The document discusses the economic impact of arts and cultural enterprises in local economies. It provides examples from various cities and regions showing that cultural industries create jobs, income, tax revenues, and attract investment that supports sustainable economic development. Cultural entrepreneurs play an important role in generating revenue from cultural activities and building economically sustainable cultural enterprises.
The document discusses how arts and cultural enterprises positively impact local economies in multiple ways:
1) They create jobs, income, tax revenues, and attract new capital and investment to communities.
2) Studies show they generate billions annually and support tens of thousands of jobs across various regions.
3) Cultural entrepreneurs are important drivers of these economic benefits by creating sustainable cultural enterprises that enhance livelihoods.
(Silver city) nm econ. develop. course may 2010Tom Aageson
The document discusses how cultural enterprises and entrepreneurs can positively impact local economies. It provides examples from studies that show how arts and culture generate billions in economic activity and tax revenues for cities and support thousands of jobs. Cultural enterprises create jobs, attract investment, and enhance quality of life. The document also profiles characteristics of successful cultural entrepreneurs, such as passion, vision, innovation, and creating new markets.
This document provides information about a cultural tourism seminar presented by Tom Aageson and Alice Loy, co-founders of the Global Center for Cultural Entrepreneurship. The seminar focused on cultural entrepreneurship and building business. It was held on June 2, 2011 at the Institute of American Indian Arts in Santa Fe, New Mexico. The document includes background information on cultural entrepreneurship and examples of investments in local cultural economies.
Tom Aageson, Economic Development CourseTom Aageson
The document summarizes the economic impact of cultural and creative industries on local communities. It discusses how cultural industries contributed to 6.2% of the UK's GDP in 2007 and how cities and states across the US are investing in their cultural economies. It also outlines how cultural entrepreneurs generate revenue through cultural activities and how their innovative solutions create sustainable cultural enterprises that benefit communities.
The Creative Economy is growing fast driven by entrepreneurs and the Digital Age. We are about to launch our Accelerator for Cultural and Creative Entrepreneurs.
The document discusses how creative industries such as arts, culture and related sectors contribute significantly to New Mexico's economy by creating jobs, incomes, and tax revenues. It provides statistics showing that these industries generate over $3 billion for the state economy and employ over 58,000 people. The creative economy is an important part of New Mexico's identity and helps drive other industries such as tourism.
The document discusses how arts and cultural enterprises positively impact local economies in multiple ways:
1) They create jobs, income, tax revenues, and attract new capital and investment to communities.
2) Studies show they generate billions annually and support tens of thousands of jobs across various regions.
3) Cultural entrepreneurs are important drivers of these economic benefits by creating sustainable cultural enterprises that enhance livelihoods.
(Silver city) nm econ. develop. course may 2010Tom Aageson
The document discusses how cultural enterprises and entrepreneurs can positively impact local economies. It provides examples from studies that show how arts and culture generate billions in economic activity and tax revenues for cities and support thousands of jobs. Cultural enterprises create jobs, attract investment, and enhance quality of life. The document also profiles characteristics of successful cultural entrepreneurs, such as passion, vision, innovation, and creating new markets.
This document provides information about a cultural tourism seminar presented by Tom Aageson and Alice Loy, co-founders of the Global Center for Cultural Entrepreneurship. The seminar focused on cultural entrepreneurship and building business. It was held on June 2, 2011 at the Institute of American Indian Arts in Santa Fe, New Mexico. The document includes background information on cultural entrepreneurship and examples of investments in local cultural economies.
Tom Aageson, Economic Development CourseTom Aageson
The document summarizes the economic impact of cultural and creative industries on local communities. It discusses how cultural industries contributed to 6.2% of the UK's GDP in 2007 and how cities and states across the US are investing in their cultural economies. It also outlines how cultural entrepreneurs generate revenue through cultural activities and how their innovative solutions create sustainable cultural enterprises that benefit communities.
The Creative Economy is growing fast driven by entrepreneurs and the Digital Age. We are about to launch our Accelerator for Cultural and Creative Entrepreneurs.
The document discusses how creative industries such as arts, culture and related sectors contribute significantly to New Mexico's economy by creating jobs, incomes, and tax revenues. It provides statistics showing that these industries generate over $3 billion for the state economy and employ over 58,000 people. The creative economy is an important part of New Mexico's identity and helps drive other industries such as tourism.
