2005

Conference Report
Third International Conference on
Development of Creative Industries
The Europa Hotel, Belfast, UK
24-26th October 2005

www.creativeclusters.com
Contents

Introduction.................................................................................................. 3

Conference Structure ..................................................................................... 7

THEME REPORTS

Executive Summary ............................................................................. 6

Investment in Creativity ....................................................................... 7
Delivering Skills for Creativity ..............................................................16
Inclusion Through Creativity ................................................................27

Partners & Sponsors .....................................................................................33

Conference Programme .................................................................................35

List of Delegates...........................................................................................36

This report should be read with the Creative Clusters 2005 Conference Handbook,
which includes session information, speaker profiles, and slides and summaries of
all presentations made at the conference.
The Conference Handbook is available at www.creativeclusters.com

ACKNOWLEDGEMENTS

We would like to express our thanks and gratitude to our Rapporteurs, Theme
Champions and Session Chairs who worked together during and after the
conference to produce this report.

© Creative Clusters Ltd. All rights reserved.

2
Introduction
Simon Evans, Conference Chair

Belfast 2005, our third conference, marked a coming of age for Creative Clusters.
At our first conference in Sheffield in 2001 we were seen to be championing a set of
new ideas and little-known practices, and a sector - the creative industries – that
was perceived as fashionable but marginal to the economy. Four short years later,
in the run-up to the Belfast conference, we found ourselves up against a weary
press corps telling us they had heard all this ‘creative stuff’ before. Creativity, it
seemed, was now the order of the day, and we were cast as defenders of a dubious
orthodoxy.
Perhaps we should not be surprised by this. Around the world, from Brazil to Korea,
New Zealand to Lithuania, and at the level of nations, regions, cities, towns and
neighbourhoods, creative industries appear as key components in both cultural and
economic development plans. As evidenced by the 200 responses to our Call for
Papers in 2005, there are hundreds of projects in progress, well-established
currents of academic discourse, and a huge band of consultants and organisations
offering creative development services and expertise. In the UK Creative Industries
now has its own Minister, and there are few major regeneration initiatives that do
not include a cultural component. And this high public profile attracts fellow-
travellers: although we could have programmed the conference twice over with
inspiring projects, we could also have produced two days of snake oil, wishful
thinking and hype.
In fact, after an overhaul of our programming process and the appointment of an
international team of Curators, Chairs and Theme Champions, we were able to
deliver our best conference so far.
The Conference was structured around a narrative in which three Themes were
introduced on the first day, explored and analysed on the second, and some policy
directions in respect of each teased out and presented on the third. This document
contains detailed reports for each theme, written by their Rapporteurs with help
from the Chairs and Champions. This introduction offers my own observations on
the conference and on the direction we are heading for 2006.

Investment

There was little disagreement that the creative sector would benefit from more and
better investment. But much else was disputed, with a lot of discussion revolving
around the basic use of the term ‘investment’. NESTA, the theme champions,
wanted to talk about commercial investment into businesses capable of yielding
profit, whereas many in the audience wanted a wider discussion that included
capacity-building and cultural subsidy as well.
A good first step on the road to greater clarity might be for UK arts organisations to
stop using the word ‘investment’ to mean subsidy, a hangover from the days when
the whole principle of grants for arts seemed under threat.
But there was more going on here than word-play, and the debate exposed the
need for more sophisticated understanding everywhere of the role of public money
in the creative economy. Perhaps the largest source of seed finance in the
knowledge economy worldwide is the US government, through agencies like NASA
and the Pentagon. The internet, for example, arose out of US defence research and
the Pentagon is now pouring money into massive multiplayer online games and
simulations. Similarly, the publicly-funded BBC is a cornerstone of the UK’s creative
economy. Maybe Europeans should start to regard public spending on arts,

3
museums, public broadcasting and heritage as their equivalents of the US space
programme.
This strand also highlighted the need for wider understanding of the financial
instruments that have evolved to deal with risk, reward and ownership in the more
mature creative sub-sectors. What can be learnt from the film industry, for
example, about options and completion guarantees, that might be applicable in
other sectors? What new instruments are required?
And we cannot duck the intellectual property challenges. The rise of creative
industries means that copyrights, designs, patents, trademarks are becoming much
more common forms of property. Since the absolute amount of IP is unlimited,
might these and other as yet uncoined IP instruments one day be the dominant
form of property? Certainly, wide improvements are required not only in investment
practice but in law, in accounting, banking, employment and many other fields to
allow IP-based businesses to function properly. The UK is not the only country that
is currently reviewing its IP framework.

Skills

At the beginning of the conference, Chris Yapp from Microsoft argued that so much
around us - technology, lifestyles, politics, governance, business, demographics,
global relations - is changing so rapidly that it is futile to predict much about even
the short-term future with confidence. But how then do we plan, and what do we
plan for? How do we prepare young people for the future? What do we teach? He
argued that increasingly we must focus on developing values, and challenged us to
ask deep questions about the kind of society we want. He quoted Douglas
Robertson: “The generation that is alive today has the chance to design the next
civilisation. That is a gift not given to every generation”.
This provided a thought-provoking opening to the conference’s Skills theme, which
in some ways turned out to be the most satisfying of the conference’s three
strands. There was a high level of debate amongst delegates, and an open and
practical engagement by the theme champions, Creative and Cultural Skills.
The scale of the problem facing education and training providers was well
articulated: most education infrastructure was made in another age for another
kind of economy, but we cannot dismantle it all and start again. We can only evolve
from where we are now. There was well-informed debate on key policy concerns.
What came through most strongly was the need for both a creative orientation to
all aspects of education, and also improvements to the specialist technical skills
needed in each sub-sector of the creative industries. There was detailed discussion
on accreditation, qualifications and a host of other issues.

Inclusion

Our third strand, Inclusion, left me a little frustrated. I came away with a sense of
logjam, of a debate that did not really catch fire properly.
Thinking back over my conversations with delegates, there may have been some
undercurrents that never properly surfaced: a ‘believers’ point of view, which holds
that all the interesting thinking on this subject took place years ago, and all that is
left for us now is to ensure compliance; and also a ‘lazy sceptic’ viewpoint, which
pays lip-service to diversity and inclusion, understands they are touchy subjects,
but holds that they are not burning issues in their work (whether that is culture or
commerce).
This is frustrating because this is an exciting and compelling policy area,
increasingly so as globalisation gathers pace, and full of potential for both business
and cultural development. For me the best thing to come out of this stream were

4
the surprising and very welcome interventions from other countries and cultures.
Perhaps this gives us a clue about a different way of tackling this area next year.

Where Now?

At the end of the conference Howard Beale from advertising agency thefishcansing
described CreativeWorld, a depiction of a society where just about every human
activity is branded and marketed. We wanted to dramatise some of what Chris
Yapp was describing, and illustrate how the creative clusters agenda increasingly
impacts on all areas of the economy. We wanted to show how creative thinking,
cultural thinking, is becoming mainstream across business, and what happens when
it meets the resources and values of global business.
The point here is not that ‘creative sector’ businesses are hugely important global
players, though this is certainly true. The bigger issue is that powerful techniques of
communication and persuasion, invented by artists, developed in the creative
sector, are available now to all players in society. Digital technology has brought
creativity out of the box, and the tools and power of culture are available to all.
So businesses that began as energy distributors, vehicle manufacturers and
supermarket chains are all adopting sophisticated strategies to create value around
their brands, and as these strategies move to the core of their business process,
these companies become something else: they become producers of culture.
Companies like Coca-Cola, Nike and Virgin show clearly how the production of
values can rapidly overtake the production of the goods or services that the
business began with.
What this means for the creative sector, and even more so for the more narrowly
defined cultural sector, is that oil companies, drinks-makers and supermarkets are
competing with them on cultural terms. This is a truly surprising, and no doubt to
many, unwelcome, situation. It clearly demonstrates the false opposition of
engineering and art that Chris Yapp drew our attention to, and the necessity of
putting values at the centre of our thinking.
Finally, I think this exposes a key fault-line running through the Creative Clusters
constituency. Does the rise of the creative industries threaten or empower the arts
and culture? My sense is that delegates are widely divided on this, with some
believing that the ‘creative industries’ are probably not very creative at all. Perhaps
this is a question the conference should debate explicitly.
At the closing, the UK Minister for Creative Industries, James Purnell, described his
ambition to make the UK ‘the world’s creative hub’. This is an interesting policy
goal. It does not promise that the UK will be the world’s leading producer of
creative goods and services, or the largest employer of creative people or, in
absolute terms, the dominant anything. What it does suggest is that the UK will be
at the centre of the web of relationships and partnerships that make up the world’s
creative economy. It is an aspiration to make the UK a centre for global flows of
creative ideas, intellectual property and expertise of all kinds. As with any
relationship, this will mean that the UK should do as much giving as taking, as
much listening as speaking.
We at Creative Clusters share this vision, and will play our part in helping to bring it
about, by continuing to host an independent forum for policy debate, by actively
encouraging international learning and exchange, and by continuing to champion a
‘people and places’-centred approach to economic development.
If creativity is now the order of the day, then I welcome it, and look forward to
taking on the new challenges and responsibilities that this represents.

5
Theme Reports: Executive Summary
Investment in Creativity

Future of the Creative Industries
The health of the creative industries
cannot be assumed. Public intervention in
the creative industries must respond to
the realities of establishing and building a
creative business.

Clarity of Understandings
There is a need for clarity in our
understanding of the economic potential of
the creative industries and the role of
public investment. This clarity must be
shared between policymakers, funding
agencies and creative entrepreneurs.

Focus on Commercial Development
There is consensus on the importance of
the commercial development of the
creative industries. Public intervention
should build the private value of creative
businesses and ensure they are ready for
private investment when it is required.

Typology of Investment
There is a need for a range of investment
vehicles for the sub-sectors of the creative
industries which recognise different
barriers to entry, forms and rates of
business growth and success, and
economic as well as social and cultural
impacts.

Build on Evidence
Development of the evidence base on the
creative industries must be continued, for
example, to study to the economic
strength of creative clusters and the
extent to which they are inclusive.
Delivering Skills for Creativity

Promoting Creativity
Creativity must be promoted throughout
teaching practice and the learning process.

Contextual Diversity
Creative practitioners work and learn in
many different situations. This contextual
diversity raises a broad range of issues
which must be understood and addressed.

Qualifications and Accreditation
Qualification and accreditation must be
relevant to needs of the individual and the
realities of the sector. This must be
reflected in models of best practice.

Progress through Research
The research base for skills-related
interventions must continue to be
developed, in particular career
destinations and journeys, role of the non-
formal sector and grant funding for
disabled students.
Inclusion through Creativity

Language
There is a need to develop our language
skills more effectively in order to
communicate effectively across a range of
cultural boundaries. There is a need to
explore transnational definitions.

Representation
There is a need to address issues of
representation in employment through all
levels of organisations including board and
senior management.

Designing of Projects
Projects needed to be designed with
participants rather than for them. Too
often participants were not part of the
architecture of a programme of work.

Marketing and Communication
More inclusive methods of communication
need to be developed in style, format and
language.

Funding for Sustainability
Many projects suffer from a lack of
funding, but are also often lacking longer
term strategies that enable financial
growth, independence and sustainability
6
Conference Structure

THEMES AND NARRATIVE

The Conference was structured around a narrative in which three themes were
introduced on the first day, explored and analysed on the second, and some policy
directions in respect of each were sought on the third.
We produced an initial text for each theme that attempted to anchor the discussion
by posed the key questions we thought needed addressing.

