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The Creative Industries: Definitions, Quantification and Practice

This chapter examines the definitional and quantification dynamics of the New Labour Creative Industries policy from 1998 to 2004 which replaced earlier Labour Party cultural industry interests articulated in the 1980s by the Labour controlled Greater London Council (GLC). It focuses on an empirical understanding of the sector and specifically sub sectors such as designer fashion, and graphics, through primary baseline analysis. It first considers the New Labour Creative Industries policy definitional framework and economic claims. It finds that there is conceptual confusion, at sector and sub sectoral level, the concept, which has yet to be owned by the sub sectors, is identified and accepted by the industry. This has led to a reappraisal of the definitional framework from a sub-sectoral, regional and local perspective, because data, if it exists, is often inaccurate and as a consequence provides a misleading evidence base.

Secondly, consideration is given to the sources of data collection which underpin the policy, its reliability, and relevance to local and regional economic, cultural policy and practice. The chapter then demonstrates that collecting primary data at local and regional levels employing a practioner/business led definitional framework related to the national SIC coding system is an alternative means of building a realistic analysis of the sector which is recognizable by those in the industry.

Thirdly, the paper suggests that the creative industry policy is exclusive, that the definition is pragmatic with no justifiable rationale. Furthermore the data used as evidence to support the policy is unreliable and flawed when placed in the context of sub sectors, locality and regions.

Finally it concludes by suggesting that the introduction of a creative industries policy has inadvertently encouraged an emerging reconceptualisation of the cultural industries, particularly arts practice: culture as business, not, the ‘Tate’ effect, aesthetic peer group determined public culture.

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