Creative and Cultural Industries Policy in Poland of 2012. Status, Strategies and Inaugurating Projects (original) (raw)
Related papers
From Concepts to Practical Tools of Support: Development of The Creative Sector in Warsaw
quageo, 2012
Warsaw is a metropolitan city with great creative potential. All the national media as well as editorial offices of most newspapers and periodicals of national circulation are located here. Mass media, educational institutions, and cultural institutions along with a community of educated and affluent people make Warsaw a leading cultural centre both in terms of potential in creative activities and as a market for products coming from the creative sector. Although the creative sector seems to be treated as an important part of the economic base of Warsaw’s development, creative potential located in the city seems to be underused. The goal of this paper is to present the support of city authorities for the development of the creative sector in Warsaw. The evaluation of problems and bottlenecks articulated by representatives of the creative sector will be confronted with the opinions of representatives of the City Hall.
2014
The present paper represents an attempt to systematise the emerging concept of universally sustainable development and expand the area for the application of the category. The authors of the present paper are proposing a qualitative measurement component of sustainability exploring the reliability of the possibility for change of the condition, process or system. Simultaneously to the analysis of conversion the authors, referring to the sustainable development solutions offered, seek to explore and to evaluate the capacities of Lithuanian creative and cultural industries to develop their dynamics and interaction, and thus strengthen the potential of the national creative and cultural industries, and at the same time of the entire national economy. For the purpose of the present research paper the authors carried out an analysis of the capacities of creative and cultural industries to utilise investment and other development resources in view of the ongoing attempts to introduce in ...
Potential and Conditions for the Development of the Creative Sector in Warsaw
Miscellanea Geographica, 2011
Potential and Conditions for the Development of the Creative Sector in Warsaw The creative sector has become an important source used to create competitive advantages of the cities. The importance of creative industries in urban development was spotted more than a decade ago. Creative capital is perceived as an impulse and engine of urban changes, a source of new advantages and attractions. Some point out that it mainly develops in big cities, where the authorities deliberately implement measures aimed at supporting and attracting creative entities. The purpose of this study is to present the condition of the creative sector in Warsaw and the way its functioning is perceived by its representatives. It also discusses the support of city authorities for the development of the creative sector.
The Position and Perspectives of Cultural and Creative Industries in Southeastern Europe
The article analyzes the current position and perspectives of cultural and creative industries in Southeastern Europe (SEE) in context of development of public policies. The proposition that SEE entered the post-transitional phase that includes an opening of the region and a creation of new cultural identities is tested through a desk research analysis of available research studies, reports and secondary data on cultural and creative industries in Southeastern Europe (SEE). The influence of imported models of cultural and creative industries is reviewed in parallel with an in-view of the global cultural and creative industries on the local production and distribution where their influence on the infrastructural as well as content level is taken into account. The article also highlights the lack of cultural and other public policies in the field of cultural and creative industries throughout the region - if they are present they are not attuned to the local situation. The analysis of the factors that, on the macro level, hinder development of cultural and creative industries is provided with the emphasis on the obstacles on the level of cultural as well as information and communication (ICT) infrastructure, educational level, as well as on the level of work and employment insecurity. The article shows how the situation in the region is still very diverse and that the conditions for the further enhancement of cultural and creative industries are still not developed. Taking into account the heterogenic situation throughout the SEE region the author outlines the necessity for the locally-founded policies for cultural and creative industries that would be created within the framework of strategies for sustainable cultural development.
