OECD Culture and Local Development.pdf - PACA

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3. PROMOTING LOCAL DEVELOPMENT BY CREATING CULTURAL PRODUCTS cohesive, and satisfy the desired objectives. They will also try to prevent situations where the pursuit of private interests or rent seeking would be detrimental to the partnership as a whole. The partners will try to achieve a desirable equilibrium through “positive attitudes” and they will see to it that those attitudes are fostered, disseminated, copied and maintained. If the partnership is to last, four conditions must be satisfied: • In a repeated “game”, the partners have an interest in acting on the basis of positive attitudes and in behaving in such a way as to inspire positive behaviour on the part of the others: this is the “reputation condition”. The partnership is viable only between players who regard each other’s reputations as good. This implies a dense information system, without which there is the probability that negative attitudes will win out over positive attitudes, inevitably causing the partnership to weaken or collapse. The appellation d’origine contrôlée is a means of regulating the organisation (and sanctioning) of this information, but for territories such as industrial districts that cannot organise it, other systems, such as the label, must be used. • With repetition of the “games”, participants must know that if they misbehave today they risk being punished tomorrow by losing their rights to the label: this is the “reprisals condition”. The difficulty is that reprisals, even if properly organised, may be impossible to enforce. In some cases, firms may no longer behave as required because their operating conditions do not permit it. Counselling or financial support from the partners may help them do so. The history of cultural and creative districts provides examples of such mechanisms, in varying degrees of formality. It also demonstrates the importance of cultural, ethnic and religious factors in the way certain districts function. But in an atmosphere where individualism reigns supreme, as is often the case in artistic circles, such arrangements are unlikely to be accepted spontaneously. • Existing players may upset the initial equilibrium over time, as their size or their market fluctuates. Interactions will then become less random, but will take place through alliances and counter-alliances. There is nothing to guarantee that such alliances will not work against the viability of the district. Thus, we have a “proper segmentation” condition. The divisions that may appear must not interrupt the invisible exchanges and the networks of trust that were built up over time. A segmentation that is not necessarily harmful might occur in training mechanisms, where some for example want to replace specialised initial training with on-the-job training. There is disagreement, but it does not bear on objectives, merely on the means for achieving them. A harmful segmentation might emerge when some partners want to revise product quality and labelling systems to accommodate larger-scale operations, while others insist on maintaining small-scale “craft” production methods. CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 121
3. PROMOTING LOCAL DEVELOPMENT BY CREATING CULTURAL PRODUCTS • Finally, new players may appear, which will pose a problem of homogeneity for the underlying partnership, or at least for the segmentation condition. The preferences of these new players will have to be essentially compatible with those of the existing partners if the district is to survive: this is the “proximity condition”. Normally the existence of charters or labels should lead to such a situation, because they establish reference points. But opportunistic behaviour cannot be excluded: the new partners may alter their behaviour once they are inside the district. It is not surprising, then, to find here some vestiges of the old trade guilds, where entry conditions are backed up by very strict rules for running the district. Can a creativity district (or cluster) be built from scratch? Recognising the contribution that cultural and creative districts can make to local development, many territories have deliberately set out to build such a cluster, if necessary from scratch. There is a growing proliferation of manuals and workshops on how do to this, and even on how to evaluate them when they are still on the drawing boards (Clusters Navigators, 2003). Yet experience shows that districts of this kind usually spring up in places where traditions are conducive, or only after long and determined efforts have been made to establish them. Any attempt to simply will a cluster into existence is unlikely to prosper. With this word of warning, we may still ask what is the best way to go about guiding its development or adding new elements, and there are a number of approaches available 106 . - The first step is to identify what the cluster is to be or is to become. This will involve analysing: • the activities that constitute its core; • the service infrastructure that it can rely on; and • the physical facilities available or needed. - The second step will be to analyse the type of development inherent to the cluster. This is not a matter of deciding whether the cluster is to grow in an organic way or whether it must follow a linear path from analysis to strategy to recommendations. It is the district’s stakeholders themselves who will define its path. The best approach is to identify those elements of excellence that can foster its development. It is better not to get into a debate over top-down versus bottom-up development, or to try to plan the internal linkages that will hold it together. The most important thing is to identify the players or the points of intersection that are likely to have an influence, and the potential activities portfolio. 122 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005
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Culture and Local Development
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ORGANISATION FOR ECONOMIC CO-OPERAT
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Table of Contents Executive Summary
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EXECUTIVE SUMMARY the operation of
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EXECUTIVE SUMMARY new projects; and
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EXECUTIVE SUMMARY is the fact that
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EXECUTIVE SUMMARY A new agenda for
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INTRODUCTION Yet these attitudes gr
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INTRODUCTION a basis for developmen
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INTRODUCTION Defining cultural reso
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INTRODUCTION - the one where cultur
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ISBN 92-64-00990-6 CULTURE AND LOCA
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1. USING A TERRITORY’S CULTURE TO
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Chapter 2 Local development based o
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2. LOCAL DEVELOPMENT BASED ON ATTRA
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BIBLIOGRAPHY Myerscough, J. (1988),
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BIBLIOGRAPHY .Raffin, F., (1999),
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BIBLIOGRAPHY Walker et al, (2000) P
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ANNEX 1 This distinction between sh
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ANNEX 1 consumption sales of each s
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Annex 2 CHAPTER 3: PROMOTING LOCAL
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ANNEX 2 The second measure is given
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ANNEX 2 Table 1. The identification
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NOTES 16. V. Ponthieux S. (2003), p
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NOTES 44. www.ntcicfunds.com 45. id
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NOTES 69. Caserta S., & A.P. Russo
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NOTES 98. The craftsman will retain
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NOTES 116. de Filgueiras Gomes M.A.
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