From Economy to Ecology: A Policy Framework for Creative Labour
Creativity functions as an important leitmotif in thinking about the creative economy. However, economic arguments about the specificity of cultural value and its difference from economic value (Caves, 2000; Hesmondhalgh, 2007; Throsby, 2001) or about the role of the arts, artists and the economic activities of the professional arts are not well grounded in theories of innovation or creative industry policy formulations. This article accepts that the most important postulate in the creative economy is that it is based on the realization of the original expression of an idea, an economic or gift transaction of intellectual property – which may be held in private or in common. Understanding the creative process of invention and expression, then, stemming from the individual artist, entrepreneur, or company, is central to effective policy in guiding the creative economy.
An argument is made that the concentric circles model of the creative industry classification based on David Throsby’s work (2001) presents the origin and diffusion of creative ideas in sound, text and image as the creative arts (and is most compatible with a new industrial framework for the creative economy). Given the distinct attributes of cultural production, commodity and exchange over time, it is important to understand the role of risk, innovation, cultural entrepreneurship, public infrastructure and volunteer or casual labour support in sustaining creative professional innovation, and enabling its contribution to sustainable economic growth. A comparison of policies to promote creative labour expression in several countries reveals a need for more substance, method and critique.
Despite the general assumption that the knowledge economy will produce a labour force which resembles the cultural sector in its core characteristics, most countries have not yet introduced comprehensive creative labour policies to accommodate a more flexible, mobile workforce, and one which is increasingly selfemployed. Several policy recommendations to address this gap are made, consistent with an integrated conception of the creative cultural ecology, derived from urban planning and the study of global cities. What is needed is an entire change of creativity governance, and shift to “flexicurity” in a labour strategy, which acknowledges the interaction with the social economy and volunteer sector. These policies should be developed on the basis of need, requiring more sophisticated models of the creative labour force. A creative labour force survey is urgently needed to develop them.
Download the full PDF here