The document discusses how cultural industries and creative enterprises are an important part of New Mexico's economy. They generate billions in revenue, employ tens of thousands of people, and contribute to the tourism industry. Studies show that cities like Santa Fe have high percentages of employment and GDP tied to their arts and cultural industries. The creative economy is growing through new enterprises in film, technology, and other fields that utilize local talent and culture.
The document discusses how cultural industries and entrepreneurship can drive economic development through job creation, tax revenue, and quality of life improvements. It provides examples of how arts and cultural industries contribute significantly to economies in New Mexico, Santa Fe County, and around the world. Cultural entrepreneurs are highlighted as innovators who generate revenue through cultural activities and create sustainable enterprises.
New Mexico Econ. Develop. Course May 2008Tom Aageson
The document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural enterprises generate significant employment, attract residents and businesses, and boost tourism. Investments in arts and culture increase community expenditures and tax revenues. The role of cultural entrepreneurs in connecting artists to markets is also examined, as well as how artists' centers and spaces can support artistic networks and development.
Columbia college (chicago) presentation 2009Tom Aageson
The document discusses how art and cultural enterprises contribute significantly to economic activity and job creation. It provides examples from different cities and regions showing that the creative industries generate billions in annual spending, support tens of thousands of jobs, and provide substantial tax revenues for state and local governments. Cultural entrepreneurs are important for connecting artists and cultural works to markets. Public support for the arts is important as it generates more tax revenues than it costs.
Balancing Art and Money (Columbia College) 2009Tom Aageson
The document discusses the relationship between art, culture, and economic development. It provides examples from cities and organizations that demonstrate how art creates jobs, generates tax revenue, and boosts local economies through cultural enterprises and tourism. Art builds cultural capital and financial capital when supported by cultural entrepreneurs, public funding, and markets for cultural goods and services. Communities that invest in arts and culture benefit from increased economic activity, employment, and livability.
(Silver city) nm econ. develop. course may 2008Tom Aageson
This document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural industries generate significant revenue, employment, and tax income for communities. The cultural entrepreneur plays an important role in connecting artists and cultural creators to markets. Arts and cultural activities improve personal well-being, build social cohesion, stimulate economic development, and attract businesses and residents. Communities that invest in arts spaces see economic and cultural benefits as they are able to retain and attract creative talent.
The document discusses the economic impact of arts and cultural enterprises on local economies. It provides examples from studies that found arts and cultural industries generated over $1 billion in revenues and employed over 12,000 workers in Santa Fe County, representing a significant portion of the local economy. Cultural enterprises help diversify local economies and bring in outside money. Museums are highlighted as examples of cultural enterprises that can catalyze economic development through activities like shops, licensing programs, and special events.
The document discusses the economic impact of arts and cultural enterprises on local economies. It finds that such enterprises create jobs, income, tax revenue, and new capital while enhancing quality of life. A study of Santa Fe County found that arts and cultural industries generated over $1 billion in revenues, employed over 12,000 workers, and attracted most of their funds from outside the county. Museums are highlighted as cultural enterprises that attract new money to the economy and enhance communities. Cultural entrepreneurs are described as visionaries who generate revenue through cultural activities and create economically sustainable cultural enterprises.
The document discusses trends in the cultural economy and their impact on hybrid or creative communities. It defines the cultural economy as including sectors like artisans, performing arts, film, tourism, and design. Emerging trends include more emphasis on creativity in schools, more home-based work using technology, and a preference to live near family over relocating. New types of housing incorporate live/work spaces, artist centers, and performance spaces. Successful projects blend these trends, like artists' housing with job training and entrepreneur programs, to strengthen both cultural enterprises and communities.
This document outlines reasons why investing in arts and culture makes sense for reinventing Michigan. It discusses several arts organizations and their positive economic and social impacts. Ten key reasons are provided for why arts investment is important, including that the arts are an industry, boost tourism, support economic development, and help develop 21st century job skills. The document also notes how arts investment aligns with goals for reinventing Michigan from the governor's plan and a public engagement campaign. It concludes with recommendations for a new arts agency and increased funding.
Local Economic Development by Promoting Cultural Events and TourismKevin Choi
This document discusses several cultural events and tourism promotions in East Lansing, Michigan and how they benefit the local economy. It describes annual events like the Summer Solstice Jazz Festival, Great Lakes Folk Festival, and East Lansing Arts Festival. These events attract thousands of visitors each year and support local businesses through increased spending. The document also analyzes the demographic characteristics of the local population and visitors to determine what types of events would be most successful.
