Title here Title here April 2015

Culture

Breakfast Event 15th April 2016

Title goes Open Sans Body copy to be set in lighter grey to emphasise title. • Bullet point 1 • Bullet point 2 • Bullet point 3

Join the conversation…

Title here Anita Pace Chair of Bondholders

www.marketinghumber.com

www.marketinghumber.com

Our activity plan for 2016 includes: • The development of stronger regional

PR with opportunities for members to get activity involved

• The development of a strong narrative

for the Humber region • We’re delighted to announce the joint

development of thehumber.com alongside the Humber LEP, which will promote the Humber as a thriving and progressive economic region – becoming a portal for inward investment and an important hub for businesses

• New promotional literature to help you

harness and recruit talent

www.marketinghumber.com

Title here Rob Walsh Chief Executive North East Lincolnshire Council

Bondholders Breakfast 15 April 2016

Rob Walsh

Chief Executive

North East Lincolnshire Council

It’s about the Place

• Economy and Community

• Ambition

• Drive and Purpose

• Partnership and building relationships

• Taking the odd risk

• Enabling and facilitating

If you build it..........

• Inclusive Economic Strategy focused on Place

• Raising our profile eg National Armed Forces Day

• Transforming our offer – eg The Pier!

• The platform is established...

• Culture matters

Title here Jane Glaister OBE Cultural Consultant

Culture, the Creative Economy and Critical Success Factors

Jane Glaister OBE

My Journey

“those industries which have

their origin in individual creativity, skill and talent and which have potential for wealth and job creation through the generation and exploitation of intellectual property”

DCMS(1998) Mapping Document. Foreword

www.culture.gov.uk/Reference-library

A measurable sector. The Creative Industries...

THREE days after the 1997 general election Chris Smith, the shadow health minister, was summoned to the Cabinet Room at 10 Downing Street and, after a brief chat with Tony Blair, appointed Secretary of State for Culture, Media and Sport."I had to do some rapid thinking," the MP says. "When the then-named Department of National Heritage was set up in 1992, the tabloids called it the Ministry of Fun and the Ministry of Free Tickets. I wanted the department to be serious as well as fun. I decided to set up a task force on the economic potential of the creative industries."

The creative industries make up one of the UK’s leading industrial sectors, responsible for 1.8 million jobs. In 2014, the Creative Economy was worth £133.3bn, accounting for 8.2% of the UK economy. The UK has a share of around 5% of the global export market for creative goods. As well as their direct economic value, these industries play an important role in catalysing innovation across the wider economy, through the products and services they provide, but also as means of originating and spreading new ideas, knowledge and ways of working. CCI industries are involved in the making and circulating of product that have influence on our understanding of the world

.

For four years running the Creative Industries have grown as a proportion of the total UK GVA. GVA of the Creative Industries increased by 8.9% between 2013 and 2014. This compares to 4.6% for the whole of the UK. Between 1998 and 2014, GVA of the Creative Industries increased by 6% each year.

Created in Britain UK is a global leader in several sectors. The UK has: The largest producer of TV/ radio content in Europe (only the US generates more value from TV exports) Is 2nd only to the US in the global film market with increasing box office receipts The largest publishing industry in Europe exporting more books than any other publishing industry in the world Leads the worlds ranking for advertising excellence Is the 4th largest music producer Is rated the 4th in the world for design Holds one of Europe’s top 4 fashion cities (London – Milan, Paris and Rome) Is a centre of excellence for cultural heritage

Created in Yorkshire

There are approx 158,000 Creative Industries companies (not including sole traders) in the UK. Vast majority of companies are small with fewer than 10 people (77% in creative media; 90% in creative and cultural) – a further half million are sole traders or freelance. Many sectors characterised by high levels of freelancing especially those areas most closely involved in the process of producing the creative content e.g. film production, (80%), performing arts (58%) With some significant exceptions – CCI is not a sector dominated by mature, large employers that can offer secure organisational labour markets/careers

Celebrating and showcasing

So – a success story...