KEY PEOPLE

Keynote Speakers

Dr Chris Yapp, Head of Public Sector Innovation, Microsoft UK (Opening)

Baroness Lola Young, advisor on culture, heritage and diversity. (Opening)

James Purnell MP, Minister for Creative Industries & Tourism (Closing)

Howard Beale, Founding Partner, thefishcansing ltd
Keynote Speakers had 25-30 minutes each, and were invited:

to offer, as appropriate, an organisational and/or a personal point of view on
creative industries development policy at the present time

to touch on the specific themes of the Conference

to situate their interventions in a European and global policy landscape, as well
as a UK one

to be strategic, visionary and challenging

Theme Champions

Each Theme had a Champion, whose role was:

to introduce the Theme by taking part (as Chair or as a Presenter) in the Theme
Introduction Session

to chair and lead discussion in the Theme Closing Session

to make a short (15 minutes) report to the Closing Plenary on the conference’s
key messages and the directions suggested for policy development

Speakers

The core programme consisted of some 60 presentations, panels and workshops

selected by a Curators Panel from over 200 proposals made in response to a Call
for Speakers. Speakers were chosen for the distinctive and compelling contributions
they have to make to policy debate, and were asked:

to focus on their experience, not their plans for the future

to assume a high level of understanding and experience in their audience

to critically analyse their work and the issues it raises

to be frank about their failures as well as their successes

7

to expect and invite robust discussion about their work
Speakers were discouraged from using their presentation time to promote future
projects; poster presentation space were available for such announcements.

Session Chairs

Chairs were associated with a specific Theme. As well as running their sessions,
Chairs animated and guided the discussion within them. We believe that these
discussions are a key part of the conference, much more than simple question-and-
answer sessions. The Chairs’ role was:

to attend their Theme Opening Session

to chair 3-4 sessions within their Theme

to make a report (20 minutes) to their Theme Closing Session

to assist the Rapporteur by supplying short notes on their sessions

Rapporteurs

Each Theme had a Rapporteur, who wrote a report on their theme, as a chapter
within the overall Conference Report.

INVESTING IN CREATIVITY

Creative businesses are adept at drawing in money from a variety of

sources: through personal investment by the entrepreneur, grants for arts,
inventions or other forms of research and creativity, grants for business
start-up and regeneration, private research and development spending,
angel investment, loans and loan guarantee schemes, philanthropy, tax
incentives - and perhaps many more.
But does this indicate a cornucopia of riches, or a grand confusion? Research
has shown that a lack of finance is inhibiting the growth of the sector. Who
can and should fill this gap: banks, government bodies, private companies,
individuals, universities? How and on what terms?
We will examine the various instruments that are available to pay for the
creation of new intellectual property, and ask how different forms of
financing affect the creative, social and business outcomes of an enterprise.
Against the background of growing global awareness that creative industries
are essential for sustaining productivity and a competitive advantage, we
will try to get a better understanding about public and private spending on
creativity.

Rapporteur: Michael Harris, Research Manager, NESTA

Dr Michael is Research Manager at NESTA, the National Endowment for Science,
Technology and the Arts. Before joining NESTA as the start of 2005 he managed
research for a local authority and for the government agency for educational
technology in schools. He also writes film scripts and directs short films.
Theme Champion: Richard Smith-Bingham, Head of Policy and Research,
NESTA
Richard arrived at NESTA in 2002 and currently heads up a team that is responsible
for strategic planning, internal policy development, research, corporate evaluation,

8
intelligence-gathering, and policy and public affairs work. Prior to this, on the back
of degrees in English Literature from Oxford (BA) and University College London
(PhD) Richard taught at undergraduate level, set up a clean water project in El
Salvador, did a short spell in TV, and worked on strategic planning, policy and
research for the Heritage Lottery Fund.
Session Chair: Beate Becker, Consultant, Independent
Beate Becker has initiated and led cultural economic development efforts for the
city of Boston, the state of Massachusetts and the New England region. She is a
founder and executive committee member of the New England Creative Economy
Council and is author of the Blueprint for Investment in New England’s Creative
Economy. An independent consultant, Beate is currently collaborating with Mt.
Auburn Associates on a creative sector development plan for the State of Louisiana.

DELIVERING SKILLS FOR CREATIVITY

Instead of offering standardised services and mass-produced goods with

long shelf-lives, creative industries sell customised products, short-life goods
and highly personalised service. So creative workers need a host of skills
and abilities that past jobs have rarely required: curiosity, imagination,
confidence, interpersonal and networking skills, fashion and design-sense,
emotional intelligence, entrepreneurship, flexibility and intercultural
sensitivity.
And this is not a sector-specific issue: creative industries are at the leading
edge of changes affecting all businesses, and employees like this are
increasingly needed across the whole economy.
This strand of Creative Clusters invites educators, policy-makers, creative
entrepreneurs and producers to articulate and explore the challenges this
presents. How do we ensure that employers and individuals have access to
appropriate education and training? How can we improve the vocational
relevance of qualifications? How do we evolve our education and training
infrastructure, much of which was designed for a former age, into one that
delivers the creative skills now needed?

Rapporteur: Mike Parker, Director, Parker Associates Economics and

Strategy Ltd (PAESL)
Mike is an economist with over 20 years experience of research and consultancy
work, and the Director of PAESL. Mike was a member of the National Skills Task
Force Research Group and has produced reports, published by DfEE, on Skills
Needs in the Creative Industries, the Future Skills Needs of Managers and National
Training Organisation initiatives.
Theme Champions: Tom Bewick, Chief Executive, and Caroline Parkinson,
Executive Director - Nations & Regions, Creative & Cultural Skills
Tom Bewick was appointed Chief Executive of the Skills Council for the Creative and
Cultural Industries in September 2004. In less than six months, he firmly
established the new company and high-profile board with chair, Tony Hall, Chief
Executive of the Royal Opera House. Tom has over a decade of senior experience at
national and regional level in education and training policy.
Caroline joined the Creative and Cultural Skills from her own consultancy firm,
Focus 7 Ltd. She was formerly Manager of PACT Scotland between 1994 and 1997,
and a Theatre In Education producer for Catch Theatre company in 1992/3, and
prior to Focus 7’s establishment Programme Director of Common Purpose,

9
Edinburgh. She is a published and exhibited photographer and received an e-comm
2001 award from Fife Enterprise for her photographic website. She is director of the
charity, Edinburgh Community Food Initiative, and Forth Sector, an Edinburgh-
based social enterprise company for mental health recoverers.
Session Chair: Lee Corner, LCA Ltd
Lee Corner is an independent consultant specialising in organisational development
and human resource management. She has worked in the creative and cultural
sectors for more than 25 years, and has devised specialist programmes of training
and professional development which she now runs for individuals, groups and
organisations across the UK. In 2000 she co-founded CIDA with Anamaria Wills.
Her work internationally has taken her to Mexico, Poland and Finland. She
regularly works as an advisor to the Performing Arts Environment Forum in Japan,
and is currently developing a network of support services for creative sector SMEs
in Colombia. Lee was elected Chair of Media Centre Network in 2003 having joined
the Board in 2000. She also serves on the Creative Industries Advisory Panel of the
British Council.

INCLUSION THROUGH CREATIVITY

A charge common levelled at the creative industries is that their only real
beneficiaries are urban-loft-living yuppies in developed-world capital cities.
Furthermore, the net outcome of the sector’s global growth is to concentrate
media ownership in fewer hands at huge cost to cultural and linguistic
diversity. Against this it is argued that creativity knows no social barriers,
and that in the creative economy toleration, diversity and inclusion are
central to competitive advantage - and so in the long run must thrive. This
strand of Creative Clusters will unravel some of these issues.
We throw the spotlight on policies, strategies and projects addressing media
exclusion and the digital divide. Will creative industries growth alone bring
with it increased opportunity, empowerment and inclusion for marginalised
groups? If not, what intervention strategies are most effective? Are
measures needed to help small towns, rural areas and remote locations cope
with the drain of their young creative people to the big city? Can everywhere
be a creative cluster?
Meanwhile, many developing countries are beginning to see the potential of
their vast cultural and creative assets, and we will explore how surprising
new connections are being forged between poorer countries and this
dynamic sector of the global economy. Should we read into this the potential
for new patterns in world trade and power?

Rapporteur & Theme Champion: Sita Ramamurthy, Director, The Mindful

Way
Sita has over 20 years experience in the arts as both a practitioner and manager.
Her greatest strength is the ability to combine creative talent with management
expertise to support, develop and establish projects.
Session Chair: Geoffrey Brown, Director, EUCLID
Geoffrey has undertaken research, particularly in creative industries, for European
Commission, Council of Europe, various European networks, UK funding bodies &
local authorities. Also established searchable online databases for the creative
industries in Cumbria and in Cheshire & Warrington (UK). Member of Team Europe,
the European Commission Panel of Speakers.

10
Investment in Creativity

INTRODUCTION

The ‘Investing in Creativity’ theme of the conference included papers and

discussions from many viewpoints and on many diverse topics. In one sense this
reflects the current lack of consensus, and of agreed understandings and
approaches, towards the creative industries in general and investment in the
creative industries in particular.
Richard Smith-Bingham from NESTA, the theme ‘champion’, opened the theme by
noting that the creative industries is a very diverse sector, and that there is a need
to differentiate between the sub-sectors of the creative industries, to note the
different barriers to entry, forms and rates of business growth and success, and
economic as well as social and cultural impacts. There are a range of different
investment vehicles for the sector, but questions remain as to whether small and
medium-sized enterprises (SMEs) are receiving the right forms of investment from
the right investors.
NESTA’s own research on the investment ‘ecosystem’ for the creative industries has
suggested that there has been a significant growth in the number and range of
public interventions but that the system as a whole is piecemeal and lacks an
overarching strategy. In particular, this has suggested that there needs to be a
stronger distinction between investments for capacity-building in businesses, and
more straight-forward financial investment. A key current weakness in the sector is
the lack of focus on finding and supporting scalable businesses with high-growth
potential. The result is a lack of attractive dealflow to private investors, and hence
relatively little engagement by larger private sector investors. Richard posed three
questions. First, is the current focus on public investment the correct sustainable
strategy to support private growth? Second, should there be a UK-wide strategy for
the creative industries, and in particular what should be the relationship between
regional and national strategy? Third, what more needs to be done in order to
secure more private investment in the creative industries in order to support
business growth and the development of the creative industries as a whole?
Perhaps unsurprisingly, these questions remained at the end of the conference,
despite the many valuable and interesting presentations and discussions that the
theme provided. It was not clear from the various sessions that the presenters and
delegates had a shared perspective on the investment needs of the creative
industries, or how these needs relate to overall ambitions for the sector. What kind
of sector do we want, how far are we from realising this, and what needs to be
done in policy terms in particular in order to ensure that the sector develops
according to this ambition? Despite the value of the interventions at the conference,
the issues and challenges posed at the start still remain and require much further
work. In this respect, this theme was an appropriate reflection of the creative
industries sector as a whole – in its diversity, its apparent lack of clarity, and its
need for a stronger consensus around policy development in support of the sector.

CREATIVE, SOCIAL AND COMMERCIAL OUTCOMES

Some of the presentations and discussions did relate mainly to the economic
growth agenda (and in particular ensuring the development of high-growth
businesses). Other presentations and discussions were in effect mainly concerned
with investment in community development initiatives. In retrospect, across these
sessions there were rather different definitions of the creative industries that were

11
apparent (implicitly and explicitly), and, it follows, rather different definitions of
what investment in the creative industries might mean.
As a result, in the absence of an agreed framework, it is not possible to identify a
set of emerging recommendations for investment in the creative industries from
across the theme. The creative, social and commercial hopes for the creative
industries often pull in very different directions, and can rarely be fulfilled by the
same forms and mechanisms of investment. In effect, the presenters and delegates
can be seen to have talked about different types of businesses. While all of these
businesses are based around creative endeavour and do operate within particular
industry parameters in a consumption-based economy, there is a great danger in
conflating all of these businesses together as ‘creative businesses’. Rather, some
are predominantly commercial, others are predominantly cultural.