The document discusses how non-profit arts organizations in Minneapolis generate over $300 million in annual revenue, with performing arts organizations accounting for $187 million of that total. It also notes that retail sales in the creative sector generated over $430 million in 2011, demonstrating the significant economic impact of the arts in Minneapolis. The creative sector is described as an ecology made up of artists, arts organizations, funders, educators, and audiences that are all interdependent.
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address challenges independent artists face in participating in the music, art and fashion industries. The app would use geolocation, RFID and QR scanning to help fans discover and purchase from artists at curated local events. It would also provide analytics tools to help local organizations host these events. The business model involves affiliate commissions from sales, as well as premium subscriptions for artists and organizations to use additional CRM and analytics features. The founders aim to build credibility through their experience as musicians and artists themselves.
The document proposes a mobile app and marketplace called Zonez that would help independent artists connect with fans and sell their work. It would use geolocation, RFID/QR scanning, and data analytics to help artists set up pop-up events in prime locations identified by economic development agencies. This would provide more opportunities for the majority of artists who are unable to participate in existing retail and music industry systems. The app would also function as a CRM tool to help artists manage fan relationships and sales. It aims to capitalize on the popularity of art walks and pop-up retail events by facilitating nationwide tours for artists. Revenue models include commissions from sales on the platform, as well as premium subscriptions for artists seeking advanced CRM and analytics
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address challenges independent artists face in participating in the music, art and fashion industries. The app would use geolocation, RFID and QR scanning to help fans discover and purchase from artists at curated local events. It would also provide analytics tools to help local organizations host these events. The team believes this artist-first approach gives them a competitive advantage over existing platforms that do not prioritize the needs of independent creators.
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address the challenges independent artists face in promoting their work and the difficulties economic development agencies have in managing local event and tourism data. The app would use geolocation, RFID, and QR scanning to help fans discover and purchase from artists at curated pop-up events. It would also provide analytics tools to help artists and agencies track performance. The team believes this artist-first approach gives them a competitive advantage over existing platforms that do not prioritize creative professionals.
The document discusses how investing in the arts and creative economy can benefit Wisconsin. It outlines trends showing a shift from traditional industries to a focus on creativity and human talent as drivers of economic development. The creative economy encompasses creative industries, workforce, and communities. Statistics are provided on the economic impact of arts and cultural industries in Wisconsin, showing contributions to employment, business, and tax revenue. Examples are given of other places that have successfully invested in their creative economies through various models and strategies.
Creative Haverhill is a nonprofit organization focused on advocating for the arts in Haverhill, Massachusetts. The creative economy includes industries like technology, entertainment, and arts that employ highly educated creative workers. Richard Florida's research found that cities with higher concentrations of creative class workers in these fields experience greater economic growth. In Haverhill, the conversion of abandoned mills into residential and commercial spaces has attracted new residents and businesses downtown, helping revitalize the former shoe manufacturing city and grow its tax revenue. Creative Haverhill and other local organizations work to promote the arts and public art displays that make Haverhill a more desirable place to live.
Manchester artsculturaldev mtauburnpresenation_may52010_longversionjayom2
The document summarizes a discussion about developing arts and culture in Manchester, NH. It identifies strengths like diverse cultural attractions and challenges like weak branding. Recommendations include building relationships between arts/business, developing a clear brand, and creating programs to attract new audiences. Priority next steps are to organize high-level leaders, communicate the economic impact of arts, and improve internal coordination among arts groups.
Creative Startups is a nonprofit organization that aims to accelerate the success of creative entrepreneurs and economies. Their accelerator program is a 6-week intensive course that provides 50 mentors, networking opportunities, and investor pitches. The document shows that the creative industries contribute $700 billion to US GDP and employ over 27 million individuals. It also notes that the global creative industries are valued at $3.7 trillion. The accelerator has led to significant increases in jobs created, investment capital raised, and companies launched for participants.
The document discusses several initiatives related to cultural and creative industries in Latin America, the Caribbean, Africa, and Asia:
- Mexico promotes its creative industries advantages for trade.
- Barbados' National Cultural Foundation hosts an annual cultural industries symposium.
- A Spanish foundation identifies cultural industries as a key sector of the new economy.
- A Latin American and Caribbean organization examines the potential of creative industries for economic and social development in Central America.
- UNESCO identifies Ghana's cultural industry as a way to alleviate poverty.
- In Kenya, entrepreneurs are using technology to scale up creative businesses.
- Thailand plans to promote cooperation in cultural industries with Bay of Bengal countries through new commissions and observatories.