The value of culture cannot be

expressed only with statistics.

Audience numbers give us a poor

picture of how culture enriches us

Capturing Cultural Value.

John Holden

'Mozart is Mozart because of his music and not because he created a tourist industry in Salzburg .Picasso is important because he taught a century new ways of looking at objects and not because his painting in the Bilbao Guggenheim are regenerating an otherwise derelict northern Spanish port. Van Gogh is valued because of the pain or intensity of his images and colours, and not because he made sunflowers and wooden chairs popular. Absolute quality is paramount in attempting a valuation of the arts; all other factors are interesting, useful but secondary. ‘ (Tusa 1999)

What is the value of culture? The statistics are proving that there is significant economic value to investing in the culture and creative industries. Through their ticket purchases, and time and monetary donations, residents demonstrate the value they place on cultural activities But the sector continues to faces issues of proving its value in a way that can be understood by decision-makers. The cultural sector has had to use the tools and concepts of economics to fully state their benefits. This has meant that investment has been skewed disproportionally to activity that shows immediate financial returns

The power of the Creative & Cultural industries is their ability to deliver economic & social returns, build image and identity, challenge and innovate and make people happy!

Culture

Creativity Intellectual

Property

Wealth

The Creative Economy Creative industries = economic value Cultural industries = social and cultural value But... culture and creativity and the mixture of public sector and commercial provision is necessarily intertwined and their relationship needs to be understood to ensure success

Three interlocking kinds of Cultural Value: Intrinsic Instrumental Institutional

Innovation in the creative industries is driven by an intricate relationship between content and technology; the collaboration between artist and scientist. Good relationships with partners, such as cultural institutions and other organisations in the sector are essential for developing innovation support, fostering the arts and content creation, advancing skills development

“Successful cities seemed to have some things in common – visionary individuals, creative organisations and a political culture sharing a clarity of purpose. They seemed to follow a determined, not a deterministic path. Leadership was widespread, permeating public, private and voluntary sectors. It expressed itself in courageous public initiatives and often risky business investments, and in a tissue of interconnected projects whether for profit or the public good.” Charles Landry 2000

Richard Florida's theory, as expressed in his book, The Rise of the Creative Class, suggests that a creative class, consisting of professionals in innovative and artistic occupations, is the main catalyst for continued development of modern cities. : that the development of cities is intertwined with the existence of the creative class, which in turn contributes to the economy by establishing new, knowledge-based ideas. Its origin as an idea lies in Florida’s explanation of why some regions and localities are prosperous and why some others are not In his book, Cities and the Creative Class, Florida examines two theories: (1) the role that the creative sector plays in the economic development of various regions; and (2) the reasons for the concentration of the creative class in certain areas of the country Those that prosper, he maintains, are those that pay attention to the ‘Creative Class’

Two distinct models of culture led urban regeneration emerged in the 1990s

Culture led regeneration/placemaking

Pre-conditions for establishing acreative city 1.Reassessing success and failure 2.New indicators of success 3.Handling capacity (the ability to turn creative ideas into workable projects) 4.Making the most of creative individuals 5.Deploying the contribution of immigrants (outsiders/insiders) 6.Using catalysts e.g events, organisations, public spaces 7.Balancing cosmopolitanism and localism 8.From multiculturalism to interculturalism 9.Citizen participation 10.Developing (affordable) creative spaces 11.Early wins as staging posts in strategic plan 12.Rethinking urban/city management (more enabling less authoritative)

The values of the creative class – cultural capital

• Individuality: self statement

• Meritocracy: achievement not ascription

• Diversity and openness: social liberalism, tolerance

• The experimental life

“The ideal….is to “live the

life” – a creative life packed full of intense, high-quality multi-dimensional experiences…they favour active, participatory recreation over passive spectator sports. They like indigenous street-level culture – a teeming blend of cafes, sidewalk musicians, and small galleries and bistros, where it is hard to draw the line between participant and observer, or between creativity and its creators.” Florida, R. (2002)

Culture led regeneration/placemaking –cultural capital

My own blunt evaluation of regeneration programmes that don’t have a culture component is they won’t work. Communities have to be energised, they have to be given some hope, they have to have the creative spirit released

(Robert Hughes, Chief Executive of Kirklees Council, 1998).