BUILDING COMMERCIAL VALUE

The presentations that focussed on the economic growth agenda included

contributions on a wide range of relevant initiatives and issues, outlined below.
These sessions were about how to build commercial value in individual businesses,
in order to support the economically sustainable application of creative endeavour.
Although it was not always expressed, it can be suggested that these presentations
shared a common understanding that, in the longer-term, the creative industries
will need to produce economic benefits that are not reliant on or driven by public
subsidy. (It was interesting to note that some of the international delegates to the
conference expressed surprise at the amount of public subsidy that is available for
‘creative businesses’ in the UK, and questioned how this is supposed to relate to the
UK as a ‘market economy’). This is in contrast to subsidies appropriate for the
development of creative talent and for public cultural value, in what might more
properly be regarded as the ‘cultural sector’.
Some of the presentations included important detail on the realities of public and
private investment in the creative industries. Hugh Mason from Pembridge Partners
spoke about determining the investment readiness of businesses, and emphasised
the importance in creative businesses of clarity of self and purpose. The multiple
agendas of creating cultural and social wealth, in addition to economic wealth,
support the notion that ‘one size does not fit all’; different interventions are
required in order to achieve these very different outcomes. Hugh described a
unique collaboration between a private investment company, a research
consultancy and a group of public sector agencies to share intelligence and create a
cost-effective suite of tools that public sector bodies could use to make effective
evidence-based investment decisions in creative businesses.
Similarly, Jason Ball from London Seed Capital described what angel investors and
early stage venture capitalists are looking for in a business, including a 60 per cent
annual compound growth rate or a ten-fold increase in the value of the investment
in five years (or even three years). This was in the context of describing the work
of the London Seed Capital fund. Jason also identified the criteria used in evaluating
creative businesses (a clear and concise business plan, proven management, and
so on), and how such businesses need to present themselves to private investors.
Jason suggested that the issue may not be a lack of capital available to creative
businesses, but rather that most creative businesses may not be ready for private
investment or able to demonstrate that they will create commercial value in order
to ensure a return on any investment.

12
PRE-INVESTMENT VALUE

David Parrish of the consultancy T-Shirts and Suits talked about the Creative
Advantage project, a training and mentoring programme for entrepreneurs that
seeks to combine the ‘creativity of T-shirts’ with the ‘left-brained’ activities of
‘suits’. David emphasised the need to establish a ‘feasibility filter’ for entrepreneurs,
and that public organisations and initiatives need to be clearer about how they
define ‘success’ and the impact they want to achieve. Not all proposals for creative
enterprises are feasible, despite the creativity of the individuals involved. Yet
support agencies can find it difficult to give this feedback to creative entrepreneurs,
either because they do not have the expertise or the political will to do so.
Consequently they can encourage people to proceed with ideas that are heading for
failure.
These presentations appeared to demonstrate an appropriate role for public
intervention in helping to build the private value of creative businesses: helping to
ensure that individual enterprises are ready for private investment if it is necessary.
It was suggested in the discussions that there is a need for education on both sides
(creative entrepreneurs and private investors). Further, creative businesses might
learn more from each other, in particular businesses from different sub-sectors but
at similar stages of commercial development. At the same time, it was noted that
some (or many) creative businesses do not have strong commercial ambitions;
indeed, some of these ‘businesses’ may have cultural objections to commercial
private investment (for example, those with strong concerns about environmental
sustainability). The importance of intellectual property ownership was also noted in
the discussions around economic growth in the creative industries.

CREATIVE CLUSTERS AND CLASSES

Graeme Evans of the Cities Institute at London Metropolitan University presented

the emerging findings from a comparative survey of over 200 city-based creative
clusters from across the world, and in particular the policy rationales used to
support public investment in economic development in these cases. This research
critiqued the assumption that creative clusters are necessarily strong economic
clusters. Rather, in some cases they can be fragmented, fragile (by being reliant on
consumption rather than production), and can require high levels of support from
public expenditures. The cluster model should not be applied crudely; rather, in
order for creative clusters to be effective, a number of critical elements must be
present. In particular, there needs to be a strong relationship between three
elements that characterise and sustain an effective creative cluster: production
(that is, a creative production chain), consumption (markets), and appropriate
interventions (whether public or private). In the absence of one or more of these
three ‘pillars’, creative spaces are unlikely to establish themselves or grow, and if
one or more element dominates the creative space model can become imbalanced,
and strategic (policy or industry) objectives may not be achieved or may not be
sustainable.
Where creative clusters have emerged organically (by being industry and market-
led), public policy can play an important role in protecting and supporting a cluster,
for example, London’s Soho film/media district, and independent creative
workspace developments. Institutional-led and managed cluster developments can
be less successful unless an equal partnership between creative firms, organisations
and public agencies is established in the ongoing operational stage. Where a rapid
build-up of economic activity and investment occurs, often through opportunistic
and external forces, existing creative enterprise may be crowded-out, and economic
diversity is lost, as in the case of the dot.com boom and bust experienced in the
SoMa district of San Francisco. Getting the balance right - and where, when and in

13
what form public intervention can play an enabling and stimulating role - is
therefore key to successful creative spaces. (Further analysis of this data and the
development of in-depth case studies as this study progresses will seek to capture
and measure these processes and the key success factors).
In addition, across the study, there is limited evidence as yet to link creative
clusters to greater innovation or productivity. Further, it was suggested that the
creative industries as represented in these clusters can be less diverse and inclusive
than is often supposed, and can be poor at providing opportunities for indigenous
populations (for example, London’s creative industries are seen to under-represent
the city’s ethnic minorities by roughly half). The point was made in the subsequent
discussions that it is dangerous and counter-productive to try to import models of
the creative industries or of creative industries development from other countries.
Many successful and mature clusters (such as Hollywood) do not require public
money, but public money (and other policy interventions) can play an important
role in many other clusters. However, as noted in the discussions, creative
businesses need to think more imaginatively about how to create commercial value.
Somewhat similarly, Galina Gornostaeva from the London School of Economics
discussed a study of the tensions between the production activities (‘cultural
cluster’) and consumption activities (‘cultural quarter’) in the London Borough of
Camden, which raised discussion of equivalent examples from other British cities.

THE ROLE OF PUBLIC INVESTMENT

There does however appear to be a justified role for public interventions in the
creative industries, for example, to make strategic connections and to broker
access to markets. This is clearly a different meaning to ‘investment’. (Other
discussions also noted the need for enterprise education in schools).
Toby Barnes from Pixel-lab provided delegates with an overview of developments in
the video gaming sub-sector, and in particular noted the loss of independent game
developers and a diversity of publishers. Toby made the case for a ‘British Games
Institute’ equivalent to the British Film Institute, to facilitate knowledge transfer
and partnerships between the industry and universities.
At a European level, Thierry Baujard from consulting company Peacefulfish of Berlin
focussed on film finance. The film finance picture is often changing faster than the
time that most films can be produced in. Thierry suggested the need for regional
compatibility and co-ordination rather than competition, and the importance of
developing added-value forms of public investment in creative industries such as
film (skills development and financing models rather than merely subsidies for
individual productions).
At the English regional level, Alice Morrison from North West Vision talked about
public investment via a regional attraction fund, designed to build-up media
production in the North West, and David Harte of Advantage West Midlands and the
University of Central England described for delegates the work of the West Midlands
Regional Development Agency (RDA) in two clusters: Higher Value Added
Consumer Products; and Screen, Image and Sound.
Questioning the appropriate role for public investment raised concerns that regional
competition in the UK could be a ‘zero-sum’ game. It was suggested that the RDAs
in England might be suffering from a ‘me too!’ syndrome, in competing to develop
clusters based on the same sub-sectors of the creative industries, and in some
cases, to attract the same individual businesses. Is it possible that every UK region
could have sustainable clusters of creative businesses in the same sub-sectors? If
not, how is the work of RDAs to be co-ordinated? This was where the issue of
stronger national direction and strategy was raised, but not resolved.

14
INTERNATIONAL DIMENSION

Other sessions and presentations added an international dimension. Cora Jacob

described her organisation’s work in Manila in the Philippines, in support of the
Filipino craft industry. This work, focussing on developing creative communities
through self-help and microfinance, supports 6,000 families and sells in high-end
markets in Europe, the United States and Asia, and Cora’s organisation now works
in Indonesia, Malaysia and India. Cora’s work demonstrated the importance of
persistence and determination in getting recognition and support for creative
enterprise. Caroline Chapain from the University of Birmingham gave delegates a
profile of Montreal’s creative industries, based on work by Montreal Metropolitan
Community (the metropolitan planning organisation) over the last three years.
Patricia Zaido from the Salem Partnership in the United States talked about her
work in promoting the importance of the creative economy on Boston’s North
Shore. As with Cora Jacob’s work, this emphasised the importance of persistence.
As noted above, these examples suggested that the UK has a comparatively
generous approach to supporting the creative industries; whether this money is
well spent was a broader discussion that underpinned other sessions and the theme
as a whole.

CONCLUSIONS

The theme raised three elements for consideration: the growth needs of particular
sub-sectors; the imperatives of regional economic strategies; and individual
business opportunities. These may or may not be complementary. Further work
needs to be done on how these currently stand in relationship to each other, and
how this relationship might develop in the future. In many cases investment might
not always be the issue; business support and training suited to the development of
individual enterprises might be more appropriate.
Many contributions supported a consensus on the commercial development of the
creative industries. It was suggested that parts of the creative industries had
become ‘dependent’ on subsidy. The question was left in the air as to whether
these businesses could be weaned off subsidy, or should be more properly be
described as arts projects and initiatives. The importance of access to markets was
raised; again, there could be a legitimate role for the public sector here in ensuring
that new entrants could make progress in establishing their businesses and
developing customers. More private investment would be likely to follow. It was
also suggested that the public sector has a role in ‘de-risking’ private investments
in creative businesses.
Lastly, the health of the creative industries cannot be assumed. Public investment
in the sector and in investment infrastructures for the sector needs to respond to
the creative industries as they actually are and to the realities of establishing and
building a creative business. This will mean that public investment needs to be
aware of emerging growth models in sub-sectors, which may mean cross-sectoral
engagement, new partnerships, new uses of technology and new understandings of
the value chain, in order to find and exploit new markets. Perhaps most
importantly, there needs to be a stronger and more sustained interrogation of
‘market failure’ in the sub-sectors.
Ultimately, this theme of the conference suggests the overwhelming need for
greater clarity: about our shared understanding of the creative industries, about
their economic potential, and about the most appropriate and effective role for
public interventions to support the realisation of this potential. This clarity will have
to be shared between policymakers, funding agencies and creative entrepreneurs.

15
Delivering Skills for Creativity

INTRODUCTION TO THE THEME

The Delivering Skills for Creativity theme included the following presentations and
workshops:

Delivering Skills for Creativity – Theme Introduction;

Universities and Creative Industry – How Can We Improve the Vocational
Relevance of Higher Education?

Finding Creative Talent – Who is Making Tomorrow’s Media?

Learning for Creative Industry – Workplace-Based and Non-Formal Learning;

Delivering Skills for Creativity – Closing Policy Panel.
This section presents the feedback from these sessions. It synthesises the key
messages, reflecting the progression from the theme introduction, through the
three case-study related sessions, to the closing policy panel, which attempted to
draw together some conclusions and policy implications.

DELIVERING SKILLS FOR CREATIVITY - INTRODUCTION

Aim

To invite educators, policy-makers, creative entrepreneurs and producers to explore

a growing challenge. How can we meet the increasing demand for creative skills
and abilities? And this is not a sector-specific issue: creative industries are at the
leading edge of changes affecting all businesses, and creative employees are
increasingly needed across the whole economy.
Three papers were presented:

Beyond Talent: Defining Creativity1 - arguing that creativity is a double-
edged process requiring a combination of abilities and resources not just
singular talents;

Creativity Versus Practicality2 - arguing that current education policy
encourages students to focus on creativity at the expense of practical technical
skills;

Britain's Creativity Challenge: Delivering a Skilled Creative Workforce3 -
outlining the role and approach of the new sector skills council for the creative
and cultural industries, Creative & Cultural Skills.
Chris Bilton offered three main conclusions: (i) we need to guard against the
overspecialisation and fragmentation of skills, both in the formal educational sector
and in vocational training; (ii) we need to recognise the importance of a viable
infrastructure which allows creative artists and creative entrepreneurs to learn
through doing, by practising and sharing their skills and ideas with their peers; and
(iii) we need to invest in and support management and business training for

1
Chris Bilton: Lecturer, Centre for Cultural Policy Studies, University of Warwick, Coventry, UK
2
Linda Florance: Chief Executive, Skillfast-UK, Leeds, UK
3
Tom Bewick: Chief Executive, Creative & Cultural Skills, London, UK

16
creative entrepreneurs, by recognising and disseminating the new approaches to
management which have evolved in the creative sector.
Linda Florance noted that our policy of funding educational institutions on the basis
of head count means we are encouraging creative but not technical education. The
latter requires more space and equipment and costs more. She also noted that:

Today’s colleges are run as businesses and therefore the attraction is towards
easier to fill, less costly courses. Even if employers are crying out for a blend of
technical and creative education, the system militates against this.

