OECD Culture and Local Development.pdf - PACA

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EXECUTIVE SUMMARY see some instances of grouping together or concentration of cultural activities in certain territories, especially in metropolitan areas, whereas elsewhere the institution of cultural productions does not seem to be able to reach a sustainable pace. Two types of concentration of cultural activities warrant mention here: cultural quarters and cultural districts. • Today the concept of cultural quarter is used mainly to characterise projects for the rehabilitation of city centres or disadvantaged neighbourhoods, based on cultural activities. Cultural quarters are assigned a number of objectives: - To reinforce the identity, appeal and competitiveness of cities; - To stimulate an entrepreneurial approach to the arts and culture, with cities becoming creative by using culture as one of the possible levers; - To find new uses for sites that are run-down or even in a state of decay; - To stimulate cultural democracy and cultural diversity. The concept of cultural quarter is of something that is more deliberate than spontaneous. It also reflects the fact that significant cultural strategies have a greater chance of developing in urban areas in which population densities are substantial. • The concept of cultural district is rooted in the very nature of cultural products. A cultural product involves specific conditions of production, and the nature of such products changes, depending on production factors – both tangible and intangible – and combinations thereof. The production of such products is therefore not independent of the nature of their environment, and the connection with a given territory emerges as a determinant of their very existence. In addition to this idiosyncratic nature is the advantage of proximity to create new products continuously. By choosing to locate near one another, their producers benefit from non-monetary (and in some cases monetary) exchanges that allow them continuously to fine-tune their know-how and their knowledge. Cultural districts emerge as a space of proximity which utilises both the levers of exogenous growth (with markets outside the territory in question) and endogenous growth (the production factors being specific to the particular territory). A new agenda for local authorities The variety, complexity and fragility of cultural activities’ potential effects on local development are not always perceived by local authorities. Even more serious CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 11
EXECUTIVE SUMMARY is the fact that some authorities can be totally unaware of these aspects and taken by surprise when the opening of a museum or creation of a festival fails to trigger effects that are both beneficial and substantial for the territory. The traditional approach to local authorities should therefore be both extended and tempered. Local public officials should consider culture’s three possible contributions to local development, and not just tourism aspects alone. If they do, a number of objectives become feasible: • To educate and train the territory’s players in order to constitute cultural capital, either: - In formal institutions, which in many cases are in conflict with each other, as in the case of schools of fine arts and schools of applied arts: such rifts between systems of learning, which are often long-standing, are reproduced at the local level, where they then create heavy financial burdens. But the emergence or re-emergence of cultural districts has often been related to the institution of new courses of study, which generally combine art and applied arts, based in most cases on applied arts. Or: - Informally: Such skills can also be acquired “on the spot”, and they can therefore disappear on the spot. Today these systems are seriously jeopardised. General knowledge requirements drive people to institutions other than workshops, and the economic weakness of artistic production units makes it difficult for the units to attract young people for training. For both these reasons, people with specialised knowledge and know-how tend to leave without having been able to pass along their skills. Failure to address these challenges jeopardises the survival of a territory’s rare knowledge and skills. • To set up appropriate distribution networks, because distribution has always been problematic, whether in respect to works of art, cultural industries, or creative industries. - Traditional distribution channels, such as art exhibitions and competitions, are insufficient, and are not very accessible to the vast majority of artists and artisans. - Today some chain stores offer the use of conventional commercial channels. But in such cases cultural products serve as loss-leaders; they need to be delivered in large quantities, and the economic gain does not always live up to expectations. 12 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005
Page 1 and 2: Culture and Local Development
Page 3 and 4: ORGANISATION FOR ECONOMIC CO-OPERAT
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Page 17 and 18: INTRODUCTION Yet these attitudes gr
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ISBN 92-64-00990-6 CULTURE AND LOCA
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CONCLUSION - DESIGNING LOCAL PUBLIC
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BIBLIOGRAPHY Bretton, H., (2000), C
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BIBLIOGRAPHY Frey B. & W.W. Pommere
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BIBLIOGRAPHY Karachalis N.,E. Kyria
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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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