The term cultural capital refers to non-financial social assets that promote social mobility beyond economic means

People with Cultural Capital are Good customers and Good citizens and Great advocates

Bradford’s bid for European capital of culture 2008

• A high-wage, high-skill, knowledge-based economy, which will provide appropriate jobs for everyone, creating a wealthier population with greater spending power.

• A diversified economy, with particular strengths in:

• Cutting edge e-commerce and communications

• Financial service provision that meets the needs of consumers

• Cultural industries

A District that is a great place to live and

is universally accepted as a major

destination for tourists.

A place where people are justifiably proud of where they live, learn, work and play.

The city centre will be the focus of Bradford's cultural life. Its vibrant

cultural scene and attractive environment will have seen it develop as

a desirable place to live. The influx of spending power will have given

a boost to city centre businesses, whose profitability will have

attracted a new wave of city centre investment.

The city centre will offer a unique shopping and leisure experience,

differentiated from that of Leeds by reflecting the city's cultural mix.

The imaginative re-use of our architectural heritage will give the city a

character that few others can match.

The city centre's shops, cultural life and attractive environment will

also make it a great place to visit, drawing in more tourists and adding

further spending power.

Cultural strategy will encourage cultural inter-action.

The impact of bidding for the European Capital of Culture 2008 title the competition acted as a powerful catalyst in galvanising Bradford to think strategically about its cultural offer, identity and heritage within a national and European context and in comparison to other drivers. Connections between relevant communities of practice and interest strengthened considerably; issues of responsibility and representation limited the extent to which different residential, cultural or social communities engaged in the bidding process but confidence had been strengthened and a degree

of coherence achieved.

The Bradford experience

Bradford City Centre riots 2001

FESTIVAL COMPANY CONTRACT COLLAPSES

But all of this – and how we responded continued to build cultural capital

Challenges along the way

•Bradford’s bid to be European Capital of Culture 2008 lost out to Liverpool

•Bradford still determined to deliver its cultural regeneration programme identified in its 2020 Vision and Cultural Strategy

•Bradford lobbied the government (DCMS) for funding

•DCMS declared 12 cities – ‘Cities of Culture’ and established a new funding stream – the Urban Cultural

•Bradford awarded £1.25m to deliver the Illuminate Festival

• Maintained momentum & credibility

•Enabled experimentation

• Kept business and community stakeholders engaged

• Cemented international partnerships

• Attracted inward investment

• Shaped a different identity

Regeneration

Economic Community

- The look of theplace/image

- Cultural Industries- Retaining creativityand innovation

- Skills development - Tourism

Cultural sector contribution

- Raising achievement/aspirations

- Participation/Access- Confidence building - Health & Well being - Pride/Respect- Social Cohesion

Cultural sector contribution

The year long Illuminate programme came out of the European Capital of Culture bid for 2008 which was eventually won by Liverpool. Recognising the potential of some of the ideas put forward by the cities - like Bradford - who were not chosen, the government created the Urban Cultural Programme fund. Bradford invited Leeds, Sheffield, Hull and York to put the region and its artists on the map. Bradford Illuminate events included the Radical Brontes festival, Delius Week and the Hockney exhibition.

Rising to the challenge

Outcomes and Impact

Film commissions & productions

Industry engagement/global connections

Skills & training

Tourism & image Cohesion & Participation

Connections with Europe

City Park completion and opening • http://youtu.be/ONjjzWTkTEI

• http://youtu.be/SO36icHsedI

• http://youtu.be/5qu4g3qVS5U

Critical Success Factors -The Creative City Index

The Creative City index – a strategic tool to assess and measure the imaginative pulse of cities

The ten indicators of a creative place.