The creative and technical cultures need to be nurtured as complementary
matters, not as separate issues / channels. Creativity has a huge role to play at
all levels, but has little meaning if not balanced up with technical skills.
Tom Bewick responded to points raised by the preceding two speakers, after a
short film about CCSkills. He posed the question of whether there is a choice
between education and creativity, and suggested that both are needed. He also
raised the following points:

We are facing a challenge in our education system, given that creativity is
crowded out of the curriculum, but we now have an opportunity to ‘get it right’
and develop a high quality, high relevance educational structure for young
people.

An emerging theme is that we do not have the appropriate infrastructure to
support Creative and Cultural Industries (CCIs). Postcodes matter – those
living in London can probably find suitable support, but this does not apply
across the whole country.

Apprenticeships: we need to find ways in which we can open up entry into our
creative industries (although apprenticeships are not new).

Higher education (HE) participation has expanded, but the cruel fact is that a HE
system designed for an industrial economy last century is now required to cater
for a much large volume of people.

SSCs are trying to assist here by kitemarking and therefore making the market
for HE more transparent and relevant. Employers / SSCs need to be more
honest about the employment opportunities realistically available.
In concluding, he raised two issues: (i) infrastructure – is it appropriate? (ii) Joined-
up thinking – have we got the support structures right? He also noted that large
parts of the CCIs do not have relevant qualifications, and more of a case needs to
be made for actions that open up opportunities, i.e. different forms of qualifications.
The Chair summarised the key messages from the three presentations as follows:

The need to introduce creativity to the curriculum at the earliest opportunity;

The need to mix technical / business skills and creative skills;

Does money (i.e. ability to buy into opportunities) or qualifications open doors?
She also referred again to apprenticeships, which provide opportunities to do
the job and obtain skills / experience.

Discussion

The direction of the ensuing discussion is summarised below in bullet-point form.

There is an issue about numbers. How many skilled fashion designers / cutters
can the industry seriously absorb? We are not addressing this issue.

17

Should industry be dictating the curriculum? It takes a long time to deliver a
graduate, during which time employers’ needs can change. We also need to
think about transferable skills.
Chair: So, transferability of skills is fine, but trying to marry technical and business
skills and creativity is not the be all and end all?

Trying to accredit everything is a ‘massive con’ - just do it for the hell of it and
see what happens.
Chair: But does the con come via good intentions – do qualifications not break
down entry barriers?

What we do not create are the necessary business / marketing skills. One
solution may be to look at creativity as problem solving.

The issue of kitemarking is complete folly. We have one system – the RAE4 – in
place already, so why do we need another?

Sector Skills Agreements will be the vehicle for integrating skills needs on the
demand and supply sides. The main problem is getting the interface between
industry and education right. Careers advice is also critical.

Specific skills are required in certain areas of the CCIs (such as acting), which
are not about standard university-academic types of education. We need to get
universities to recognise that kitemarking is not a threat.

We need to change the system of reward for providing (soft) business
enterprise skills. Colleges are not rewarded for delivering business skills.

We need to focus the relevance of education in terms of job opportunities (i.e.
via kitemarking). The consumer base for the CCIs is very diverse, whereas the
mix of people working in the industry is not. There is a narrowing of the gene
pool, which is bad for business, hence apprenticeships are important.

There is a danger of being market led in education when the jobs are not there.
We need to educate people also about how to survive until jobs are available.
Employers are not the only customers and education should not only be
employer led – what do individuals get out of it and how can this be applied
elsewhere?

UNIVERSITIES AND CREATIVE INDUSTRY

Aim

How will our education and training infrastructure meet the challenges of the
creative economy? Three practitioners at the sharp end of further education take
this session into a discussion on the relationship between creativity and the
classroom
In opening the session, the Chair posed a question: how can we improve the
vocational relevance of HE? She also re-iterated a question from Day 1 - what sort
of society do we want - and offered the following possibilities, based on the theme
discussions so far:

One where creativity is written into the curriculum early on and written across
the curriculum;

4
Research Assessment Exercise

18

We want our creatives to have a range of skills, including transferable skills;

But, there will also be people who want to study for the pleasure of studying.
Again, three papers were presented:

Bridging the Digital Skills Gap: Future Education and Training for the
Media Industries5 - considering the nature of vocational education in the
sector and the kinds of interventions that HE can promote;

Softening the Edges: Creative Collaborations Between Nottingham Trent
University and The Broadway6 - the first 18 months of the project;

Music Industry Mavericks: Training Tomorrow’s Entrepreneurs7 - looking
at potential / good practice in the international music industry for college
graduates with entrepreneurial skills.
In opening the discussion, the Chair noted that several issues had been raised:
what is the role of HE / FE in the skills agenda – should it have a place? Should HE
/ FE be talking to industry? She noted that the three presentations had shown that
bridges can be made. She reflected on the problem of funding based on head
count, raised on the previous day, and asked whether the HE / FE institutions have
a genuine role?

Discussion

The main thrust of the discussion is summarised below.

The key point is that we are funded on a head count basis. Where is the
funding going to come from when ESF monies (for example) come to an end?

What about students with soft skills, such as teamwork – how can we bridge the
gap with industry for humanities (e.g. English language) students?

When people enter the sector, they do not follow linear routes – they jump
around. Hence, it is not helpful to only provide them with a narrow range of
skills. They need other skills, such as marketing, as part of the essential
toolkit.

Internships are very valuable and often lead to jobs. The problem in the CCIs is
that it is very difficult to find businesses that will actually take on people for
internships / apprenticeships.

One of the interesting things about Foundation Degrees is that they are not
immediately attracting the intended groups, but graduates in many cases –
people who want to change careers. Also there are different markets to be
considered, which each raise different issues.

Many people in the industry are generalists. The vast majority of people in film,
for example, are not specialists. A pragmatic understanding of what it is like to
be a creative practitioner is a very good starting point.

In general, small firms do not, in reality, even have desk-space for an intern. It
is also a problem being able to devote time to them. It is important to note that
some of the best students do not have a specifically relevant background.

5
Dr Keith Randle - Director, CIRCU, Hatfield, UK
6
Frank Abbott - Programme Leader Creative Collaborations MA, Nottingham Trent School of Art &
Design, UK
7
Phil Ellis - Business Development Manager, The Arts, City College Manchester, Manchester, UK

19

Motivation is the central issue, regardless of the educational approach / focus.
You can only work around the motivation that is there to begin with.

Foundation Degrees are very important in the moving image sectors –
especially for freelancers.

One thing that is very useful is students’ project based learning in the
universities. Managing failure is also very important to the learning experience
and the question of the risks involved in taking on project-based learning is an
important matter.

The means of acquiring business and other necessary skills differs from person
to person and in accordance with the opportunities they are exposed to (e.g.
public art commissions, etc).
In closing, the Chair noted that a number of different themes were emerging but,
essentially, the message was that ‘one size cannot fit all’. The pace of change and
need for people who are ‘up and running’ puts pressure on HE / FE to provide them.
Another thread was the general employability of people – employability skills are
fundamental. Also, the issue of motivation and the skills needed to supplement
this, perhaps acquired later on by other means than formal education, had been
raised.

FINDING CREATIVE TALENT

Aim

Access, representation and opportunity - key issues for tomorrow's media industry.
As audience diversity increases so too does the need for fair representation - how is
this achieved? How do we identify and invest in the next generation of media
producers without simply recruiting in our own image? How can major media
institutions connect with all levels of society? This session explores how the UK Film
Council, Channel 4 and the BBC are planning for the future.
The three papers presented in this session were:

Film Audiences, Talent and Access Diversity in UK Film Industry and
Culture8 - looking at the strategic responses the UK Film Council and its UK
partners have made to deliver access and opportunity to audiences, students,
film makers, technicians and writers;

Plugging The Gap: the Need for Sustainable Support for the Next
Generation of Creative Talent9 - focusing on the growing need to provide
sustainable support to the emerging talent supply chain;

Blast: a BBC Creative Learning Campaign for Teens10 - a UK wide learning
project inspiring 13-19 year-olds to transform their creative ideas in film, music,
writing and dance into a reality.
In opening up the discussion, the Chair suggested that it is perhaps almost too
early to ask how these projects will influence what happens tomorrow. Will these
initiatives change the profile of the makers of the media?

8
Chris Chandler - Deputy Head of UK Partnerships, UK Film Council, London, UK
9
Adam Gee - Commissioning Editor - Interactive, Channel 4 Education, London, UK
10
Mairin Murray - Producer, BBC, London, UK

20
Discussion

The main points raised are summarised below.

The most important thing is about exposing the audience to new talent. The
market then decides what is wanted and this drives skills needs, etc.

The interesting challenge is how to involve people without absorbing them (i.e.
letting them retain their ‘edginess’). The panellists noted that producers need
to have the confidence to follow through with an ‘edgy’ item to the end.

Also, continuing to work with these people retains that edginess, although they
should also be allowed to develop their own careers and not be forced into
stereotypes.

There is a difficult balance in taking a risk on something ‘edgy’: for example,
how much gun culture ‘edginess’ do we want to promote?

The whole (Internet related) opportunity that the C4 Ideas Factory and Blast
offer gives young people great opportunities to work in an international
environment and opportunities for collaboration / co-production.

The programmes described in the presentations are excellent, but are they
going to matter in the long run?

The panellists noted that one of the most important aspects of the Ideas Factory
is the marketing airtime. It is also seen very much as the entry point for new
talent that culminates in a very high-end talent escalation process.

The need to counter the idea that results can be achieved in a short timescale
was also noted.

A final point related to people in later life who may want to work in the CCIs,
noting that there appeared to be an emphasis on young people in the
presentations, and asking whether older people and people from ethnic
minorities are given the same chances?
In closing, the Chair noted that several issues had arisen, regarding diversity and
self-employment and also relating to people from other age groups and ethnic
minority backgrounds joining the industry.

LEARNING FOR CREATIVE INDUSTRY

Aim

Creative employers ask for a host of skills, aptitudes and abilities that past jobs
have rarely required: curiosity, imagination, confidence, interpersonal and
networking skills, fashion and design-sense, emotional intelligence,
entrepreneurship, flexibility and intercultural sensitivity. Can the formal education
system 'teach' these things? This session concentrates on the role of non-formal
settings for learning.
The papers presented in this session were:

Barriers to Learning: a Study of Work Based Learning in the CCIs11 -
whilst work based learning can provide valid additional opportunities for learning
there are also issues for employers, particularly where the pattern of
employment itself is both irregular and fragmentary;

11
Laurence Solkin - Programme Director, City University, London, UK

21

Skills for Diversity: London’s Non-formal Learning Sector for the CIs12 -
reporting on a comprehensive survey of the ‘Non-Formal Learning Sector’
(NFLS) for the creative industries in London;

Newtown ‘University’ Johannesburg Newtown Cultural Precinct: ‘Joburg’
as a Workplace Based Training Institution13 - an overview of progress since
2000, including details of growth in audiences, participants and - now - private
sector investment.
In opening up the discussion, the Chair noted that there are many issues to
consider:

What value qualifications?

The London Development Agency (LDA) are looking at the accreditation of non-
formal learning opportunities – is there a mismatch here?

Much of what we have heard over the last few days centres on where training
‘hits’ networks and people. We need to look at the importance of networks.

