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Creativity and the City Goethe-Institut Hanoi 01-02 October 2014

Creativity and the City Opportunities and Challenges for Vietnam

Dr. Michael Waibel, University of Hamburg, Department of Geography

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Exhibition Creativity in the Cities, 30.09.2014


Documentaries & Discussion, 30.09.2014

events

uniqueness becoming friends

social life

patience

communication

PR-management advocacy

public opinion self-organisation

government support

regulations

diversity

tax exemption

economic incentives

vibrancy

architecture heritage public space

rentals contracts

inspiration aesthetics

Creative spaces

safety & security

art leisure

business

neighborhood

city

bars

cafés

governance

mix renovation


Creativity and the City Opportunities and Challenges for Vietnam

Contents • background

• objective of the conference

• general conceptualization of creativity

• case study: the development of creative spaces in China

• conclusion

• references

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Background as urban researcher

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Core objective of „Creativity and the City“

↘ to contribute to a better understanding about the potential of creativity towards urban development

↘ to raise public awareness about creativity as a key asset for urban development and city branding

↘ to provide knowledge transfer by introducing best practice examples from Asia and Europe

↘ to serve as a platform to articulate needs & aspirations ↘ to promote a dialogue between the stakeholders,

to foster networks and new alliances

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Why is promoting creativity important?

↘ creative industries as one the “global economic success stories of the last 20 years”

↘ creative industries have become a major sector for economic development worldwide

↘ Supporting the movement towards a more knowledge-based economy and thereby increasing competiveness

↘ creating new jobs

↘ Promoting modernization / innovation

↘ Benefitting from spillover effects, e.g. cultural tourism

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MOCST/VICAS 2013


Sub-sectors of the creative economy

National Strategy for the Development of Cultural Industries in Vietnam 1) Advertisement 2) Architecture 3) Crafts 4) Design 5) Film & Video 6) Publishing 7) Software & Games 8) Electronic Publishing 9) Music 10) Performing Arts 11) Visual Arts 12) Television & Audio Broadcasting 13) Cultural Tourism

Creative Economy Report Hamburg 2012 1) Music 2) Books 3) Visual Arts 4) Film 5) Audio Broadcasting 6) Performing Arts 7) Design 8) Architecture 9) Press 10) Advertisement 11) Software & Games 12) Others (libraries, archives, monuments...)

The creative economy is very diverse

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MOCST/VICAS 2013; Hamburg Kreativgesellschaft (2012)


Specifics of the creative sector

↘ a high percentage of freelancing individuals and small enterprises (97% of companies in DE < 10 employees)

↘ importance of professional networks ↘ new ways of work organization (e.g. co-working spaces) ↘ new ways of cooperation (crowd sourcing, open source,

crowd funding, creative commons) ↘ new work locations (e.g. self-organized spaces in urban

niches / [temporary] use of vacant factory lots) ↘ various ways of governance (e.g. self, co and top-down)

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Hamburg Kreativgesellschaft (2012)


Creative spaces in the city: pro’s & con’s

•  “magic bullet” (Hall 2000)

•  economic value: local recovery/ growth, new jobs (Landry 2000, Florida 2004, Drake 2003, O’Connor 2006)

•  social value: integration & cohesion (Evans 2009)

•  intrinsic value: promotion of arts (Sauter 2012)

•  place-making & marketing, tourism (Daniels 2012)

•  “urban utopia” (Lindner 2009)

•  gentrification & commercialization (Zukin 1982, Lloyd 2006)

•  often only low wage service sector (Bassett 1993)

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First Transition (since 1978)

!  export led industrialization of the country !  labor & resource intensive growth !  China becomes “factory of the world”: “made in China”

Constraints !  labor shortages & rising wages !  global competition in low wage sector !  growing environmental concerns !  appreciation of the Renminbi

Second Transition, 科学发展观 (since 2003) !  promotion of domestic innovation “designed in China” !  qualitative economic growth model “created in China” !  development of domestic market “sold in China” !  world leading companies in Chinese possession “owned in China”

… structural background similar to Vietnam

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Zielke / Waibel (2014)

The development of creative spaces in China I


… from local experiments to mainstream urban policies

1990s Underground artist villages emerge in Beijing & Shanghai with exhibitions at the 2000 Shanghai Biennial

Local

2002 Law to protect industrial heritage in Shanghai City

2003 “Community movements” start fighting for the protection of Beijing 798 & Shanghai M50

Local

2004 Round-table events in Shanghai on creative industries; Shanghai Creative Industry Center founded; protection of 798 & M50

City

2005 Shanghai designates 14 creative industry clusters; Events on Beijing’s creative industries; SZ Biennial on Urbanism

City

2006 Legal recognition from the central government National

2006 First annual expo on Beijing’s creative industries City

2006- Public-private institutions operate creative spaces Local

2007 “Creative Zone Fever” starts in Guangzhou City

2008 Introduction of “3-Olds-Policy” (三旧改造) promotes this Provincial

The development of creative spaces in China II

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Creativity and the City Goethe-Institut Hanoi 01-02 October 2014 12



The development of creative spaces in China III

"  pioneers like 798 & M50 with an initial period of informality

"  today the local state exerts firm control on its development & activities

"  the zones benefit from public funding schemes and from a clear regulatory framework and certification processes