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The document discusses how cultural industries and creative enterprises are an important part of New Mexico's economy. They generate billions in revenue, employ tens of thousands of people, and contribute to the tourism industry. Studies show that cities like Santa Fe have high percentages of employment and GDP tied to their arts and cultural industries. The creative economy is growing through new enterprises in film, technology, and other fields that utilize local talent and culture.
The document discusses how cultural industries and entrepreneurship can drive economic development through job creation, tax revenue, and quality of life improvements. It provides examples of how arts and cultural industries contribute significantly to economies in New Mexico, Santa Fe County, and around the world. Cultural entrepreneurs are highlighted as innovators who generate revenue through cultural activities and create sustainable enterprises.
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The document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural enterprises generate significant employment, attract residents and businesses, and boost tourism. Investments in arts and culture increase community expenditures and tax revenues. The role of cultural entrepreneurs in connecting artists to markets is also examined, as well as how artists' centers and spaces can support artistic networks and development.
Columbia college (chicago) presentation 2009Tom Aageson
The document discusses how art and cultural enterprises contribute significantly to economic activity and job creation. It provides examples from different cities and regions showing that the creative industries generate billions in annual spending, support tens of thousands of jobs, and provide substantial tax revenues for state and local governments. Cultural entrepreneurs are important for connecting artists and cultural works to markets. Public support for the arts is important as it generates more tax revenues than it costs.
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The document discusses the relationship between art, culture, and economic development. It provides examples from cities and organizations that demonstrate how art creates jobs, generates tax revenue, and boosts local economies through cultural enterprises and tourism. Art builds cultural capital and financial capital when supported by cultural entrepreneurs, public funding, and markets for cultural goods and services. Communities that invest in arts and culture benefit from increased economic activity, employment, and livability.
(Silver city) nm econ. develop. course may 2008Tom Aageson
This document discusses the economic impact of arts, culture, and heritage on local economies. It notes that arts and cultural industries generate significant revenue, employment, and tax income for communities. The cultural entrepreneur plays an important role in connecting artists and cultural creators to markets. Arts and cultural activities improve personal well-being, build social cohesion, stimulate economic development, and attract businesses and residents. Communities that invest in arts spaces see economic and cultural benefits as they are able to retain and attract creative talent.
The document discusses the economic impact of arts and cultural enterprises on local economies. It provides examples from studies that found arts and cultural industries generated over $1 billion in revenues and employed over 12,000 workers in Santa Fe County, representing a significant portion of the local economy. Cultural enterprises help diversify local economies and bring in outside money. Museums are highlighted as examples of cultural enterprises that can catalyze economic development through activities like shops, licensing programs, and special events.
The document discusses the economic impact of arts and cultural enterprises on local economies. It finds that such enterprises create jobs, income, tax revenue, and new capital while enhancing quality of life. A study of Santa Fe County found that arts and cultural industries generated over $1 billion in revenues, employed over 12,000 workers, and attracted most of their funds from outside the county. Museums are highlighted as cultural enterprises that attract new money to the economy and enhance communities. Cultural entrepreneurs are described as visionaries who generate revenue through cultural activities and create economically sustainable cultural enterprises.
The document discusses trends in the cultural economy and their impact on hybrid or creative communities. It defines the cultural economy as including sectors like artisans, performing arts, film, tourism, and design. Emerging trends include more emphasis on creativity in schools, more home-based work using technology, and a preference to live near family over relocating. New types of housing incorporate live/work spaces, artist centers, and performance spaces. Successful projects blend these trends, like artists' housing with job training and entrepreneur programs, to strengthen both cultural enterprises and communities.
This document outlines reasons why investing in arts and culture makes sense for reinventing Michigan. It discusses several arts organizations and their positive economic and social impacts. Ten key reasons are provided for why arts investment is important, including that the arts are an industry, boost tourism, support economic development, and help develop 21st century job skills. The document also notes how arts investment aligns with goals for reinventing Michigan from the governor's plan and a public engagement campaign. It concludes with recommendations for a new arts agency and increased funding.
Local Economic Development by Promoting Cultural Events and TourismKevin Choi
This document discusses several cultural events and tourism promotions in East Lansing, Michigan and how they benefit the local economy. It describes annual events like the Summer Solstice Jazz Festival, Great Lakes Folk Festival, and East Lansing Arts Festival. These events attract thousands of visitors each year and support local businesses through increased spending. The document also analyzes the demographic characteristics of the local population and visitors to determine what types of events would be most successful.