Several strands are emerging now. Different models suit different people at
different times in their lives and we need to find ways of valuing them all.

Discussion

The main points raised in the discussion that followed are summarised below.

People need to move on as their careers progress. How do we take the skills
leaned into other areas? How does a dancer move on when he / she becomes
too old to continue as a dancer?

One thing that qualifications have to offer is that they should make quality
provision more accessible. Courses and qualifications are closely tied to issues
about culture.

There is quite a distinction between start-up training and lifelong learning
training requirements. Later in peoples’ careers, what they want is something
to help them progress.

In the CCIs, there is often no professional qualification as such. It is about
having a structure that provides different levels of entry, and progression at
different career stages (i.e. where there is a need to go back to something more
formal). People need different things at different times in their lives.
The Chair posed the question of where the pressure for qualifications arises – is it
from the trainee, or does it come from in the ‘outside world’?

The point was made that we perpetuate the view that working for formal
qualifications is the crucial thing but it is not the only issue. For people who
have not had the benefit of formal education, it is important to have some
validation of experience.

The panellists noted that: (i) in a sense, the non-formal sector has advanced
beyond the HE/ FE process - beyond the accreditation framework.

(ii) Recognising a (personal) training need and doing something about it is the
thing that registers with employers.

12
Andrew Erskine - Senior Consultant, BOP, London, UK
13
Peter Stark - Cultural Policy Adviser, Independent, Newcastle/Gateshead, UK

22

(iii) Qualifications have different benefits for different groups. Quite often, a
qualifications system is used as a focus for quality benchmarking, but the
importance of the qualifications to the individual is perhaps the more important
issue.

Regarding non-formal learning networks: these have perhaps always existed.
Trying to formalise them quashes them, but it is difficult to know what the
answers are here. Experiential learning is extremely difficult to quantify in
terms of its impacts, and funding is so dependent on formal accreditation.

The potential of Foundation Degrees is important but we need to broaden the
framework. The model of Foundation Degrees allows people to bring prior
learning to the fore and there is perhaps not enough awareness of the
importance of this, unlike the situation in France, for example.

The point about access is extremely important. People need to have the
opportunity to come back into education (e.g. those who missed the opportunity
of going to university the first time around).

The non-formal sector needs to be incorporated into more formal structures.
Chair: although the danger is that some of the non-formal sector may be concerned
about being absorbed / amalgamated.

The business of putting Quality Assurance side-by-side with the non-formal
learning sector is very difficult, but important. The purpose of the learning also
has an influence on whether it is regarded as quality or not.

One idea is peer-to-peer accreditation. Peer assessment is an example of
something that works well. SSCs need to look at what already exists, instead of
developing another unsuitable structure.
In closing, the Chair summarised by noting that one size does not fit all and that a
wide variety of teaching and learning and non-formal learning approaches need to
be incorporated.

DELIVERING SKILLS FOR CREATIVITY - THEME CLOSING

Aim: To identify and clarify the key points that have emerged from the conference,
including areas of consensus or conflict, critical insights, and issues, challenges and
directions for policy development.

This final session took the format of a brief summary presentation by the Theme
Chair covering the main issues arising from the individual sessions over the
previous two days. The remainder of the session was opened up to discussion of
the summary issues presented and feedback relating to areas of consensus /
conflict, critical insights, issues and challenges, and directions for policy
development.
At the outset, the Chair sought to establish how many of the delegates were aware
of the All Our Futures report by Ken Robinson, recommending that a message
should be sent - to Government - calling for renewed, serious consideration of its
findings.
The main points from the session were recorded, interactively, as the discussion
progressed and, following a brief period of reflection, the Theme Champion reported
back the synthesis at the Closing Plenary Session. The material that follows sets
out the summary presentation (in boxes) and the final feedback.

23
 Delivering Skills for Creativity – Theme Introduction

What opens doors – money (i.e. ability to buy into opportunities) or

qualifications?

Importance of introducing creativity to the curriculum at the earliest
opportunity.

Mixing technical / business skills and creative skills.

We need to ensure that business skills are passed on at whatever point they are
needed, in an integrated manner, and that there is supplementary provision, after
study or when entering into a new business venture using a variety of approaches,
including links with creative businesses.

Universities and Creative Industry

How can we improve the vocational relevance of HE?

What sort of society do we want?

One where creativity is written into the curriculum early on and written
across the curriculum.

Creatives with a range of skills, including transferable skills.

But, there will also be people who want to study for the pleasure of
studying.
A number of different strands are coming out:

One size cannot fit all

Pace of change and need for people who are up and running puts pressure
on HE / FE

Employability skills are fundamental

Motivation is important – and what skills are needed to supplement this

The importance of the full range of educational provision, including Further

Education and non-formal education was acknowledged, but delegates were
reminded that this session was intended to deliberately focus on Higher Education.
University is about more than studying a subject: it provides opportunities to learn
other skills and develop extra-curricular interests. Theatre group involvement, for
example, can provide non-formal learning, sparking an interest that may ultimately
provide a career opportunity. Other points were highlighted, relating to the
emerging strands (see box above):

Pace of change - there was concern that business needs graduates to ‘hit the
ground running’ but delegates did not think that development for work-
readiness had to take place at University.

Employability skills are fundamental – but when should they be
introduced…at Primary school? There is a need to raise awareness of the
working world, provide occupational maps of sectors to bring the range of jobs

24
 to life, encourage team-working on projects in school and communications,
engage in creative discussions to produce outcomes, and involve employers in
the learning environment in new imaginative ways. There are examples of good
practice to draw upon.

Motivation is important – and the skills needed to supplement this. We need
to acknowledge the importance of the self-direction of the individual and his or
her responsibility to tap into the offerings available, as and when needed. It is
also incumbent on the partners to anticipate these needs, where possible, and
make the appropriate provision available.
This session demonstrated models of good practice, although the point was made
that the democraticisation of new technology (i.e. ease of accessibility, with
perhaps only limited skills) could be regarded as having a deskilling effect,
threatening small firm survival in the creative industries.
The need to consider the individual characteristics of universities and the unique
talent they have within them, rather than dictating what should be provided, was
stressed.
The importance of HE / FE links in collaboration with the sector over course content
and developing innovative ‘interventions’ to provide work experience was also
stressed, although the sector is under-resourced to participate to its fullest
potential in that debate. There is an issue about who teaches these ‘additional’
subjects and the matching of subjects to the skills / personality of students. These
issues serve to demonstrate the complexity of the context.
The debate often returned to funding and resourcing issues relating to the kind of
initiatives referred to above. Resources may be limited but a more mature
approach is to maximise the benefit from new initiatives coming through. The point
was made that money is not always the answer: creative thinking may be required
instead.
The importance of using the full resources of the universities was stressed: for
example, the potential for external use of universities’ Intellectual Property
expertise across industry. The importance of including languages capability – the
key to exporting – in the skill set was also mentioned.

Learning for Creative Industry

A lot of issues to consider:

What value qualifications?

LDA is looking at the accreditation of non-formal learning opportunities –
is there a mismatch?

Need to look at the importance of networks

Different models suit different people at different times in their lives
- need to find ways of valuing them all

25
Several points were raised relating to this session. The main issues are summarised
below.

There is a desire to see people-centred accreditation processes, but the
qualification needs to be relevant to the individual and the sector. Matching the
two is the role of the Sector Skills Council(s).

From a learning perspective, it is important to remember that artists work in
many different contexts including, for example, the social economy, the health
sector, and in charity-related areas. Artists are also entrepreneurial about their
offering.

There is potentially a need for more research on creative and cultural industry
career destinations and journeys.

Creativity needs to be promoted throughout the learning process.

Grant funding for disabled students is linked to degree and foundation degree
programmes, limiting their choice, experience and opportunities for developing
expertise in other arenas.

It is important to capture the students’ view relating to the qualifications and
accreditation available in the non-formal sector.

There is a mismatch between accreditation and good practice and bureaucracy
is diminishing the value of the good practice model.

SOME KEY ISSUES

Creativity should be encouraged throughout all stages of education;

Dialogue between the Higher and Further Education sectors, accreditation
Bodies and practitioners is needed, and facilitating this is the role of the SSCs.

There is support for a credit transfer system, i.e. lifelong learning.

There is a need to raise awareness of initiatives and good practice between
partners.

The complexity of the context and issues are recognised.

Access to education does not only mean physical accessibility within educational
establishments.

There is a need to take responsibility for informing ourselves about accreditation
systems and good practice, to use our networks and spread the word.

Evidence-based research should form the basis for policy development relating
to the sector.

26
Inclusion Through Creativity

THEME INTRODUCTION

Who is benefiting from the cultural industries? How do we connect the creative
industries to global poverty reduction and regeneration agendas? Should the
cultural industries have a responsibility to address these global issues anyway? This
was the starting point for the conference and these issues were explored through a
range of presentations and discussions.
With changing lifestyles and an explosion of information, small communities need
infrastructure and support, and the creative industries can make a valuable
contribution to this.
Whilst one delegate expressed the view that if he heard the word ‘inclusion’ once
more he would scream, this view was not shared by others who felt that the
creative industries did have an important role to play when examining global issues.
It was acknowledged that the Creative Industries were not as diverse as the
consumer base and that at the very least the economic argument to be more
inclusive in the provision of opportunities and employment was important to
consider when examining a way forward. However, to be effective, the way forward
was a complex one.
In summary, the key issues were:

Language
There is a need to develop our language skills more effectively in order to
communicate effectively across a range of cultural boundaries. There was a need to
explore transnational definitions.

Inclusion of representation
There was a need to address issues of representation in employment through all
levels of organisations including board and senior management.

Designing of projects
Projects needed to be designed with participants rather than for them. Too often
participants were not part of the architecture of a programme of work.

Marketing and communication
More inclusive methods of communication need to be developed in style, format
and language.

Moving away from the deficiency model
Consistently, it was argued that we need to move beyond the model of ‘lack’ to
engage and create a dialogue more effectively with communities to create new
paradigms that are more empowering and which lead to greater sustainability.

Sustainability
This was consistently raised as the most significant issue with projects often being
short term and lacking consistent funding that allows for real growth.

27
KEYNOTE PRESENTATION

The conference opened with a keynote presentation from Baroness Professor Lola
Young.
Lola argued that culture-led regeneration is a positive development with significant
potential, but that in order to be effective in terms of producing high quality
products and services, and in terms of being embedded in and benefiting local
communities, it was essential to develop an empowering language of culture and
creativity. She argued that this was important if we were going to look to the
creative industries to kick-start forms of social and economic regeneration that had
value and meaning. In order to provide sustained benefits for a wide range of
people, it was essential to develop language skills, not only to become multi-lingual
but also to respect and understand vocabulary, grammar and syntax. This was a
way towards achieving a genuine dialogue which would ultimately lead to more
effective and sustainable programmes.
To date, the debate about diversity has been underpinned by the equalities agenda
and there are four distinct strands to the argument to promote diversity and
equality – legal, intellectual, ethical and the business case. Policy makers have
been trying to:

Recognise and redress past imbalances in funding and other resources;

Ensure that all sections of society have the opportunity to access all parts of the
creative and cultural sector regardless of background
The language of diversity and inclusion was imprecise and tended to homogenise
people’s experience of marginalisation by grouping whole communities together and
not recognising the differences within communities. This was also compounded by
the fact that there were differing interpretations of diversity within the UK and
abroad.
If we are to move forward we need to develop the conceptual and linguistic tools
that will equip us to deal with the challenges ahead. This does not mean coining
new terms to replace ‘diversity’ and ‘inclusion’ but adopting an approach with a
different emphasis – one which neither ignores ‘race’ and ‘culture’ or class but
which looks more closely at the conditions people experience, and at their own
creative solutions.

INCLUSION THROUGH CREATIVITY– THE ISSUES

Are the creative industries good for inclusion?

