of cultural institutions

number of theatres

number of cultural centres

number of museums

number of public libraries

number of performing arts troupes

number of local broadcasting stations

number of local programmes

number of archives

cable tv user numbers

number of magazines distributed

number of newspapers published

number of film events held

number of film organisations present

number of films shot in the city pa

per capita gdp

% of green space

per capita disposable income growth of residents.

montréAl: Culture

Stakeholders in montréal’s creative sector have come together to develop and oversee a plan to ensure the city’s enduring position as a centre for culture. the montréal métropole Culturelle (montréal, Cultural metropolis) steering committee consists of many high-level professionals across central, state and local government (including the mayor), as well as business and industry groups.75 these recognised leaders came together to develop a plan for enhancing the city’s cultural and creative life. montréal métropole Culturelle’s vision is to provide:

improved access to culture

investment in arts and culture

enrichment of quality of life

promotion of montréal to the rest of québec, canada and the world

providing montréal the resources to be a cultural metropolis.

75 the city’s mayor; the chairman of culture montréal (independent community organisation); a member of the montréal executive committee, responsible for culture, heritage, design, space for life and the status of women; the executive vice-president - personal and commercial banking, national bank of canada; the minister of canadian heritage and official languages; the minister of culture and communications; the minister of infrastructure, communities and intergovernmental affairs and minister of economic development agency of canada for the Regions of quebec; the president and ceo of the board of trade of metropolitan montreal; the minister of international Relations, la Francophonie and external trade and minister responsible for the montréal region; the president and ceo of l’oréal canada; the managing partner of Xpnd capital; and the secretary general of montréal, cultural metropolis.

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the group sees the need for a continual focus on arts, culture, creativity and diversity because of their potential in terms of attracting talent, tourists, and economic growth. the 10-year plan was developed based on their vision for the city in 2017 as a cosmopolitan, French-speaking city, with vibrant cultural quarters across all city districts, culture and learning accessible every day, and that is an avant-garde, international city.

success of the plan is measured by producing an annual report containing all the activities, events and initiatives that have contributed to the plan’s desired outcomes. the metropolitan government, as key stakeholders in the plan, work closely with various institutional, private and public partners to achieve their goals, as well as contributing to the montréal métropole culturelle guidelines in the adjacent table. the cultural development department is particularly relevant, with a mission to:76

• strengthen, develop and expand montréal’s reputation as a cultural metropolis

• provide professional expertise to senior management, the boroughs and municipal services

• act as the spokesperson for the city on matters of culture and heritage with cultural communities, public and private partners, and the general public.

these aims are in line with the montréal métropole culturelle targets, which provides a very good example of central and local government coming together to engage with the wider community and take action to achieve a common vision. many of the actions listed are owned by business groups, community organisations and not-for-profits. the annual publication celebrates all creative talent and achievement in the city, regardless of the organisation responsible for making it happen. the ability to collaborate across such a broad range of organisations should be seen as a stand-alone success.77

76 http://ville.montreal.qc.ca/portal/page?_pageid=4517,101865083&_dad=portal&_schema=poRtal

77 montréal métropole culturelle. action plan 2007 – 2017. 2014 edition. http://montrealmetropoleculturelle.org/pls/portal/docs/page/pa0717_en/media/documents/plan_action_2014_en.pdf

guideline targetimprove access

to culture• promote all residents’ right to culture

• Recognise libraries as basic infrastructure for a knowledge city

• consolidate and develop the cultural presentation network

• encourage the development of montréal museums

• support the vitrine culturelle de montréal (cultural showcase)

invest in the arts and culture

• promote increasing and diversifying the financial resources available for cultural development

• support professional artistic development

• promote the long-term development of cultural events and festivals

• consolidate montréal as an international centre for audiovisual production and a leader in digital creation

• improve /increase facilities for creation, production and presentation

enrich the cultural quality of the living

environment

• preserve and highlight montréal’s heritage and also highlight the areas, sites, monuments and buildings of heritage interest

• promote excellence in architecture and design

• make public art a notable component of the urban landscape

• continue highlighting montréal harbourfront and historic district

• make the quartier des spectacles entertainment district a success

• ensure the protection and enhancement of mount Royal

• complete the development of the pôle maisonneuve sector

• support the development of cultural districts throughout the montréal area

help promote montréal’s

reputation in québec, in

canada as a whole and internationally

• involve the regions in promoting recognition of montréal as a cultural metropolis