The document discusses how non-profit arts organizations in Minneapolis generate over $300 million in annual revenue, with performing arts organizations accounting for $187 million of that total. It also notes that retail sales in the creative sector generated over $430 million in 2011, demonstrating the significant economic impact of the arts in Minneapolis. The creative sector is described as an ecology made up of artists, arts organizations, funders, educators, and audiences that are all interdependent.
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address challenges independent artists face in participating in the music, art and fashion industries. The app would use geolocation, RFID and QR scanning to help fans discover and purchase from artists at curated local events. It would also provide analytics tools to help local organizations host these events. The business model involves affiliate commissions from sales, as well as premium subscriptions for artists and organizations to use additional CRM and analytics features. The founders aim to build credibility through their experience as musicians and artists themselves.
The document proposes a mobile app and marketplace called Zonez that would help independent artists connect with fans and sell their work. It would use geolocation, RFID/QR scanning, and data analytics to help artists set up pop-up events in prime locations identified by economic development agencies. This would provide more opportunities for the majority of artists who are unable to participate in existing retail and music industry systems. The app would also function as a CRM tool to help artists manage fan relationships and sales. It aims to capitalize on the popularity of art walks and pop-up retail events by facilitating nationwide tours for artists. Revenue models include commissions from sales on the platform, as well as premium subscriptions for artists seeking advanced CRM and analytics
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address challenges independent artists face in participating in the music, art and fashion industries. The app would use geolocation, RFID and QR scanning to help fans discover and purchase from artists at curated local events. It would also provide analytics tools to help local organizations host these events. The team believes this artist-first approach gives them a competitive advantage over existing platforms that do not prioritize the needs of independent creators.
The document proposes a marketplace app called ZONEZ that connects artists directly with fans and local communities. It aims to address the challenges independent artists face in promoting their work and the difficulties economic development agencies have in managing local event and tourism data. The app would use geolocation, RFID, and QR scanning to help fans discover and purchase from artists at curated pop-up events. It would also provide analytics tools to help artists and agencies track performance. The team believes this artist-first approach gives them a competitive advantage over existing platforms that do not prioritize creative professionals.
The document discusses how investing in the arts and creative economy can benefit Wisconsin. It outlines trends showing a shift from traditional industries to a focus on creativity and human talent as drivers of economic development. The creative economy encompasses creative industries, workforce, and communities. Statistics are provided on the economic impact of arts and cultural industries in Wisconsin, showing contributions to employment, business, and tax revenue. Examples are given of other places that have successfully invested in their creative economies through various models and strategies.
Creative Haverhill is a nonprofit organization focused on advocating for the arts in Haverhill, Massachusetts. The creative economy includes industries like technology, entertainment, and arts that employ highly educated creative workers. Richard Florida's research found that cities with higher concentrations of creative class workers in these fields experience greater economic growth. In Haverhill, the conversion of abandoned mills into residential and commercial spaces has attracted new residents and businesses downtown, helping revitalize the former shoe manufacturing city and grow its tax revenue. Creative Haverhill and other local organizations work to promote the arts and public art displays that make Haverhill a more desirable place to live.
Manchester artsculturaldev mtauburnpresenation_may52010_longversionjayom2
The document summarizes a discussion about developing arts and culture in Manchester, NH. It identifies strengths like diverse cultural attractions and challenges like weak branding. Recommendations include building relationships between arts/business, developing a clear brand, and creating programs to attract new audiences. Priority next steps are to organize high-level leaders, communicate the economic impact of arts, and improve internal coordination among arts groups.
Similar to (Silver city) nm econ. develop. course may 2009 (20)
Creative Startups is a nonprofit organization that aims to accelerate the success of creative entrepreneurs and economies. Their accelerator program is a 6-week intensive course that provides 50 mentors, networking opportunities, and investor pitches. The document shows that the creative industries contribute $700 billion to US GDP and employ over 27 million individuals. It also notes that the global creative industries are valued at $3.7 trillion. The accelerator has led to significant increases in jobs created, investment capital raised, and companies launched for participants.
The document discusses several initiatives related to cultural and creative industries in Latin America, the Caribbean, Africa, and Asia:
- Mexico promotes its creative industries advantages for trade.
- Barbados' National Cultural Foundation hosts an annual cultural industries symposium.
- A Spanish foundation identifies cultural industries as a key sector of the new economy.
- A Latin American and Caribbean organization examines the potential of creative industries for economic and social development in Central America.
