The effectiveness of creative enterprise policies: What programmes work?

Author: Dr Stephen Knox, Senior Lecturer in Entrepreneurship and Innovation, University of Stirling

PDF Published: Friday 29 Sep 2023 (SB 23-37)

This infographic sets out a theoretical approach to assessing policy to support creative enterprises; policy aims to deliver economic growth through either increasing the individual capacity of creative practitioners, or improving the institutional capacity to support the wider sector.

Image: Figure 1: Creative enterprise policy initial programme theory

Training and advice programmes deliver three types of short term benefits; developing a personal growth mindset, creating cultural value, and providing business development.

Image: Figure 2: What are the short-term benefits of training and advice programmes?

Financial initiatives can be in the form of loans, small grants for practitioners, large grants for intermediary organisations or research and development funds.

Image: Figure 3: What are the benefits of finance initiatives

Place based initiatives deliver three types of benefits for events, festivals and attractions, for regional networks, and for arts centres, buildings and renovation.

Image: Figure 4: What are the benefits of place-based initiatives

The four archetypes identified for individual capacity building programmes are; training and advice, peer networking, finance and exhibitions.

Image: Figure 5: Individual capacity building programmes

The four programme archetypes identified to build institutional capacity are; infrastructure, event and festival programmes, regional networks, and R&D funds.

Image: Figure 6: Institutional capacity building programmes

Scottish Government. (2018). Economic Action Plan 2019-20. Retrieved from https://webarchive.nrscotland.gov.uk/20220320151623/https://economicactionplan.mygov.scot/ [accessed 13 April 2023]

Creative Scotland. (2014). Creative Scotland 10 Year Plan 2014-2024. Retrieved from https://www.creativescotland.com/__data/assets/pdf_file/0012/25500/Creative-Scotland-10-Year-Plan-2014-2024-v1-2.pdf

Scottish Government. (2022, December 15). Scottish Budget: 2023-24. Retrieved from https://www.gov.scot/publications/scottish-budget-2023-24/

Scottish Government. (2020, February 28). A Culture Strategy for Scotland. Retrieved from https://www.gov.scot/publications/culture-strategy-scotland/ [accessed 14 April 2023]

Scottish Government. (2019, October 11). Creative industries: policy statement. Retrieved from https://www.gov.scot/publications/policy-statement-creative-industries/pages/2/ [accessed 14 April 2023]

Creative Scotland. (2022). Annual Plan 2022-23. Retrieved from https://www.creativescotland.com/resources-publications/publications/plans-and-strategy-documents/annual-plans/annual-plan-2022-23 [accessed 3 May 2023]

HM Treasury. (2011, April 27). The Magenta Book. Retrieved from https://www.gov.uk/government/publications/the-magenta-book [accessed 14 April 2023]

Fleming, T. (2007). Investment and funding for creative enterprises in the UK. In Entrepreneurship in the Creative Industries: An International Perspective. Cheltenham: Edward Elgar, 107-125.

Galloway, S., & Jones, H.D. (2010). The Scottish dimension of British arts government: a historical perspective. Cultural trends: 19(1-2), 27-40.

Bonnar, A. (2014). What does culture mean to you? The practice and process of consultation on cultural policy in Scotland since devolution. Cultural trends: 23(3), 136-147.

Florida, R. (2004). The Rise of the Creative Class and How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books.

Bonnar, A. (2014). What does culture mean to you? The practice and process of consultation on cultural policy in Scotland since devolution. Cultural trends: 23(3), 136-147.

Bazalgette, P. (2017). Independent Review of the Creative Industries. Retrieved from https://www.gov.uk/government/publications/independent-review-of-the-creative-industries [accessed 13 April 2023]

Arshed, N., & Knox, S. (2022). Access to COVID-19 Financial Support: The Experiences of SMEs in Scotland. (n.p.): (n.p.).

Gutierrez-Posada, D., Kitsos, T., Nathan, M., & Nuccio, M. (2022). Creative clusters and creative multipliers: evidence from UK cities. Economic Geography: 19(1-2), 27-40.

Belfiore, E. (2020). Whose cultural value? Representation, power and creative industries. International journal of cultural policy, 26(3), 383-397.

Eikhof, D.R. (2020). COVID-19, inclusion and workforce diversity in the cultural economy: what now, what next?. Cultural Trends, 29(3), 234-250.

Jayne, M. (2005). Creative industries: the regional dimension?. Environment and Planning C: Government and Policy, 23(4), 537-556.

Knox, S., Casulli, L., & MacLaren, A. (2021). Identity work in different entrepreneurial settings: dominant interpretive repertoires and divergent striving agendas. Entrepreneurship & Regional Development, 33(9), 717-740.

Fleming, T. (2007). Investment and funding for creative enterprises in the UK. In Entrepreneurship in the Creative Industries: An International Perspective. Cheltenham: Edward Elgar.

Schlesinger, P., Selfe, M., & Munro, E. (2015). Curators of Cultural Enterprise: A Critical Analysis of a Creative Business Intermediary. Basingstoke: Palgarve Macmillan.

Foord, J. (2009). Strategies for creative industries: an international review. Creative Industries Journal, 1(2), 91–113.

Evans, G. (2009). Creative cities, creative spaces and urban policy. Urban Studies, 46(5–6), 1003–1040.

Hadida, A. (2015). Performance in the creative industries. In The Oxford handbook of creative industries (pp. 219–248). Oxford: Oxford University Press.

Boorsma, M. (2006). A strategic logic for arts marketing: Integrating customer value and artistic objectives. International Journal of Cultural Policy, 12(1), 73-92.

Hadida, A. (2015). Performance in the creative industries. In The Oxford handbook of creative industries (pp. 219–248). Oxford: Oxford University Press.

Oakley, K. (2009). The disappearing arts: creativity and innovation after the creative industries. International Journal of Cultural Policy, 15(4), 403-413.

Doherty, C., Fairburn, S., & McGillivray, D. (2019). Models of Collective Working. Insights on the Scottish Context. The Design Journal, 22, 277-293.

Bakhshi, H., Edwards, J., Roper, S., Scully, J., Shaw, D., Morley, L., … Rathbone, N. (2013). Creative credits: a randomized controlled industrial policy experiment. London: National Endowment for Science, Technology and the Arts (NESTA).

Last Updated: 20/2 10:38pm