Imagine for a moment that the current tumult over federal and state funding for culture led to the opportunity to pause and thoughtfully reinvent a viable public support system. A silver lining to the dark cloud, if you will.
Would it look like the support systems and amalgamation of agencies our country invented – one piece at a time, over a half century ago? Chances are, not at all.
Anyone looking for good thinking about a new type of cultural system would do well to read Culture and Creativity in the EU Structure, a report that came out last September. It studies EU investment in culture over the past decade and makes a solid case for what it calls “a focused, flexible and integrated culture-based development
strategy” throughout communities and regions of the EU.
At its foundation for examining the value of investing in culture, the analysis uses the tri-part definition that the EU Cultural System has employed since 2006:
Core Arts Areas: Performing and visual arts, cultural and architectural heritage, and literature.
Cultural Industries: Film, DVD and Video, TV and Radio, Video games, New media, music, books, and press.
Creative Industries:Those industries that use culture as input but whose outputs are mainly functional, including architecture, advertising, design, and fashion.
Both the Cultural and Creative Industries are further defined as “Those industries that have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the creation and exploitation of intellectual property.”
In a few simple lines, this glues together all the splinters across arts, heritage, history, and combines non-profits and for-profit industries. Wouldn’t it be great if our cultural system was as straightforward and inclusive as this?
By taking this holistic view, the report (an outgrowth of a policy group brought together in Brussels in 2009), was able to examine both the traditional impacts of core areas – tourism and related economic value of attending and participating in arts and culture – and contributions to a larger economic future. The report points to the “the rich and dynamic contribution” that all three of the above areas make to the knowledge economy and innovation, and to employment creation and social cohesion. In policy, the EU is unafraid to talk about supporting creative entrepreneurs at the same time as supporting traditional institutions. They have equally important roles worthy of investment, and the report notes that even in the past two to three years, the ROI on supporting culture and creativity as drivers of broad innovation has been well documented and demonstrated.
It is in this area of arguing for investment in culture as an economic driver of wide ranging knowledge-based industries that the EU has come the furthest in making a case for a comprehensive approach to culture and creativity. According to the report, “Culture-based creativity is an essential feature of a post-industrial economy. Culture drives technological and non-technological innovation, stimulates research and optimizes the application of human resources in the development of new products and services.” Basically, it makes a coherent case that the knowledge-based economic system cannot thrive without a healthy cultural-creative capacity.
How refreshing. How non-defensive. Imagine if we could restructure, reinvent, and optimize our investments in America’s cultural-creative system along similar lines. Imagine if we could go beyond the economic impact studies we rely on so heavily to make our case. (Per the report, a research institute in the UK that focuses on the nature of innovation has documented the supply chain linkages between artistic and creative activities, demonstrating positive relations to innovation and showing that creativity and culture “play an important role in the ecology of innovation.”) We could and should do the same.
Imagine, too, if like the EU we recognized that artists are important leaders in demonstrating entrepreneurship and small business development. The report writes that “The creative sector makes many of these processes evident and communicates the positive attitudes, the excitement and the vision that provide the motivation for entrepreneurs.” Rather than seeing the arts community as off to the side of entrepreneurialism and small business development, the EU is increasingly putting artist out ahead as models to others.
Now let’s be totally honest. Culture is not all rosy in the EU. A great deal of what the EU has attempted in what it calls “social cohesion” through culture has failed to live up to expectations. Some, including most recently the President of France, say it has failed completely.
That said, there is much to consider if we in the United States were to advance our system of cultural support and related advocacy for investment as has the EU in its support of the three part cultural system and the related recognition of both culture and creativity as central to innovation. We hear a lot these days about “invest in clean energy” or “invest in new technology.” Wouldn’t it be great if we could similarly talk about America’s investment in culture and creativity? We could, and should. The first step is to reinvent our cultural support systems and structures, and bring the field together around a new vision and expanded purpose.
Culture and Creativity in the EU Structure