Creativity is one of the factors promoting the development of urban centres. Its significance provokes discussion on issues such as the creative city, creative industries and creative clusters, and it contributes to the increased demand for multidisciplinary research on economic, social and artistic policy. The paper is devoted to creative industries clusters located in Poland. Its main goal is to identify the factors that hinder the operation of the analysed clusters. The observed factors are broken down into endogenous and exogenous ones, as well as into those that emerged during cluster mobilization and others which surfaced later during the clusters' existence. The survey was conducted among creative cluster coordinators, using computer-assisted web interview (CAWI) and computer-assisted telephone interviewing (CATI). The results show that most of the problems mentioned by respondents are internal factors, of which the most important one is a misunderstanding of the idea of clustering and the resulting reluctance to share knowledge, as well as the dominance of competition over cooperation, frowned-upon movements of employees between cluster participants, and the consequent diminished trust. External barriers were revealed mainly in further periods of the clusters' operation. The most important of them was a dependence on external funding. Respondents pointed to a lack of interest on the part of local government units, which makes it difficult to build a properly functioning triple helix. It should also be added that cluster policy in Poland has been moving away from clusters understood in geographical terms where spatial concentration and economic specialization were the key features. Currently, cluster policy is directed more towards managing cluster structures.
The paper aims to identify the factors affecting the development of creative clusters, with a special focus on institutional setting. This knowledge is important for the development of regions, as clusters play a significant role in accelerating the innovation processes and networking, especially that creative industries have a particular tendency for networking. The study found that the location of creative clusters is influenced by the concentration of creative industries while institutional factors play a much smaller role. The development of clusters is mainly hindered by internal factors, such as problems with defining a common strategy, inability to raise funding for operations (especially if public support was received in the early stages of development), or ill‐designed cooperation with scientific institutions. The practical application of the paper can be found in the conclusions regarding cluster policy at the regional level. First, it would be reasonable to develop models of cooperation between local authorities and clusters, including in particular creation of demand for cluster services. Second, it is important to maintain a strategic dialog between cluster coordinators and local authorities to ensure ongoing monitoring of the needs of the creative sector. Third, it is desirable to promote partnerships and clusters in publicly funded competitions.
The authors compared the geographical distribution of creative clusters in Poland with the spatial distribution of LQ (Location Quotient) measuring the concentration of creative entities in a given area. The study aimed to answer the following questions: what is the spatial distribution of clustering potential for creative industries?, which municipalities are home to entities forming creative clusters?, and, above all, are creative clusters actually formed in areas offering the greatest potential in this respect? In order to find answers to the above questions, the authors carried out two sub-analyses. The first led to the conclusion that only 1.9% of municipalities in Poland offer conditions for creative specialisations, including the formation of creative clusters (LQ > 1.25). The next step involved a comparison of geographical distribution of areas with clustering potential with areas being home to actual creative clusters. The authors did not observe any relationship between the value of LQ reflecting clustering potential for creative industries and the distribution and size of active creative clusters. The correlation coefficient between LQ and the number of cluster members was positive but weak. It shows that creative clusters in Poland are not formed in locations offering best conditions in terms of the number of potential members. Therefore, there are other factors behind the formation of cluster structures. Nevertheless, local potential should be the main driving force because it is one of the crucial components of favourable conditions for building economic specialisation and a foundation on which proper cluster structures should be built on.
Beata Namyślak, Sektor kreatywny w gospodarce 153 Gospodarka narodowa 2 (270) Rok LXXXIV/XXV marzec-kwiecień 2014 s. 153-176 Beata NAMYŚLAK * Sektor kreatywny w gospodarceStreszczenie: Celem artykułu jest usystematyzowanie podstawowych pojęć związanych z sektorem kreatywnym. Najwięcej uwagi poświęcono dwóm pojęciom: działalności twórcze i przemysły kultury. Zwrócono również uwagę na wzrastającą rolę przemysłów kultury oraz dokonano zestawienia najważniejszych problemów związanych z rozwojem i badaniem działalności twórczych. Artykuł ma charakter teoretyczny. Realizacja wyznaczonych celów pracy wymagała obszernych studiów literatury, w dużej mierze zagranicznej. Za sektor kreatywny (creative knowledge sector) w gospodarce narodowej uważa się ten, na który składają się działalności oparte na własności intelektualnej, mające korzenie w kulturze i nauce. W sektorze tym wyróżnia się dwie podstawowe grupy: działalności twórcze (creative industries) oraz tzw. działalności o dużym stopniu nasycenia wiedzą (knowledge intensive industries). Znaczenie tych przemysłów we współczesnej gospodarce wzrasta, a ich stan wpływa bezpośrednio lub pośrednio na rozwój miasta/regionu m. in. przez aktywizację potencjału ludzkiego, tworzenie miejsc pracy, rozwój sektorów komplementarnych związanych pośrednio z kulturą (np. turystyki i rekreacji), stymulowanie rewitalizacji obiektów poprzemysłowych czy udział w tworzeniu pozytywnego wizerunku miasta/regionu. Niemniej jednak rozwojowi działalności twórczych towarzyszą liczne problemy, w tym brak zaufania wobec tych dziedzin, powszechna opinia o ich nieproduktywności oraz brak metodologii oceny działalności twórczych.Słowa kluczowe: działalności twórcze, sektor kultury, dystrybucja, prawa autorskie Kody JEL: B41, E20, Z11Artykuł nadesłany 1 lipca 2013 r., zaakceptowany 12 lutego 2014 r.
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