- UNESCO identifies Ghana's cultural industry as a way to alleviate poverty.
- In Kenya, entrepreneurs are using technology to scale up creative businesses.
- Thailand plans to promote cooperation in cultural industries with Bay of Bengal countries through new commissions and observatories.
The document discusses several initiatives related to cultural and creative industries in different countries and regions. It mentions Mexico's creative industries advantages, Barbados' National Cultural Foundation and annual cultural industries symposium, and a Spanish foundation focused on cultural industries. It also discusses reports on the potential of creative industries as an economic and social development factor in Central America, and the promotion of cultural and creative industries in Latin America and the Caribbean. Further, it notes that Ghana's cultural industry has been identified as a way to alleviate poverty, and discusses how cultural entrepreneurs in Kenya are using technology to scale businesses. Lastly, it outlines Thailand's plan to promote cooperation in cultural industries with Bay of Bengal countries through signing an MOU to establish a commission and
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing even as world commerce declined in 2008. Well-nurtured creative industries can be a source of growth, job creation, innovation and trade while also contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions and countries are now investing in their cultural and creative economies to boost local economies and quality of life.
The document discusses the economic impact of cultural and creative industries on local communities. It begins by noting that global trade in creative services and products continued to grow even as world commerce declined in 2008. It then quotes a UN report stating that nurtured creative economies can be a source of growth, job creation, innovation, and trade while contributing to social inclusion, cultural diversity and sustainable development. Finally, it provides examples of investments in local cultural and creative economies from various cities and states that have fueled economic growth through cultural activities and enterprises.
The document discusses the economic impact of cultural and creative industries on local communities. It notes that global trade in creative services and products continued growing annually even during the 2008 economic decline. Well-supported creative industries can be a source of growth, jobs, innovation and trade while also contributing to social inclusion, cultural diversity and sustainable development. Many cities, regions, and countries are now investing in their local cultural and creative economies to spur economic and community development.
The survey found strong interest in agritourism among farmers in northern New Mexico. Of the 63 farmer respondents, 33 currently offer agritourism activities and 22 more want to. Respondents described a wide array of agricultural experiences available, from farm tours to cultural activities. However, many sites need improvements to accessibility and visitor amenities before they can fully capitalize on agritourism. Marketing efforts are mostly local currently; expanding use of online marketing could attract more visitors. Respondents expressed the most interest in training for marketing and website development assistance.
Tom Aageson is an expert on cultural entrepreneurism and the creative economy. He argues that developing the creative economy requires an integrated approach across state departments, including education. He emphasizes supporting cultural entrepreneurs and developing their skills. Aageson also stresses the importance of teaching creativity at the elementary level, especially for economically disadvantaged children, to help address poverty. He advocates shifting away from "arts education" and toward developing a concept of teaching creativity in various forms.
This document discusses new strategies for cultural enterprises. It focuses on supporting cultural entrepreneurs through five key areas: cultural industries policy, education and training, investment strategies, creating markets and market links, and sharing wisdom. Cultural entrepreneurs are seen as drivers of cultural change and economic development. The presentation argues for developing policies, education programs, investment funds, and global forums to foster cultural entrepreneurship around the world.
1. The Economic Impact of Arts and Cultural Enterprises on Local Economies And the Role of the Cultural Entrepreneur Presented by Thomas H. Aageson Executive Director Museum of New Mexico Foundation New Mexico Economic Development Course May 18-21, 2009 Silver City, New Mexico
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8. Los Angeles, CA Groundbreaking Report Shows Creative Industries Are the #1 Engine of the Los Angeles Regional Economy March 01, 2007 — Artists and Designers Drive the Largest Segment of Jobs and Sales Revenues in the Region— Otis College of Art and Design, Los Angeles, released today a Report on the Creative Economy of the Los Angeles Region. Prepared by Jack Kyser, Chief Economist of the Los Angeles Economic Development Corporation (LAEDC), the key findings are stunning—including one million direct and indirect jobs generated by the creative industries in Los Angeles and Orange Counties. The creative industries lead the pack, surpassing the two long time “traditional” leaders—International Trade and Tourism. The Report puts real numbers to creativity. In 2005, the creative economy accounted for 894,000 direct and indirect jobs in Los Angeles County alone and generated 140.5 billion in sales/receipts and more than $3.4 billion in state tax revenues. Centered on new ideas and new approaches, it is clear that education is critical to maintaining competitiveness in a global economy increasingly built on innovation, sustainability, and good design.
