Abstract
With the arrival of the era of the creative economy, the “creative community”, a joint product of the regional/community revival movement and the localization of cultural and creative industries, has become a new goal of sustainable urban development. Creative communities can be government-oriented (top-down), or they can involve a sequence of autogenic developments (bottom-up) depending on the initial motivating force behind their formation. This paper provides a case study of the government-oriented Foshan 39° Space Art Creative Community (hereinafter, the 39° Community), though questionnaires, interviews, field observations, and other methods, to obtain a better understanding of how government-oriented creative communities formed. The paper discusses the mechanisms driving such communities in Chinese cities by constructing a driving mechanism model. The results show that policy decisions, under a special policy and industrial background jointly provided by the Foshan municipal government and the Nanhai District government together, is the initial impetus for the emergence of the 39° Community. The community has a concise and flexible organizational structure, creative community members, reasonable community function partitioning, a vibrant and innovative environment, and a variety of creative elements. Finally, the key to the sustainable development of the government-oriented creative community lies in the combined effect of endogenous and exogenous motivations that include a strong support from the local government, market demand, a favorable location, high-quality community services, and creative spirit. High-quality community service is a critical factor in the interaction between exogenous forces and endogenous factors because it can create bridges among governments, enterprises, employees, and the community.
Highlights
Chinese urban development strategies in recent years have placed increasing importance on art and culture, reflecting a visible paradigm shift from industrial expansion to development based on an accumulation of talent and human capital [1]
Government-oriented creative community development, as a combination of sustainable community-based cultural planning and creative placemaking, is more likely to go beyond purely economic motivations and pursue multi-dimensional benefits ranging from culture to social-economic gains
In studying the cultural and creative space of contemporary China in an increasingly globalizing world, in which ideas, creativity, innovations, and best practice derived from the West have all affected China, especially in metropolitan areas, it is obviously important to have in-depth analysis of cases characterized by Chinese culture and institutional characteristics to reveal the veil of the territorialized creative community involved in Chinese cities
Summary
Chinese urban development strategies in recent years have placed increasing importance on art and culture, reflecting a visible paradigm shift from industrial expansion to development based on an accumulation of talent and human capital [1]. In an era that advocates creative development, it is difficult to satisfy demands for cultural and economic development demand at the local level by relying solely on the spatial agglomeration of creative industries, as it is precisely in a world that is becoming increasingly more integrated when cities or districts must lean more and more heavily on their distinctive local characteristics It is those characteristics that can determine where a city excels and how it can distinguish itself in competition with other cities in the worldwide knowledge economy [4]. A typical representative of these efforts is Australia’s “Queensland model”, an educational-scientific-research-enterprise-consulting cross-linked creative industry development model In this case, formed in such a circumstance that the policies from three levels (nation, state, and urban) served as the guidelines for local development. The creative community has logically become a vital product of the continuous advancement of the community/regional renewal movement and the localized development of creative industries
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