TRENDS IN CULTURAL POLICY AND CULTURE MANAGEMENT IN POLAND (1989−2014) (II
Setting aside the fact that the lack of a policy is also some kind of policy, while analyzing the events of the last 25 years in cultural policy, from the perspective of the year 2014, can we really say that there is no cultural policy in Poland? The author describes and analyzes the changes in culture management and cultural policy in Poland from the last quarter of a century. The responsibility for cultural policy rests not only with the central authorities, the Ministry of Culture, but also with local governments, which more and more frequently include citizens in the decision-making process. The citizens themselves are becoming more and more aware of their rights. Apart from cultural institutions , non-governmental organizations more and more often become the contractors of public tasks. They co-create and enrich the cultural offer of cities and regions significantly. Not only the number of non-governmental organizations but also their creativity and the professional level of their actions are increasing. Cultural activity is more and more often undertaken by private economic operators (not only art galleries, but also artistic agencies and impresarios). They cannot count on subsidies from local governments any more, but they can become contractors of services at their request under the Public Procurement Law, which, thanks to the last amendment (raising the threshold for public procurement to more than 30,000 EUR), will become a bit easier from the procedural point of view. The role of public cultural institutions is changing. Many of them have redefined their mission and have been successively building new relations with the audience, taking into consideration the changing needs of the consumers and new economic conditions. Despite the underdeveloped sponsorship in Poland, many of them use the conceptions of CSR and CCR, while others diversify their offer, in terms of both the merits and the price, often introducing a commercial offer as a complementary one. The new infrastructure in Poland, in case of many cultural institutions , contributed to a substantial change and improvement of their conditions. After many years of a total investment stagnation in this sphere, together with Poland's accession to EU, the Polish state and local governments started to undertake tasks in this area more bravely. New infrastructure naturally generates the need for innovation. Cultural institutions more willingly and effectively make use of the new media today (communication with the audience, mailing, FB, promotion, marketing, crowdfunding, crowdsourcing). They more often see the importance of spending money on marketing activities, which they used to economize on in case of a shortfall of funds for substantive activities. SŁOWA KLUCZE: polityka kulturalna, zarządzanie kulturą w Polsce, festiwalizacja kultury, infrastruktura kultury a innowacje, społeczeństwo obywatelskie, NGO
THE INFLUENCE OF CREATIVE INDUSTRIES ON THE SOCIO- ECONOMIC DEVELOPMENT OF REGIONS IN POLAND
In hereby study, a cultural sector was distinguished from industries of the culture and creative industries, specially taking into account the definition of these notions. On the basis of studies of the Institute for Structural Research in Warsaw, a sector of creative industries in Poland was presented. An attempt to determine the influence of creative industries on the social-economic development of the region was also made. It was pointed that the culture and creative industries drawing from it contribute to an increase in endogenous ability of the region to react to changes occurring under the influence of exogenous factors. KEY WORDS culture, industries of the culture, creative industries, development of the region
TRENDS IN CULTURAL POLICY AND CULTURE MANAGEMENT IN POLAND 19892014 I
Setting aside the fact that lack of policy is also a policy, while analyzing the events of the last 25 years in cultural policy, from the perspective of the year 2014, I wonder whether we can really say that there is no cultural policy in Poland? The author describes and analysis the changes in the sphere of culture management and the cultural policy in Poland during the last quarter of the century. The responsibility for cultural policy rests not only with the central authorities, Ministry of Culture but also local governments, which are more including into the decision-making process the citizens. Citizens are becoming more aware of their rights. Apart from cultural institutions, non-governmental organizations are more and more often the contractors of public tasks. They co-create and enrich the cultural offer of cities and regions signifi cantly. Not only the number of non-governmental organizations is increasing but also their creativity and the level of the professionalization of their actions. The cultural activity is more and more often undertaken by private economic operators (not only art galleries, but also artistic agencies and impresarios). They cannot count on subsidies from local governments' budget any more, but they can become contractors of the services at their request under the Public Procurement Law, what, thanks to the last amendment (raising the threshold for public procurement to more than 30 000 Euro) will become a bit easier from the procedural point of view. The role of public cultural institutions is changing. Many of them redefi ned their mission and have been successively building new relations with the audience, taking into consideration the changing needs of the consumers, new economic conditions. Despite the underdeveloped sponsoring in Poland, many of them use the conceptions of CSR and CCR, others diversify their offer, both in terms of the merits and the price, often introducing commercial offer as a complementary one. The new infrastructure in Poland, in case of many cultural institutions, contributed