Firstly, we need to address the question “What kind of society do we want to create
and in particular what contribution can the creative industries make?”
It was generally accepted that the creative industries and cultural technologies
were a good thing for diversity and inclusion. This was because creative and
cultural projects and enterprises offered:

Many new opportunities for access and for the presentation of people’s own
realities

Projects which were often empowering and inspirational
There were examples of successful projects from the UK, from across Europe and
internationally from across the creative industries including audiovisual, media,
publishing, design, performing arts, etc.

28
In addition:

Projects and enterprises embraced a range of participants and communities
from people of colour, young offenders, people with disabilities, gays and
lesbians, refugees and asylum seekers etc.

New technologies offered exciting opportunities to make work across national
boundaries and could be exploited to work towards developing more inclusive
approaches.

With the increase in access to digital arts and skills new technologies could be
used to support people from emerging communities and non-English speaking
backgrounds.

What does ‘inclusion’ offer the creative industries’?

Frequently in discussion it was agreed that it is not about positive discrimination

but ensuring that within the core cultural mission of an organisation or project the
important role of inclusion is enshrined.
Being inclusive can foster inspiration, and the development of creativity and
informal learning opportunities.
Some expressed the view that we should not mix business with social support.
However, there have also been some positive ways in which these issues have been
addressed. For example, the digital business labs model provided a platform that
supported community artists with the legal and business support they needed when
working with larger companies like Siemens.
It was pointed out that the consumer base is more diverse than those controlling
product development and distribution. A more inclusive approach to product
development would result in developing new markets.

CHALLENGES

Sustainability

The need to nurture sustained approaches is key. It is essential to create real

opportunities and not just rely on the usual suspects. Successful projects like Blast
need to be embedded into the mainstream.
Many minority ethnic organisations rely on volunteers, a smaller funding base and
smaller staff teams. This can have an effect on risk-taking opportunities.
Through discussion it was agreed that what was needed was more focused support
rather than one size fits all. In developing a more sustainable approach it was
important to consider the following:

Access – What affects people’s ability to access opportunity, information and
support?

Growth – Who benefits from growth which can be transient and changing?

Patterns of employment – How can the exclusivity of current patterns of
employment be broken and what mechanisms are needed to reinforce this?

Private / public partnerships – There is a need to create more robust private
and public partnerships.

Avoid short-termism – It was essential to think long term and for funding
programmes to recognise the need for doing this, rather than focusing on quick
wins.

29

Education and training – It was important to introduce creativity into
education as early as possible. It was important to develop apprenticeship
opportunities in genuine workplace environments rather than traditional training
that leads to traditional qualifications.

Technical skills – Technical skills need to be developed alongside creative
skills.

Transferable skills – It is important to develop projects which develop skills
that can be used in a variety of settings.

New approaches – It was important to develop a constantly renewable
process to address the changing needs and requirements of the sector and
communities. Cross sectoral approaches and opportunities were of the most
interest. In this context it was important to consider governance and global
trends, self-organisation of the cultural sector, the economic approach, and the
effectiveness of the sub-sectoral analysis. Consensus and discussion was
crucial.

Language

Professor Lola Young spoke about the metaphor of language and the need to avoid
constructing deficit models. In the 30 years since Naseem Khan’s The Arts Britain
Ignores, we have adopted a devolutionary and segmented approach to diversity. In
the opening session on Inclusion the following point was raised - Why not see
access as a state of mind? If we can have “intangible heritage”, why not “intangible
access”? In the best tradition of research and development we might have to
rethink our relationship between cultural process and cultural product.
It was acknowledged that there is a need for sectoral interdependence. In the
Inclusion through Creativity theme introduction, Jonathon Meth identified that ,
“part of developing trans-cultural competence is acknowledging our own knowledge
gaps; cultivating the breadth of curiosity so that in our pedagogical practice we
offer reference points, metaphors, histories and herstories with a commitment to
rewriting and updating our own narratives.”
The terminology associated with diversity and inclusion is confusing and interpreted
by people across UK and abroad in different ways. This leads to a ghettoisation in
thinking where Black and Minority Ethnic work is considered only of interest to
people from Black and Minority Ethnic backgrounds and in some unhelpful
homogenised way.
There is a need to change the notion of “them” and to ask questions about what we
really mean by the “diverse” population and to move away from “deficit” models.

Designing projects

The notion of business led models does not always sit comfortably with social
inclusion agendas and policy. There is sometimes a tension between an
entrepreneurial approach to social inclusion work which can be seen as social
engineering.
Importing models from different places was not necessarily seen as a good idea.
It was acknowledged that regeneration projects needed to be inclusive if they were
to be successful.
Concerns were raised about who designs projects and how to involve those who are
traditionally marginalised or excluded are involved in planning processes.

30
It was important to recognise that one size doesn’t fit all and that in the context of
skills development, support needs to be more student centred and may require new
ways of doing things particularly in an ever changing climate.
In addition it was felt that developing countries needed to gain greater control of
projects developed in their name.

Marketing / Communication/ Distribution

Communication methods and styles are changing. For the first time ever, a new
band entirely self-promoted has reached no1 in the charts the moment the single
was released. They built a committed following of young fans via the internet,
therefore bypassing traditional routes to market their product.
The internet and modern technologies are having a profound impact on the flow of
information and can offer a range of opportunities for the Creative Industries.
However, project organisers needed to consider its communication mechanisms and
language when communicating with different peoples.
It was stressed that distribution particularly in the context of film lay in the hands
of a few people and whilst interventions at commissioning and production stages
had yielded change there was a need for more intervention at the level of
distribution.
It was suggested that there was a need to develop more local marketing
approaches and not just leave marketing approaches to ‘experts’.

Evaluation

It was acknowledged that there is a lack of hard evidence and useful data which is
a problem. All too often evaluation is often lacking or poor and there are few
opportunities to evaluate projects over an extended period.
There is a need to examine how one looks at social capital and the measurement of
self-esteem. Whilst this has been achieved in some cases, it is only possible when
this is budgeted into the process and there is continuity.
How one measures projects is important but the point was made that kite-marking
was “ridiculous”.
Whilst accreditation was important it was vital to remember that creative projects
should also be about fun and to not try and accredit everything.

QUESTIONS TO CONSIDER IN THE FUTURE

How do you measure self-esteem? – Work in this area has been done to
examine how one looks at social capital – but it needs to be budgeted into the
process. This is only possible if there is continuity.

How do we balance the focus of outcome and product to focus on journeys?

How can we stop, reflect and listen more deeply?

How do we get mainstream companies to invest into individual artists and
creative people?

How do projects involve people from different communities without
incorporating and swallowing them? Do you bring them in and then kill them
off?

How can you use creativity in a business model?

31

Are all inclusion projects geared towards young people – what about others?

How should the issues surrounding Diversity and self-employment be
addressed?

THE NEXT STEPS

There is a need:

To highlight and promote both the good practice and hard evidence for work in
this area.

If evidence is lacking, to find ways of getting key agencies involved to ensure
this information is gathered effectively

For local authorities to set targets for creative industries work

To find ways to address the challenge of sustainability and long term impact.

To develop ways to improve capacity-building for businesses

To change the funding rewards for education bodies to provide business skills to
support creative skills

To build in aspirations and bring in multi-disciplinary and cross department
courses

For more mentors and business advisors

To develop new ways to extend inter-language cultural skills for the preparation
for the rest of the century

To develop the entrepreneurial/ business skills of artisans to understand the
need etc of their product and approaches to problem solving

32
Our Partners & Sponsors
NESTA (National Endowment for Science, Technology and the Arts)
www.nesta.org.uk
NESTA is the National Endowment for Science, Technology and the Arts, the organisation that
invests in UK creativity and innovation. Set up by Act of Parliament in 1998, NESTA uses the
interest on a National Lottery endowment to pioneer ways of supporting and promoting
innovation and creativity across science, technology, the arts and learning. For further details,
including how to apply, head to www.nesta.org.uk.

Belfast City Council

www.belfastcity.gov.uk
Belfast City Council is committed to the support and development of the creative industries and
the impact they can have on Belfast both economically and socially. The Council has developed
an innovative creative industries plan under the themes of Business development and growth;
Capability development and Infrastructure development. The Council's Plan is jointly funded by
Belfast City Council and the Department of Enterprises Trade and Investment's Building
Sustainable Prosperity, Northern Ireland's largest EU Funding Programme.

EQ - Diversity and opportunity in creative industries

www.thinkeq.org.uk
EQ is a national equality and diversity agency working in the creative industries and a lead
partner in Creative Renewal, an Equal funded partnership of organisations that are committed
to tackling barriers to training and employment in the sector. Creative Renewal began three
years ago in recognition that creative industries employers had, so far, failed to truly embrace
diversity and equality. Since then a series of innovative projects have been developed to
address this issue. These include action research, fast track and mentoring schemes,
continuing professional development programmes and new forms of inclusive training and
education courses. In the final phase of Creative Renewal, partners are working together to
ensure learning outcomes and lessons are being shared with the widest possible audience of
practitioners, employers, funding bodies and policy makers.

Inclusion Through Media

www.inclusionthroughmedia.org
The lead partner is Hi8us Projects Limited. Established in 1994, Hi8us produces innovative
media by working with young people and excluded communities, for example in deprived urban
areas or in hard to reach groups like users and survivors of mental health services. Hi8us’
pioneering creative work is based on close collaboration between media professionals and
those communities with the aim of helping people to develop and realise their full potential –
regardless of their background or circumstances. It manages the First Light programme,
funded by the UK Film Council, which supports the making of short films by young people,
especially in excluded communities, across the UK.

Creative & Cultural Skills

www.ccskills.org.uk
Creative & Cultural Skills is one of 25 industry-specific sector skills councils, which make up the
new 'Skills for Business' network. It is the Sector Skills Council for Advertising, Crafts, Cultural
Heritage, Design, Music and Performing, Visual and Literary Arts. Creative & Cultural Skills is
government-backed, but led by employers, with the aim to forge powerful relationships
between business and education and tackle the constant challenge of improving and matching
the skills to develop our workforce.

Department of Culture, Arts & Leisure

www.dcalni.gov.uk
Unlocking Creativity is supported jointly by the Department of Culture Arts and Leisure (DCAL),
Department of Education (DE), Department for Employment and Learning (DEL), Department
of Enterprise, Trade and Investment (DETI) and Invest Northern Ireland. Each has been a
partner in 'Unlocking Creativity: making it happen' and 'Unlocking Creativity: a creative region'
since 2000 and is committed to a coordinated cross-cutting strategy to promote creativity in
Northern Ireland and also embed it in individual Departmental Strategies and thinking. Follow
links for 'Unlocking Creativity' via the DCAL website.

33
InterTradeIreland
www.intertradeireland.com
InterTradeIreland’s mission is to enhance the global competitiveness of the all-island economy
to the mutual benefit of Ireland and Northern Ireland through measures such as the creation of
knowledge-intensive all-island trade and business development networks and the
implementation of all-island trade and business development programmes.

Arts Council Northern Ireland

www.artscouncil-ni.org
Inspiring the Imagination, Building the Future. The Arts Council of Northern Ireland is the lead
development agency for the arts in Northern Ireland. It provides support for artists and arts
organisations throughout the region, offering a broad range of funding opportunities through
Treasury and National Lottery funds.

University of Ulster / Northern Ireland Centre for European Cooperation

www.nicec.ulster.ac.uk
The Northern Ireland Centre for European Co-operation (NICEC) is based in Aberfoyle House at
the University of Ulster at Magee Campus and is funded by Peace II (Measure 4.1) through the
Office of First Minister and Deputy First Minister. The title of the project is “Shared Learning:
From the local to the global and back again.” The aim is to develop new and build on existing
networks which address Social & Cultural Regeneration and Diversity & Conflict Management
themes that support reciprocal learning between Northern Ireland and the EU, accession
countries and the Commonwealth of Independent States.

New Start
www.newstartmag.co.uk
New Start is the leading weekly magazine for everyone working in cultural, social and
economic regeneration. Packed with essential news and features for practitioners and
professionals it has covered the role of creative industries in sustainable regeneration
extensively. New Start also offers a consultancy and event management service, NS Plus.

