The creative countryside: Policy and practice in the UK rural cultural economy

Economic and Social Impacts of Promoting Cultural Heritage Protection by the Czech Rural Development Programme 2007–2013

“…This question was primarily about the perception of final beneficiaries about the impacts of their projects on a given locality. The results were slightly above the average (see Table 2) 4 . Table 2 shows numbers of respondents under location of the project implementation and their perception about the project's impacts on tourism development.…”

The village in the city: participation and cultural value on the urban periphery

“…This is a problem stemming from and compounded by static and imposed metropolitan understandings of cultural participation and value more generally (Miles, 2013). In response, there is a growing critique of the neglect of the rural in cultural policy, and this has begun to unpack creative activity and the cultural economy outside of urban locations (Bell & Jayne, 2010). However, much of this reappraisal remains couched in the standard terms and traditional categories of what is to count as cultural engagement, along with how and where this happens.…”

“…Peck, 2004;Pratt, 2009; for a summary see Bell & Oakley, 2015), including the ways in which creative city discourses are performative, marking off and marginalising "other" places as "non-creative" by definition (Waitt & Gibson, 2009). Interest in revealing and restoring other places as sites of cultural production and creative activity has revived accordingly, and includes research on different urban sites (Bell & Jayne, 2004), the countryside (Bell & Jayne, 2010;Luckman, 2012) and other spaces of "vernacular creativity" (Edensor, Leslie, Millington, & Rantisi, 2009). Yet, a noticeable feature of much interest in either para-or peri-urban activity in policy is its focus on a narrow, almost stereotypical, conception of the kinds of cultural participation and value that do and might exist beyond the city (Bell & Jayne, 2010).…”

Professional mobilities in the creative industries: The role of “place” for young people aspiring for a creative career

“…This encourages locales to differentiate themselves and then to compete strategically in national and international markets for resources, investment and talent (Peck, 2005;Oakley, 2006). As responsibility for this has largely fallen to the region to assume responsibility for its own development (utilising both public and private investment) the result has been that metropolitan centres have been the principal 'winners' in this strategy with smaller urban centres and rural areas often overlooked in policy-making and the allocation of resources (Jayne, 2005;Bell & Jayne, 2010).…”

“…As outlined the coupling of cities and creativity remains largely uncontested, especially in policy circles (Banks et al, 2000;Bell & Jayne, 2010). In these discourses the urban is framed as a liberating and empowering place -a place of superiority, creativity, and a culture where individuality and risktaking are encouraged -characteristics which resonate with the working culture of the creative industry itself.…”