to a substantial change and to the improvement of their conditions. After many years of total investment stagnation in this sphere, together with Poland's accession into the EU, the Polish state and local governments started to undertake the tasks in this area more bravely. New infrastructure naturally generates the need of innovation. Cultural institutions more willingly and effectively make use of new media today (communication with the audience, mailing, FB, promotion, marketing, crowd-funding, crowdsourcing). They more often see the importance of spending money on marketing activities , which they used to economize on, in case of a shortfall of funds for substantive activities. SŁOWA KLUCZE: polityka kulturalna, zarządzanie kulturą w Polsce, fi nansowanie kultury, decen-tralizacja w kulturze, Ministerstwo Kultury KEY WORDS: cultural policy, cultural management in Poland, culture fi nancing, decentralisa on in culture sector, ministry of culture Summarizing the last quarter of the century in Krakow's culture Ryszard Kozik stated in " Gazeta Wyborcza " that " for the last 25 years one thing has not changed in Krakow's culture – today, like 25 years ago, we are still complaining. We complain mostly about the standard of the offer and the cultural policy of the city. " 1 However , complaining is a trait of all Polish people, not only those living in Krakow. While attending various conferences and congresses I often hear the criticism of public authorities for their incompetent culture management and the criticism of Polish cultural policy, at both state and local-government level. Although there are many reviewers there are not many ideas which are concrete, constructive and possible to implement under the current law, or even worth discussing, as well as not many fairly presented good practices which have been tested in other parts of the world, and could be placed in the Polish formal and legal conditions. Setting aside the fact that lack of policy is also a policy, what was emphasized many times by professor Emil Orzechowski 2 (Sanjin Dragojević classifi es this kind of policy as hidden 3), while analyzing the events of the last 25 years in cultural policy , from the perspective of the year 2014, I wonder whether we can really say that there is no cultural policy in Poland? A lot has changed in Poland during the last quarter of the century in the sphere of culture management. The responsibility for cultural policy rests not only with the central authorities, Ministry of Culture but also local governments. Local governments are more often, but not always willingly, including into the decision-making process the citizens (who are becoming more aware of their rights) as experts or the representatives of the local community, whose needs are to be met by local governments according to the rule of subsidiarity 4. Apart from cultural institutions, non-governmental organizations are more and more often the contractors of public tasks. They co-create and enrich the cultural offer of cities and regions signifi cantly. Not only the number of non-governmental organizations is increasing but also their creativity and the level of the professionaliza
Developing Cultural Industries in Central and Eastern European Countries
Management of Sustainable Development, 2018
In recent years, culture became an important source of revenue and employment with a significant impact on sustainable development and the quality of life. As developing cultural industries is one of the Europe 2020 Agenda objectives, countries are supporting the creative sectors whose positive outputs lead to new jobs and economic growth. This paper aims to give an overview of the current state of Romanian cultural industries by comparison to other Central and Eastern European countries. Firstly, it starts with outlining the conceptual positions on culture and creativity, followed by a discussion on the theoretical aspects concerning cultural industries and their impact on prosperity and growth. We will look at the business sector, labour market, cultural vitality and participation within cultural industries to assess both the potential and the trends for development
Creative Industries in Europe, 2017
In order to understand the dynamics of the creative industries and the manner that creativity influences the development of a community or nation, it is important to outline a history of the creative industries concept within the post-socialist space. Although important steps in defining and measuring creativity have been made, there are still many disagreements on how to define creativity and innovation depending on the economic, social, political and cultural contexts considered. First, there are different opinions in the academic environment on using the appropriate concept to define the "new economy": "creative economy" (Howkins 2001) or "knowledge-based economy" (Druker 1970). Second, there are different definitions and methodologies used to analyse the creative industries. The purpose of this chapter is not to compare the pros and cons of one term or another. Still, it is worth mentioning the difficulty to compare and choose the appropriate term and approach from the viewpoint of the Central and East European countries, which is different from the Western countries' viewpoint. The main reason is the different historical backgrounds of these industries within these respective countries, which have followed two different ways of development, the socialist for the former, compared to the capitalist for the latter. Rene Mae (2015), in her paper on the theoretical approach of creative industries in a former socialist country, showed that even the term "industry" has a symbolic significance which is different in different cultural contexts. Although the official term used in European Union documents is "the cultural and creative sectors", in this paper we will use the term of