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13. Santa Fe’s Arts and Cultural Industries employed 12,567 people representing 17.5% of total employment in Santa Fe county and paid $231.5 million in wages and salaries. BBER Study, Executive Summary (N.B. Europe’s Creative Sector Employment = 2.6%) Georgia O’Keeffe Museum, Santa Fe
14. “ the funds that the A&CIs inject into the economy create new jobs and new sources of income on a net basis.” “ By BBER estimates, the $814 million that the A&CIs and cultural tourism bring into Santa Fe may account for as much as 39% of the total inflow of money (new capital) into the local economy…” BBER Study, Executive Summary Canyon Road in Santa Fe created through Zoning for Arts and Crafts District
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35. Center for A Urban Future www.nycfuture.org December 2005 BROOKLYN DESIGNS A MARKET Brooklyn Designs , a project of the Brooklyn Chamber of Commerce, has emerged as a successful model for showcasing new designers along the same lines as the Creative Industries Development Service (CIDS) in the United Kingdom, even though CIDS is aimed at supporting all of London’s creative industries, while Brooklyn Designs is singularly focused on the design industry. Part of the challenge for emerging and even established creative entrepreneurs is tapping into the marketplace and accessing new audiences for their products. When the Chamber identified a growing sector of furniture and home designers, it created Brooklyn Designs as a way of showcasing these businesses. The show provides access to a growing audience of more than 4,000 buyers, architects and consumers. Participation in Brooklyn Designs also gives designers access to editors from top design magazines like Interior Design and Metropolitan Home, who serve on the jury to select entries into the show and provide a critical audience for designers aspiring to launch a product from Brooklyn to international prominence. Brooklyn Designs offers the opportunity to get a product to market with minimal investment. In addition to participation in the show, participating designers who are also members of the Chamber have access to services including help finding space, employment assistance, business advice and evaluations on business development. Karen Auster, coordinator of Brooklyn Designs, often assists designers in helping them to evaluate how to balance the business end of their design work. According to Auster, she finds that, “as a creative person they often need help to gauge how much of their time they need for business tasks, how much for the creative part.”
36. Creative London Aligning and rationalizing the resources available to support creative work is no easy task. But in London, for the first time, all of the highest-level creative stakeholders in the city—arts, business, higher education and government—have begun to collaborate around a common mission to support creative industries. The field is being assessed and assisted as a whole, not in distinct parts. The coordinated effort began in 2003,when London Mayor Ken Livingstone set up a commission to undertake a major assessment of the creative industries in London. Spearheaded by the London Development Agency (LDA), the equivalent of New York City’s Economic Development Corporation, the commission brought together business executives from creative industries, government officials and leaders of arts and cultural organizations to identify the economic potential of the city’s creative sector, as well as the major barriers that might impede its future growth. Center for A Urban Future www.nycfuture.org December 2005 LEARNING FROM LONDON As New York takes on the challenges facing its creative sector, industry leaders here can look to London and other UK cities for some useful models.
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40. Beacon, New York The New York Times A City Reborn as a Haven for Art March 26, 2009 EVEN before it opened six years ago in a former Nabisco cracker box factory, Dia:Beacon, the largest museum of contemporary art in the country, had set in motion a cultural makeover in this once-forlorn river city. The mere anticipation of its arrival turned empty storefronts into gleaming galleries and coaxed residents of Williamsburg, Brooklyn, and other artistic enclaves in New York City to relocate here. Chattanooga, TN CreateHere Has Brought 24 Artists To Chattanooga posted April 21, 2009 The not-for-profit, public-private group, CreateHere begins its second year of operations to further aide Chattanooga’s cultural renaissance through artist recruitment, art grants and other economic resource programs. Offering housing, moving and work space incentives, CreateHere has brought 24 artists to the area generating an economic impact of $3.8 million in an effort to bring new life to once depressed areas of the city through home sales, officials said.
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47. Mystic Maritime Gallery John Mecray, “ Columbia vs. Shamrock” The first U.S. art gallery in a museum shop (Mystic Seaport Museum) to offer the work of contemporary artists creating a new market and eventually spawning six for-profit maritime art galleries. Artists’ prices increased, in some cases, more than ten fold over a fifteen year period.
48. Created traditional New England clambakes at Mystic Seaport, resulting in a profitable catering business.
49. America’s Cup Mystic Maritime Graphics secured the official license to publish America’s Cup graphics and distributed them globally using the work of American and Australian artists.
