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	<title>Creative City &#8211; DEATHMARKED</title>
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		<title>Why Should Cities Invest in the Creative Industries</title>
		<link>https://deathmarked.info/hq-and-office-affairs/why-should-cities-invest-in-the-creative-industries.html?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=why-should-cities-invest-in-the-creative-industries</link>
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		<dc:creator><![CDATA[Mark Ian Alloso]]></dc:creator>
		<pubDate>Fri, 22 Oct 2021 02:35:45 +0000</pubDate>
				<category><![CDATA[HQ and Office Affairs]]></category>
		<category><![CDATA[I am Iloilo]]></category>
		<category><![CDATA[Creative City]]></category>
		<category><![CDATA[Urban and Regional Planning]]></category>
		<guid isPermaLink="false">https://deathmarked.info/?p=23945</guid>

					<description><![CDATA[By definition and history of the term, the Creative City is a concept developed by Australian David Yencken in 1988 and has since become a global movement reflecting a new planning paradigm for cities. It was first described in his &#8230; <a href="https://deathmarked.info/hq-and-office-affairs/why-should-cities-invest-in-the-creative-industries.html">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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<p class="has-text-align-left wp-block-paragraph">By definition and history of the term, the <strong>Creative City </strong>is a concept developed by Australian David Yencken in 1988 and has since become a global movement reflecting a new planning paradigm for cities. It was first described in his article &#8216;The Creative City&#8217;, published in the literary journal Meanjin. In this article, Yencken argues that while cities must be efficient and fair, a creative city must also be one that is committed to fostering creativity among its citizens and to providing emotionally satisfying places and experiences for them. </p>



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<p class="wp-block-paragraph">Also to quote, &#8220;The creative city when introduced was seen as aspirational; a clarion call to encourage open-mindedness and imagination implying a dramatic impact on organizational culture. Its philosophy is that there is always more creative potential in a place. It posits that conditions need to be created for people to think, plan and act with imagination in harnessing opportunities or addressing seemingly intractable urban problems.&#8221; <a href="https://en.wikipedia.org/wiki/Creative_city" target="_blank" rel="noreferrer noopener nofollow">Source</a>. </p>



<p class="wp-block-paragraph"><strong>Cities are the Agents of the Creative Economy</strong></p>



<p class="wp-block-paragraph">CREATIVE INDUSTRIES as a key driver of employment, innovation, and economic activity, that promotes city competitiveness and sustainability.</p>



<p class="wp-block-paragraph">11.6% Of Total Employment is in the creative industry (2021)<br>15.4% Creative Industry Total Value Added Growth Rate, 9.3% faster than the non-creative economy (2016)<br>14.8% Possible reduction in youth poverty due to Creative Industry<br>PHP 375M Per employed person in the creative economy, indicating high production levels<br>Tourism &#8211; Cultural tourists generally spend more than other tourists and tend to generate fewer negative impacts, i.e. public disorder and environmental damage<br>Spillover &#8211; Innovation in the creative sector is likely to spillover to other<br>sectors in the local economy</p>



<p class="wp-block-paragraph">Creative industries as the key to recovery and resilience.</p>



<p class="wp-block-paragraph">Creative and Cultural industries are known to improve local production and innovation, increase the attractiveness of the area, and it can also have positive effects on people’s well-being, health, and social development.</p>



<p class="wp-block-paragraph">Cities play a critical role in creating an environment for the creative economy to be more innovative and transformative, thus unleashing its maximum potential.</p>



<p class="wp-block-paragraph">Sources: UNESCO and The World Bank (2021), OECD, Bayudan-Dacuycuy (2021)</p>
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