Arts Professional
www.artsprofessional.co.uk
ARTSPROFESSIONAL is the industry’s vital source of news and information about the latest
developments across the arts. It is the leading UK-based specialist journal for arts recruitment
advertising, containing more arts management and administration job vacancies than any
other publication.

Economic Initiatives
www.belfastcity.gov.uk
Belfast City Council’s EU Unit, is responsible for: Raising awareness of European affairs
throughout the Council and its partner organisations; Assisting in the implementation and
development of European policies and strategies; and Maximising the opportunities arising
from developments within the European Union.

3RD SOURCE MEDIA

www.3rdsourcemedia.com
3RD SOURCE MEDIA are kind sponsors of the Creative Clusters 2005 Cyber Café and all Audio
Visual equipment

UK Presidency of the EU
www.eu2005.gov.uk
The United Kingdon holds the EU Presidency from 1 July until 31 December 2005. Creative
Clusters has been selected for inclusion in the official programme of cultural events supporting
the United Kingdom Presidency.

34
Conference Programme
Sunday 23rd
Delivering Skills for 11:00am to 12:30pm Inclusive Television Growth in the Creative
October Creativity: Introduction Investment in Audio- Ballroom 3 Industries
Ballroom 3 Visual ▪ Lena Nahlous, Rotunda Suite
10:45am to 12:00pm
▪ Chris Bilton, Centre for Ballroom 1 Information and Cultural ▪ Paul Owens, BOP, UK
Belfast Sightseeing Trip
Cultural Policy Studies, ▪ Thierry Baujard, Exchange, Australia ▪ Tom Campbell, BOP, UK
3:30pm to 4:45pm University of Warwick, Peacefulfish, Germany ▪ Simon Robertshaw,
UK ▪ Toby Barnes, Pixel-lab, ICDC at Liverpool John 8:00pm to 11:30pm
Building the Titanic
▪ Linda Florance, UK Moores, UK Creative Clusters Dinner,
(visit)
Skillfast-UK, UK ▪ Alice Morrison, North ▪ Linda Cockburn, BBC Ballroom
6:00pm to 7:00pm ▪ Tom Bewick, Creative & West Vision, UK Training and
Arts Council Northern Cultural Skills, UK Development, UK
Ireland: Drinks Reception City of Culture, City of Wednesday 26th
6:30pm to 8:00pm Creativity Value of the Arts
October
7:15pm to 8:30pm Civic Opening Reception Ballroom 2 Rotunda Suite
Queen's University: Belfast City Hall ▪ Beatriz Garcia, Centre ▪ Joaquin Herranz, 9:00am to 10:30am
Creative Technology for Cultural Policy University of Northern Ireland
Exhibition & Reception Research, UK Washington, USA Creative Industry
▪ Alex Roy, DTZ Pieda ▪ Karl Leathem, Lodestar,
Tuesday 25th Ballroom 1
Consulting, UK UK ▪ Brendan McGoran,
October ▪ Arian Hassani, ▪ Susan Jones, a-n The
Monday 24th Belfast City Council
UNESCO, France Artists Information ▪ Ian Murphy, Invest
October 9:00am to 10:30am
Company, UK Northern Ireland
Universities and Creative Finding Creative Talent
9:00am to 1:00pm Industry, Ballroom 1 ▪ Tim Kelley, NORIBIC
Ballroom 3 Design a Business: A
Barcelona: A Regional ▪ Dr Keith Randle, ▪ Heather Stevens,
▪ Chris Chandler, UK Film creative act
Response to Supporting CIRCU, UK Department for
Council, UK Edinburgh Suite
the Creative Industries ▪ Frank Abbott, Employment and Learn
▪ Adam Gee, Channel 4 ▪ Mark Fenwick, NESTA,
Edinburgh Suite Nottingham Trent School ▪ Kate Bond, University
Education, UK UK
of Art & Design, UK of Ulster
▪ Mairin Murray, BBC, UK
10:30am to 11:30am ▪ Phil Ellis, The Arts, City 4:00pm to 5:30pm ▪ Aidan Gough,
W5 Interactive Discovery College Manchester, UK Learning Towards the Investment Readiness InterTradeIreland
Centre (visit) Creative State Edinburgh Ballroom 1
A Tour of Europe, Global Issues in
Suite ▪ David Parrish, T-Shirts
11:00am to 12:30pm Ballroom 2 Creativity
▪ Helen Wills, Creative and Suits Ltd, UK
Building the Creative ▪ Roberta Comunian, Ballroom 2
Partnerships Merseyside, ▪ Hugh Mason,
Business: Or: 'Ten cast University of Newcastle ▪ Parminder Vir OBE,
UK Pembridge Partners LLP,
iron, guaranteed ways to Upon Tyne, UK London Development
▪ Gerri Moriarty, UK
kill a growing creative ▪ Dieter Haselbach, ICG Agency, UK
Community Artist and ▪ Richard Povall, CCEP,
business Dublin 1 & 2 Consulting Group AG - ▪ Pernille Askerud,
Independent, UK Aune Head Arts /
culturplan, Germany UNESCO, Switzerland
▪ Geoff White, Creative Dartington College of
1:00pm to 3:00pm ▪ Paul Rutten, ▪ Yetunde Aina, Jadeas
Partnerships Merseyside, Arts, UK
Opening Plenary INHOLLAND University of Trust, Nigeria
UK
Ballroom Professional Education, The Role of Artists
Chris Yapp, Head of Building a European
Netherlands The Business Case for Ballroom 2
Public Sector Innovation, Consensus
Diversity ▪ David Cotterrell,
Microsoft UK, UK Clusters and Classes, Ballroom 3
Rotunda Suite Sheffield Hallam
▪ Prof Baroness Lola Ballroom 3 ▪ Gottfried Wagner,
▪ Jonathan Meth, University, UK
Young, Director, Cultural ▪ Graeme Evans, Cities European Cultural
CreativePeople ▪ Mark Davy, Futurecity,
Brokers, UK Institute, London Foundation, Netherlands
UK
Metropolitan University, 2:00pm to 3:30pm ▪ Richard Parkes,
▪ Sheila Graham, Area
4:00pm to 5:30pm UK Policy for the Creative Prevista, UK
Youth Foundation,
Investing in Creativity: ▪ Caroline Chapain, Locality ▪ Mark Ferrero,
Jamaica
Theme Introduction, CURS, University of Ballroom 1 Department for Culture
Ballroom 1 Birmingham, UK ▪ Patricia Zaido, The Innovative Business Media Sport, UK
▪ Dave Harte, Advantage Salem Partnership, USA Support
West Midlands/ WIPO Intellectual 11:00am to 12:00pm
▪ Cora Jacob, Cora Cares Ballroom 3
University of Central Property Workshop, Investing in Creativity:
Foundation, Philippines ▪ Norbert Kettner,
England, UK Edinburgh Suite Theme Closing
▪ Galina Gornostaeva, departure wirtschaft,
▪ Jason Ball, London ▪ Donna Ghelfi, WIPO, Ballroom 1
LSE, UK kunst und kultur gmbh,
Seed Capital, UK Switzerland Austria
▪ Richard Smith- Inclusion Through
▪ Christopher Kalanje, China: Shifting the ▪ Helene George,
Bingham, NESTA, UK Creativity: Theme
WIPO, Switzerland Global Balance Creative Economy Pty Closing
Ballroom 2 Ltd, Australia
Inclusion Through Rural Diversification, Ballroom 2
▪ Desmond Hui, Centre ▪ Gerry Smith, ABi
Creativity: Theme Rotunda Suite for Cultural Policy Associates, UK Delivering Skills for
Introduction Ballroom 2 ▪ Katie Wise, Cultural Research, University of
▪ Jonnie Turpie, Maverick Creativity: Theme
Business Venture Hong Kong, China Learning for Creative
TV Closing
Cumbria, UK ▪ Simon Evans, Creative Industry
▪ Jonathan Meth, Ballroom 3
▪ Alistair Murray, Atlantic Clusters, UK Edinburgh Suite
CreativePeople Marketing, UK ▪ Laurence Solkin, City 1:30pm to 3:00pm
▪ Deborah Harrison, University, UK Closing Plenary
Silverleaf Associates, UK ▪ Andrew Erskine, BOP, Ballroom
UK ▪ James Purnell MP, Dept
▪ Peter Stark, for Culture, Media &
Independent, UK Sport, UK
▪ Howard Beale,
thefishcansing, UK