50. Santa Fe International Folk Art Market In 2004 the first folk art market was created. From its inception, it was the most important gathering of international folk artists and collectors. An excellent example of creating a cultural market.
51. Museum of New Mexico Foundation Licensing Program The Museum of New Mexico Foundation’s licensing program was established in 1998 to generate essential revenues to help support acquisitions, exhibition development, and educational outreach programs at the Museum of New Mexico. Spanish Diamond Buffet by The Romweber Co. Adapted from a Spanish traveling desk, a vargueño , in the collections at the Museum of International Folk Art, Santa Fe. Arrow Pot Design by Nambe The pot that inspired this piece comes from Acoma Pueblo, ca. 1900 and is part of the collections of the Museum of Indian Arts & Culture, Museum of New Mexico, Santa Fe.
52. An innovative initiative that purchases (over $1million) and markets the work of New Mexican artists and artisans through the Museum of New Mexico Foundation’s Museum shops, creating a statewide economic development impact and support for the Museum of New Mexico. www.newmexicocreates.org www.worldfolkart.org www.shopmuseum.com Barbara and Joseph Cerno Acoma Pueblo
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56. Bilbao, Spain Guggenheim Museum Bilbao, Spain From Industrial Ruins to Architectural Emblems A massive infrastructural transformation and urban regeneration process has turned Bilbao’s wasteland of industrial ruins into a service-oriented and culturally attractive city. The flagship of the entire redevelopment is Frank Gehry’s spectacular Guggenheim-Bilbao Museum. The museum brought $147 million into the local economy in 2001 and another $23 million in taxes, which represents about 4,415 jobs. 1.3 million tourists visited in the first year it was open.
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60. Financing Strategies Yes YES SOMETIMES MAYBE YES Personal/Family NO YES YES YES YES Debt YES YES YES YES NO Passive Income YES YES YES SOMETIMES YES Special Events YES YES SELDOM NO YES Government Support YES NO SELDOM NO YES Sponsorship Yes YES YES YES YES Membership YES YES YES YES YES Private Support YES YES SELDOM NO YES Income Grants YES YES YES YES NO Enterprise Does it Generate Operating Funds? Does it Generate Capital Funds? Is It Renewable? Long Term Income Strategy? Short Term Income Strategy?
65. Artists’ Centers In general, the contemporary discourse on cultural and economic development policy undervalues the significance of space and place in the arts. Arts administrators and funders tend to think organizationally. But many artists and arts fans think instead of a place: a theater space, a gallery, a jazz club, an art crawl, or even an entire arts neighborhood that they love to visit and revisit. Ongoing access to spaces that offer novelty and serendipitous encounters with other artists and art lovers is a great gift for artists. It is not only the events and equipment that matter, but also the networks and friendships formed around them. We argue that “more and better” artists, to use the rather crass terminology of economics, emerge in and are attracted to towns and cities that offer a portfolio of dedicated spaces for learning, networking, exhibition, and sharing tools and workspace. Once there, they contribute to the host economy by exporting their work, contracting with businesses to make them more productive and profitable, stimulating innovation on the part of suppliers, and bringing income and energy to their neighborhoods. Ann Markusen The Arts Economy Initiative Project on Regional and Industrial Economics Humphrey Institute of Public Affairs University of Minnesota February 2006
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70. Housing Strategies Artspace has its day Wednesday, June 11, 2008 The doors to the Artspace project in downtown Buffalo have been open for several months, but Wednesday marked "Artspace Day" to commemorate the $17 million project, which has been many years in the making. The Artspace Buffalo Lofts, the first local project by Minneapolis-based Artspace, took the vacant, but historic Buffalo Electric Vehicle Co. building on Main Street and converted it in to 60 loft units that were rented to area artists. The project marries residential space with artist's lofts and exhibition space. The Buffalo Electric Vehicle Building features 36 units while a second building that was constructed as part of the project has another 24 units. New affordable housing will help Oakland artists stay put www.insidebayarea.org, By Cecily Burt, June 8, 2008 Oakland is home to a vast underground arts community, whose members often find the most affordable work and living spaces in warehouses in West or East Oakland. Still, the real estate boom has been tough for many artists and arts groups that were displaced by rising rents and new construction. That will not be a problem for the future residents of the Noodle Factory in West Oakland. In one of the few projects of its kind in the country, the Northern California Land Trust is turning an old industrial noodle factory at 26th and Union streets in West Oakland into permanently affordable spaces that will be sold to working artists at steeply discounted prices. The space already had been taken over as an underground artists collective.