Within each of ten defined domains there are

identified key indicators of creativity, resilience

and the capacity to future proof a city. These are: •political & public framework •distinctiveness, diversity, vitality and expression •openness, trust, tolerance & accessibility •entrepreneurship, exploration & innovation •strategic leadership, agility & vision •talent & the learning landscape •communication, connectivity & networking •the place & placemaking •liveability & well-being •professionalism & effectiveness

www. comedia.org.uk

Title here Phil Batty Director of Marketing, Communities & Legacies Hull 2017

SEA OF HULL A NEW COMMISSION BY

FERENS ART GALLERY

MOMENTS IN TIME

224 DAYS,

15HRS AND

30-ISH MINUTES TO GO …

30 MONTHS

AND 10 DAYS

SINCE BONDHOLDER

BREAKFAST IN 2013

AT BRIDGEHEAD BUSINESS PARK

365 DAYS IN THE SPOTLIGHT

OUR VISION

Hull 2017 will be a year of artistic

adventures across the city of Hull,

using the transformative power of

cultural events and activities to

deliver lasting social and economic

change.

We will celebrate the unique

character of the city; its people,

stories and geography.

Over 365 days we will raise

aspirations, change perceptions and

inspire artists, people and

communities.

ROOTS & ROUTES

APR – JUN 17

FREEDOM

JUL – SEP 17

TELL THE WORLD

OCT – DEC 17

THE SEASONS

MADE IN HULL

JAN – MAR 17

WHAT MAKES A CITY OF CULTURE 365 DAYS OF EVENTS.

THE STORY OF A CITY.

A NATIONAL FESTIVAL.

VOLUNTEERS

YOUNG

PEOPLE

EVERYONE PEOPLE

YOU DON’T HAVE

TO BE A MUSICIAN TO

MAKE SOME NOISE

VOLUNTEER ERIC

LENNIE AT NORTHCOTT

SAM AT HULL UNI

BILLY, AGED 18

JUST 4 OF THOUSANDS …

PLACE A CITY.

THE REGION.

THE UK.

CHANGE IS HAPPENING.

YOU CAN SEE IT.

YOU CAN HEAR IT.

WE NEED TO BE PROUD OF IT.

“WE ARE TOO YOUNG TO REALISE

THAT CERTAIN THINGS ARE IMPOSSIBLE, SO

WE WILL DO THEM ANYWAY.”

MORE TO

CULTURE

AMBITION

AUDIENCE

ARTISTIC VISION

ACCESS

ARTFORMS

CULTURE EVERYONE IS BORN

AN ARTIST.

WORKING WITH EXISTING

INCREDIBLE ARTS

ORGANISATIONS

AND THE BIRTH OF NEW

EVENTS, FESTIVALS & PROJECTS

CULTURE CHANGES CITIES

AMBITIOUS PLANS

• Confident and vibrant new brand

• Four key season campaigns

• In 2016 we will work with national media

partner and have plans for regional and

national advertising campaigns

• invested in new digital infrastructure for

the City, including a one stop shop and

ticketing system

• 50k+ followers across social media

• Significant high profile PR & media activity

• City dressing

• Printed programme guides, publications etc

… to bring 1million extra visitors

CONFIDENT CITIES CAN DO ANYTHING

Economic regeneration of Hull: Hull has more people chasing each job vacancy than

anywhere else in the UK.

Growth in Hull’s cultural and creative economy: Hull has some of the lowest levels of cultural access and

engagement in the UK.

Positioning and perception of Hull: “When Hull enters the national consciousness it is usually

as a totem of social deprivation.”

Health and wellbeing: 1 in 10 residents feel lonely and isolated

Social impact: Hull is the tenth most deprived local authority area in the

UK, with 1 in 3 children living in poverty

Title here Thanks for listening!