Photos: Waibel (2012)

… impressions and lessons learned from various art zones in China

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The development of creative spaces in China IV

"  fashionable leisure areas with restaurants, bars, wine shops and cinemas targeting the urban middle class and tourists

"  increasing commercialization & gentrification

"  today "maturing creative clusters“ (Waibel/Zielke 2012) Photos: Waibel (2011-2013)


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The development of creative spaces in China V

"  promoted as spaces of culture as well as spaces of (assumed) openness and tolerance

"  “Creative Zone Fever” in China today

"  Symbol of “Second Transition”, but creative core often remains unclear


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Photos: Waibel (2012)


"  the legalization of creative spaces follows a commonly identified development path

#  local experiments in the booming cities before they were legalized by the national level politics

#  Beijing & Shanghai were spearheads to develop a regulatory framework to govern creative and cultural spaces, now highly regulated development

#  willingness to learn, experiment & copy determine China’s “adaptive governance” (Heilmann/Perry 2011)

"  contribution of creative spaces to the Second Transition remains limited

#  rising importance as leisure space <-> decreasing role as art space

#  often only the scenery / façade for real estate driven development

#  in 2011, the cultural industry had only a 3% share of the GDP

#  „creative class“ makes up only 7.4% of China’s workforce

#  ranked only 58th (of 82) on R. Florida‘s “Global Creativity Index” in 2011

The development of creative spaces in China VI … concluding statements

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↘ there is no single solution or standardized procedure for the development of creative spaces due to its distinctiveness

↘ often there is a mix of bottom-up and top-down approaches ↘ the effective development of creative spaces usually depends on

active pioneers, their collective self-organization, backed by a strong civil society and the support of the local government

↘ Successful creative spaces achieve multiple benefits "  nucleus and stimulus for the creative economy "  popular venue for a wide range of cultural events "  revitalization of derelict factory sites or of neighborhoods "  attractive and vibrant leisure and tourist destination "  integral part of image making and city branding

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Conclusion I


↘ untapped potential for the promotion of the creative sector in Vietnam

↘ this is particularly true in the case of Hanoi with its abundant cultural tradition and its charms of the inner city

↘ comprehensive approaches needed (e.g. the cooperation between the municipal departments)

↘ development of a regulatory framework and of certification schemes seems mandatory

↘ new management institutions (e.g. PPPs) shall be founded ↘ Vietnam is at the forefront of an exciting development

path with many opportunities, but it still has a long road ahead.

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Conclusion II


Thank you for your attention! Cám ¨n s˘ læng nghe cÒa qu˝ vfi!

More information at www.michael-waibel.de

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References

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Basset, K. (1993). "Urban cultural strategies and urban regeneration: a case study and critique." Environment and Planning A 25(12): 1773-1788.

Daniels, P.W., Ho, K.C. & T.A. Hutton (Eds), New Economic Spaces in Asian Cities. From industrial restructuring to the cultural turn, London, 2012.

Evans, G. (2009). "Creative Cities, Creative Spaces and Urban Policy." Urban Studies 46(5-6): 1003-1040. Fesel, B. & M. Söndermann (2007): Culture and Creative Industries in Germany. German Commission for UNESCO. Florida, R. (2004) The Rise of the Creative Class, New York. Hall, P. (2000). "Creative Cities and Economic Development." Urban Studies 37(4): 639-649. Hamburg Kreativgesellschaft (ed.) (2012): Kreativwirtschaftsbericht 2012 für Hamburg, Hamburg. Heilmann, S. and E. J. Perry (2011). Mao's invisible hand: the political foundations of adaptive governance in China.

Cambridge, Mass, Harvard University Asia Center : Distributed by Harvard University Press. Keane, M. (2011) China’s New Creative Clusters. Governance, human capital and investment, London. Landry, C. (2000) The Creative City: A Toolkit for Urban Innovators. London. M.S. (2014) Urban development in Vietnam: Zone 9, deep-sixed. The Economist, 27 January 2014. http://

www.economist.com/blogs/banyan/2014/01/urban-development-vietnam MOCST/VICAS (ed.) (2013) National Strategy for the Development of Cultural Industries in Vietnam to 2020, Vision

2030. Draft Version, December 2013, 36 p. Waibel, M. (2010) Hanoi is booming: Heading West. Wiener Zeitung, Dossier “Happy 1000th, Hanoi! – Chào mừng

Hà Nội 1000 năm!”, Dossier: Countries, Cities, People. November 2010, 10-13. Waibel, M. & P. Zielke (2012) Beijing 798 Art Zone: A Maturing Creative Cluster? Pacific News, 38 (July/August

2012), 15-17. Webster, D., Muller L. & J. Cai, The emerging cultural economy in Chinese cities: early dynamics, International

Development Planning Review 33 (2011) 343-369. Wick, Anemi (2014) Bunkergrau, Beton und bloß keine Gucci-Täschchen. Reportage, Das Magazin, Februar 2014,

79-85. Zielke, P. & M. Waibel (2014) Comparative Urban Governance of Developing Creative Spaces in China. Habitat

International, 41 (1), 99–107. Zukin, S. (1982): Loft Living. Culture and Capital in Urban Change. New Brunswick: Rutgers University Press


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