Finding Space for the Creative Class: A Review of the Issues

Abstract

Emphasis on the creative class as promoters of economic prosperity is based on two main claims: first, people working in occupations dependent on the exercise of creativity (the 'creative class') make a disproportionate contribution to wealth generation; second, creative class professionals are highly mobile and have a preference for localities that are tolerant of social diversity and rich in creative resources. In essence, bohemia is good for business as creative class professionals are stimulated by and supporters of the creative arts. These propositions have encouraged cities and regions around the industrial world to assess their attractiveness to the creative class and to invest in amenities appealing to creative workers. A core challenge for the creative class thesis is to demonstrate that the openness and tolerance of communities is the causal agent of enhanced business performance. Pending confirmation of actual interaction between, on the one hand, creative people and activities, and on the other hand with entrepreneurship and business growth, this review identifies three areas where the creative class thesis has application to urban policy: art sector support based on industry-specific policies; the attraction of migrant professionals, including return migrants; application of the interest in diversity and tolerance to reduce racial segregation.

The flagship concept of the ‘4th urban environment’. Branding and visioning in Malmö, Sweden

“…Many critiques of the creative city and the imagination of the creative class revolve around the absence of a power analysis (Peck 2005(Peck , 2011, the shortcomings of the public policy recommendations, the insufficient scientific evidence of the claimed results (Peck 2005(Peck , 2011Perry 2011), and the vagueness of the concepts (Markusen, 2006;Evans, 2009;Borén & Young, 2013). Building on this critique, this article critically analyses discourses and spaces being produced as part of the creative city.…”

Introduction to The Creative Class Revisited: New Analytical Advances

“…SeeFlorida et al (2008) andFlorida et al (2012) for a more detailed corroboration of this point.6SeePerry (2011),Ocejo (2019),Kourtit and Nijkamp (2019),Rosenberg and Brent (2020),Audretsch and Belitski (2021),Batabyal and Yoo (2021),Huang and Fan (2021),Batabyal and Nijkamp (2022), and the many references cited in these sources for more on this literature.…”

Introduction to The Creative Class Revisited: New Analytical Advances

“…SeeFlorida et al (2008) andFlorida et al (2012) for a more detailed corroboration of this point.6SeePerry (2011),Ocejo (2019),Kourtit and Nijkamp (2019),Rosenberg and Brent (2020),Audretsch and Belitski (2021),Batabyal and Yoo (2021),Huang and Fan (2021),Batabyal and Nijkamp (2022), and the many references cited in these sources for more on this literature.…”