• promote recognition through hosting and presentations

• stimulate the development of cultural tourism

• promote montréal as a cultural metropolis in major international cultural development organisations

• Reinforce and promote the branding of montréal as a cultural metropolis

provide montréal with sufficient

means for remaining a cultural

metropolis

• bring together the five major partners in comprehensive, culture-related joint action

• encourage collaborative efforts between cultural and business communities

• ensure that the diversification of revenues from ville de montreal benefits cultural development

montréal benefits cultural

development

• make the agreement on cultural development between ville de montréal and the québec government’s ministère de la culture et des communications (mcc) one of the key tools for the development of montréal

meASuring SuCCeSS

number of visitors to museums, galleries, science centres (eg. planetarium)

number of new public art works and public spaces

number of new public street initiatives (eg. public pianos, book vending machines)

number of creative industry companies setting up in city

number of new exhibitions

Festival attendance figures per festival

number of new libraries

number of publications to assist exploring city’s creative / culture venues

number of new websites for culture / creative programmes

number of public outreach initiatives and figures for numbers reached

number of new museums and galleries opening

number of exhibitions reflecting the city’s culture and heritage

list of all anniversaries for cultural milestones in montréal 2013

list of all awards won by montréal creatives in 2013

photo montage of renovated / repurposed and new cultural venues (before and after)

number of new clusters, development plans, databases

changes to enable philanthropy (eg. new tax credits, increases in eligible donation amounts)

number of new square feet reserved for artists’ studios

list of films shot partially in montréal and number of shooting days per film

list of initiatives to improve social integration, social and educational outcomes

list of rankings for 2013 in international indexes

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memBerSaia new Zealand

anZ bank

asb bank

auckland arts Festival

auckland council

auckland district health board

auckland international airport ltd

auckland tourism, events & economic development (ateed)

auckland university of technology (aut)

auckland war memorial museum

bank of new Zealand

beca

boffa miskell

chapman tripp

chorus

cooper and company

counties manukau district health board

deloitte

ey

Fletcher building limited

Fonterra

Forsyth barr

iag new Zealand ltd

hawkins group

Jacobs new Zealand

Jasmax

kiwi income property trust

kpmg

manukau institute of technology (mit)

massey university

mighty River power

ministry of Foreign affairs & trade

minter ellison Rudd watts

new Zealand bus

new Zealand institute of architects

opus international consultants

ports of auckland ltd

precinct properties nZ ltd

pricewaterhousecoopers

Regional Facilities auckland

Rider levett bucknall

simpson grierson

skycity entertainment group

south pacific pictures

stevenson group

the conference company

the warehouse

todd property group ltd

tourism holdings limited

tuia group

unitec institute of technology

university of auckland

warren and mahoney

watercare services ltd

waterfront auckland

westpac nZ

wt partnership

individuAl memBerSanne blackburn

brian corban

Richard didsbury individual member and trustee and chairman, committee for auckland

sally garrett

dame Jenny gibbs

michael lorimer

chris mace

peter menzies

Jane vesty

peter wall

honorAry memBerSsir Ron carter patron, committee for auckland

bryan mogridge trustee, committee for auckland

diane Robertson, trustee, committee for auckland

auckland city mission

auckland communities Foundation

australian trade commission

consulate-general of china

consulate-general of the

united states of america

salvation army

the Support oF our

FunderS:

andrew & Jenny smith

auckland tourism, events & economic development

auckland council

aut university

dame Jenny gibbs

unitec institute of technology

the reSeArCh teAm:

Research & project manager – erin dillon

Research assistant – tom graham

Athina Tsoulis deputy executive dean, Faculty of creative industries and business, unitec institute of technology

Associate Professor Charles Walker Faculty of design & creativetechnologies, and co-director, co-lab, aut university

Patrick McVeigh general manager, economic growth, auckland tourism, events, and economic development

Richard Harris principal, Jasmax

Roy Clare CBE director, auckland war memorial museum

Tara Pradhan head of vision partners, world vision new Zealand

Mike Taitoko managing director, tuia consulting

the Steering Committee:

Committee For AuCklAnd

po box 3403, shortland st, auckland 1140, new Zealand telephone: +64 9 300 1234

www.committeeforauckland.co.nz

design and layout

Auckland_as_a_Creative_City_Report_FINAL_EMAIL_VERSION

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