Aim: to assess and compare current approaches to definition and evaluation of creative industries, creative cities and creative clusters; to develop new models for qualitative and quantitative evaluation of ‘soft infrastructure’ in clusters.
See also:
The evaluation of clusters is central to this project. We are concerned to:
- evaluate the current performance of clusters in Chinese cities – are they working, what are their problems, what might they do more
- develop indicators which can be used to assess the ‘health’ of individual clusters
- develop indicators which can be used in spatial analysis (see also Cluster Mapping)
- develop methods allowing us to model the different dimensions of ‘soft infrastructure’ in clusters and their urban environment
- develop indicators of sustainable and livable creative ecosystems
This process will be driven by the qualitative work around Users of Clusters (see Networks and Entrepreneurs) and Business Services and Management in Clusters. But it will feed into the mapping process, adding qualitative depth to the database, and into the various models for assessment and model building for soft infrastructure and creative ecosystem.
Rationale for indicators
The possible indicators for evaluation the performance of clusters are:
- Typology
- Value Chain
- Management
- Employment
- Tax revenue
- Satisfaction
- Cultural inclusiveness
- Creativity
The problem might be access – but also statistical standards between clusters might also be a problem.
Before getting to specific indicators we have to know what clusters are meant to achieve. Based on literature review, we suggest they are not just about real estate development but include other benefits which might not be directly expressed in absolute terms of profit/tax revenue. Clusters provide inputs into the wider creative economy in ways more akin to R&D or infrastructure investment. Though the Shanghai Media Group might have more economic output that all the clusters, the contribution of these clusters might be manifested in other ways essential to an emergent creative economy.
It is for this reason that we listed the range of functions. Cluster encourage:
- Transfer of tacit knowledge through informal learning
- efficient sourcing skills and information
- competition-collaboration of complementary business producing learning and efficiency effects
- development of inter-cluster trading, networking and joint projects
- delivery of common services – from utilities (internet, telephone) to business support, training and industry events
- (in china especially): allow targetted application of industry development policies
- cross-subsidy or government support allows cheaper rents or other benefits for small companies and entrepreneurs
- inspiration by proximity
- common branding and identification
- the contribution to and benefit from a nearby ‘innovative urban milieu’
As such clusters can be key drivers for a wider creative ecosystem.
Qualitative Indicators
The typological (lead function; retail/entertainment offer; date of establishment; ownership) and the quantitative (number of businesses, employment, tax returns etc.) are useful – but here we emphasize the qualitative.
In this research, we are using the following indicators. These will form the basis of fieldwork and can be adapted to the more indictor based evaluation model.
Diversity
The learning and collaboration within clusters depends on both diversity and mutual interest. It is not use being so diverse many do not have anything in common with each other. We thus balance diversity within identity.
- diversity within a sector: is a full range of functions present from the whole ‘value-chain’?
- diversity between sectors: is there a wide spectrum of creative industry activities
- diversity of activity: to what extent is there a production and consumption mix?
- diversity of offer: does the cluster attract a wide range (age, class, lifestyle, ethnicity, gender) of a) producers and b) consumers?
Identity
Does the cluster have clear offer or identity?
Producers
- identification with a particular sector or kind of industry (audio-visual, new media) or values (‘street’, arty, entrepreneurial)
- does it have a strong visual/design identity
Consumers
- identification with a particular sector or kind of industry (audio-visual, new media) or values (‘street’, arty, entrepreneurial)
- does it have a strong visual/design identity
- does it attract a particular kind of person
Interactivity and Collaboration
- do businesses feel they interact with other businesses – socially and professionally
- do they feel that the space/management/atmosphere encourage interaction
- what levels and kinds of collaboration take place
- do businesses feel they learn from other businesses
Embeddedness
How are clusters related to their immediate environment? Are they part of a local ‘creative milieu’ or in an isolated (from their perspective) location? Is this isolation always a bad thing (M50 claim not to want ‘passing trade’ but targeted buyers).
- surrounding activities and institutions: is it near a cultural, entertainment or retail district; or a university, art school, etc.
- connectedness to local area: is there interaction between those in the cluster and the immediate area – for business or social reasons (for example, people in M50 do not have much activity in the immediate neighbourhood);
- Interconnection with other clusters: are there any links with other clusters nearby or further away
- use by wider creative community: do they organize events; do creative use just retail function to sell; do they use it to socialize; is there a virtual network (M50 have an artists on-line community)
Voice
The more specific management issue will be explored in Networks and Entrepreneurs. From the users point of view we suggest ‘Voice’ as a way of assessing their involvement in and identification with the overall vision and governance of the cluster.
- do they feel their voice is heard by management
- do they feel their views are marginal with respect to others in the cluster (‘noise’)
- can they only chose ‘exit’ rather than voice
- do they want a voice