35
 List of Delegates
4 Education, Channel 4 (London, UK)
James Estill, Producer, IDEASFACTORY
a-n The Artists Information
Company (Newcastle upon Tyne, UK)
Susan Jones, Director of Programmes
ABi Associates (London, UK)
Gerry Smith, Programme Director
ABi Associates Ltd
(London, UK) Vijay Amin, Director
ACMC & New Style Radio
(Birmingham, UK) Martin Blissett,
Chairman
Actiontrack Performance Co Ltd
(Somerset, UK)
Caroline Barnes, Development Manager
Advantage West Midlands /
University of Central England
(Birmingham, UK)
Dave Harte, Cluster Innovation Manager
AHRC (Bristol, UK)
Julie Taylor, Creative Industries Manager
AHRC (Bristol, UK)
Samantha Wallington, HR Officer
Akerselva Innovasjon (Oslo, Norway)
Dag Hotvedt, Managing Director
Ambel Ltd (Sheffield, UK)
Yvonne O'Donovan, Director
Ards Arts Centre (Newtownards, UK)
Eilis O'Baoill, Arts Officer
Area Youth Foundation (Kingston 8,
Jamaica) Sheila Graham, Director
Artquest (London, UK)
Stephen Beddoe, Programme Manager
Arts & Business (London, UK)
Javier Stanziola, Head of Research,
Evaluation and Information
Arts & Business (Belfast, UK) Tania
Carlisle, Learning & Performance
Manager
Arts Council England (London, UK)
Jaime Stapleton, Officer at ACE,
Interdisciplinary Arts Department
Arts Council England - North East
(Newcastle upon Tyne, UK)
Louis Coles, Creative Industries Officer
Arts Council England - North West
(Manchester, UK)
Tanya Bryan, Crafts Officer
Arts Council England - South West
(Exeter, UK) Nema El-Nahas, Officer,
Resource Development
Arts Council England South West
(Exeter, UK)
Emmy Tellstrom, Finance Administrator
Arts Council Northern Ireland
(Belfast, UK) Nick Livingston, Director,
Strategic Development
Arts Council Northern Ireland
(Belfast, UK) Iain Davidson, Arts Dev-
elopment Officer, Visual Arts & Crafts
Arts Council of Northern Ireland
(Belfast, UK) Kim Lavery, DSO & PA to
the Director, Strategic Development
Arts Training Wales (Cardiff, UK)
Zoe Rozelaar, Project Manager
ArtsMatrix (Exeter, UK)
Tracey Guiry, Director
Ash Sakula Architects (London, UK)
Cany Ash, Partner
Association of Integrated Media-
Highlands & Islands (Invereray, UK)
Jeremy Sim, Development Manager
Astry Gallery (Sofia, Bulgaria)
Tania Pesheva, Gallerist, artist
Atlantic Marketing (Thurso, UK)
Alistair Murray, Proprietor
Bath Spa University (Bath, UK)
Mimi Thebo, ArtsWork Fellow
BBC (London, UK)
Mairin Murray, Producer
BBC Training and Development
(London, UK)
Linda Cockburn, Partnership Manager
BBS / University of Kalmar
(Kalmar, Sweden)
Hans Wessblad, Sen.Lect.
Belfast City Council (Belfast, UK)
Ms Marie-Therese McGivern, Director of
Development
Belfast City Council (Belfast, UK)
Councillor Bob Stoker, Councillor
Belfast City Council (Belfast, UK)
Councillor Michael Browne, Councillor
Belfast City Council (Belfast, UK)
Ms Shirley McCay, Head of Economic
Initiatives
Belfast City Council (Belfast, UK)
Brendan McGoran, Creative Industries
Officer
Belfast City Council (Belfast, UK)
Lord Mayor Wallace Brown, Councillor
Belfast City Council (Belfast, UK)
Siobhan Watson, Economic Development
Manager
Belfast City Council (Belfast, UK)
Brendan McGoran, Creative Industries
Officer
Belfast First Stop Business Shop
(Belfast, UK) Patricia Flanagan, Manager
Birkbeck, University of London
(London, UK) Marjorie Hoek, Business
Relations Officer - Arts and Culture
Black Arts Alliance (Manchester, UK)
SuAndi (O.B.E.), Cultural Director –
Freelance
BOP (London, UK)
Andrew Erskine, Senior Consultant
BOP (London, UK)
Paul Owens, Director
BOP (London, UK)
Tom Campbell, Consultant
Botkyrka Municipal Head Office
(Stockholm, Sweden)
Markus Gahnfelt, Creative Business
Developer
Brainswork - ideas in progress
(Vienna, Austria) Selma Prodanovic,
Chief Networking Officer
Bristol City Council (Bristol, UK)
Kate Jordan, Creative Industries Officer
Bristol City council (Bristol, UK)
Paul Barnett, Head of Cultural Services
Bristol Media (Bristol, UK)
Claire Hickman, Project Manager
Burns Owens Partnership (London,
UK) David Lee, Researcher
Business Link Tyne and Wear
(Sunderland Enterprise Par, UK)
Paul Crozier, Creative Industries
Specialist
C/O EQ (Halifax, UK)
Chrissie Tiller, Consultant
C4 IDEASFACTORY Northern Ireland
(Belfast, UK) Maud Hand,
Canadian Film Centre (Toronto,
Canada) Rick Sherman, Manager,
Government Relations
Cànan (Isle of Skye, UK)
Debi Weir, Chief Executive
Cardiff City Council (Cardiff, UK)
Melanie Hawthorne, Project Manager
Center for Creative Industries
(Macao, Macao)
Maria Lúcia Rodrigues Lemos de Sales
Marques, Project Manager
Center for Creative Industries
(Macao, Macao)
Antonio Ho, Operations Assistant
Central Queensland University
(North Rockhampton, Australia)
Bernadette Walker-Gibbs, Lecturer
Central Queensland University
(Rockhampton, Australia) Julie
Fleming, Multimedia Learning Designer
Centre for Creative Business
(London, UK)
Greg Orme, Chief Executive
Centre for Creative Business
(London, UK) John Bates, Professor
Centre for Cultural Policy Research
(Glasgow, UK)
Beatriz Garcia, RCUK Academic Fellow
Centre for Cultural Policy Research,
University of Hong Kong (Hong
Kong, China) Desmond Hui, Director
Centre for Expertise of Digital Media
(Helsinki, Finland)
Irina Blomqvist, Program Director
Centre for Factories of the Future
(Coventry, UK) Dr Martin Ziarati,
Director
Channel 4 Education (London, UK)
Adam Gee, Commissioning Editor,
Interactive
Channel 4 Education (Inverness,
UK) Lucy Conway, Commissioning Editor
- IDEASFACTORY Highlands & Islands
Channel 4 Education (Belfast, UK)
Peter Logue, Director of Education -
Northern Ireland
Chinese Radio (Amsterdam,
Netherlands) Liu Yan, Journalist
ci one (Manchester, UK) David
McMurrugh, Creative Industries Manager
CIDA (Huddersfield, UK) Dawn Rogers,
Executive Assistant to Chief Executive
CIDA UK (Creative Industries
Development Agency UK)
(Huddersfield, UK)
Keith Evans, Managing Director
CIDA UK(Creative Industries
Development Agency UK)
(Huddersfield, UK)
Anamaria Wills, Chief Executive
CIQ Agency (Sheffield, UK)
Richard Motley, Head of Development
CIRCU (Hatfield, UK)
Dr Keith Randle, Director
Cities Institute, London Metropolitan
University (London, UK)
Jo Ann Foord, Principal Research Fellow
Cities Institute, London Metropolitan
University (London, UK)
Graeme Evans, Director
City College Manchester
(Manchester, UK) Phil Ellis, Business
Development Manager - The Arts
City of Amsterdam (Amsterdam,
Netherlands) Robert Marijnissen,
Programme Manager Creative Industries
City of Turku / Arsmedia Project
(Turku, Finland)
Kimmo Hyyppä, Project Manager
City University (London, UK)
Laurence Solkin, Programe Director
Comhairle nan Eilean Siar
(Sandwick Road, UK) Anne Murray,
Economic Development Officer
Cora Cares Foundation
(Mandaluyong, Philippines)
Cora Jacob, Entrepreneur
Cornwall Arts Centre Trust Ltd
(Redruth, UK) Ross Williams, Director
County Administration Jämtland
(Ostersund, Sweden) Gunnar
Haraldsson, Coordinator
Craft Northern Ireland (Belfast, UK)
Joe Kelly, Director
Creativ Wirtschaft Austria c/o
Federal Economic Chamber
(Vienna, Austria)
Christian Atzmueller, Managing Director
Creative & Cultural Skills (London,
UK) Tom Bewick, Chief Executive
Creative & Cultural Skills
(Edinburgh, UK) Caroline Parkinson,
Executive Director - Nations & Regions
Creative Capital (Cape Town, South
Africa) Nisha Naidoo, Director
Creative Clusters (Sheffield, UK)
Simon Evans, Director
Creative Economy Pty Ltd
(Brisbane, Australia)
Helene George, Company Director
Creative Enterprise Office (Dundalk,
Ireland) Noleen Coleman, Administrator
Creative Enterprise Office
(Dundalk, Ireland)
Karen Phillips, Development Manager
Creative Industries Partnership
(Sheffield, UK) Paul Skelton, Partner
Creative Network (Stoke-on-Trent,
UK) Dorothy Evans, Project Manager
Creative Partnerships (Bristol, UK)
Rachel Kelly, Team Assistant
Creative Partnerships (Bristol, UK)
Carole Sartain, Project Manager
Creative Partnerships (Bristol, UK)
Kim Tilbrook, Project Manager
Creative Partnerships (Bristol, UK)
Amanda Colbourne, Programme Manager
Creative Partnerships (Liverpool, UK)
Helen Wills, Director
Creative Partnerships (Liverpool, UK)
Geoff White, Sector Director for Creative
Industries on Merseyside
Creative Partnerships, Arts Council
England (London, UK) Judy Nagle,
Senior Officer, Business Partnerships
CreativePeople (Caterham, UK)
Jonathan Meth, Chair
CreativePeople (Caterham, UK)
Barbara Brunsdon, Project Manager
creativity@work (Wakefield, UK)
Andy Green, partner
creativity@work (Wakefield, UK)
David Taylor, Director
Cultural Brokers (London, UK)
Prof Baroness Lola Young, Director
Cultural Business Venture Cumbria
(Hackthorpe, UK) Katie Wise, Creative
Industries Development Officer
Cultural Enterprise (Penarth, UK)
Mari Beynon Owen, Consultant
Culture Ministry of Latvia (Riga,
Latvia) Egons Persevics, Specialist
CURS, University of Birmingham
(Birmingham, UK)
Caroline Chapain, Research Fellow
David Powell Associates (London,
UK) Tabitha Timothy, Project Manager
DCAL (Bangor, UK)
Richard Cushnie, Principal Officer
DCAL (Belfast, UK)
Edgar Jardine, Deputy Secretary
DCAL (Belfast, UK)
Valerie Dixon, Manager
De Montfort University (Leicester,
UK) David Wortley, Project Manager
Creative Industries Knowledge Network
Department for Culture Media Sport
(London, UK) Mark Ferrero, Head of
Creative Industries
Department for Employment and
Learning (Belfast, UK) Heather
Stevens, Director Skills & Industry
Division
departure wirtschaft, kunst und
kultur gmbh (Vienna, Austria)
Heinz Wolf, Production, Organisation and
Events Manager
departure wirtschaft, kunst und
kultur gmbh (Vienna, Austria)
Norbert Kettner, Managing Director
Dept Enterprise, Trade & Investment
(Belfast, UK) Mike Maxwell, Head of
Policy Evaluation and Development Unit
Derry City Council (Derry, UK)
Brendan McMenamin, Arts and Culture
Programme Officer
Design Wales (Cardiff, UK) Gisele
Raulik, International Events Co-ordinator
Devon Artsculture (Winkleigh, UK)
Sadie Green, Projects Officer
Devon Artsculture (Totnes, UK)
Eleanor Butland, Projects Officer
Digital Diversity (Dundalk, Ireland)
Orla Kelleher, Project Administrator
Digital Diversity (Dundalk, Ireland)
Eamonn Quinn, Project Manager
DPA (London, UK)
David Powell, Urban Generalist
Dream Ireland (Belfast, Ireland)
Russell Moore, Director of Development
Dream Ireland (Belfast, Ireland)
Gary McCausland, Director
DTZ Pieda Consulting (Edinburgh,
UK) Alex Roy, Associate Director
Dundalk Institute of Technology
(Dundalk, Ireland), Irene Monaghan
Dundalk Institute of Technology
(Dundalk, Ireland) Sean MacEntee,
Incubation Centre Manager
Dundalk Institute of Technology
(Dundalk, Ireland)
Kulli Partel, Midas Administrator
Dundalk Institute of Technology
(Dundalk, Ireland) Rodd Bond,
Consultant
Dutch Ministry of Education, Culture
and Science (The Hague, Netherlands)
Chantal Olffers, Policy advisor
Dutch Ministry of Education, Culture
and Science (The Hague, Netherlands)
Menno Broek, Senior Policy Advisor
Education and Innovation, CQU
(Rockhampton, Australia) Dr Bernadette
Walker-Gibbs, Bachelor of Creative
Enterprise Program Leader, Lecturer
Edward de Bono Foundation NI
(Belfast, UK) Sean Brennan,
Development Officer
EINA, Escola de Disseny i Art
(Barcelona, Spain) Octavi Rofes, Director
EQ (Halifax, UK)
David McCall, Chief Executive
EQ (Halifax, UK) Michelle Kent,
Contracts and Performance Manager
EQ (Halifax, UK)
Carson McCombe, Project Co-ordinator
EUCLID (Liverpool, UK)
Geoffrey Brown, Director
European Cultural Foundation
(Amsterdam, Netherlands)
Gottfried Wagner, Director
FACT (Liverpool, UK)
Gill Henderson, Director
Fast Forward Region GmbH (Bad
Radkersburg, Austria)
Sabine Prossnegg, Projekt Manager
Film and Digital Media Exchange
(Hatfield, UK)
Lesley Johnson, Project Manager
First Light (Birmingham, UK)
Yen Yau, Strategic Partnerships Manager
Food in Action (Ostersund, Sweden)
Sofia Gulliksson, Project & Event
Manager
FORM Contemporary Craft and
Design (Perth, Australia)
Lynda Dorrington, Executive Director
Frontline States Ltd (Royston, UK)
Peter Sinclair, Strategic director
Futurecity (Brussels, Belgium)
Andrew McIlroy, International Projects
Manager
FutureNow-Learning for Life
(Claremont, Australia)
Mal Gammon, Executive Director
Genesis Arts Gallery (Osogbo,
Nigeria) Adeyinka Emmanuel
Fabayo, CURATOR/DIRECTOR
goEVENTS (Inverness, UK)
Shaun Arnold, General Manager
Greenwich Craft Foundation
(London, UK) Phillippa Haynes, Director
Grupo Xabide (Vitoria-Gasteiz,
Spain) Francisco de Blas,
Director de Proyectos
HEA Art Design Media Subject
Centre (Brighton, UK)
David Clews, Subject Centre Manager
Hexagram (Montreal, Canada)
Annabel Seyller, Senior Consultant
Hi8us Projects Ltd (London, UK)
Mark Dunford, Executive Director
HIE (Inverness, UK)
Iain Hamilton, Senior Development
Manager Creative Industries
Huddinge Local Authority
(Huddinge, Sweden) Fredrik Berglund,
Business development officer
HUFS (Seoul, Korea (South))
Seung Hyun Lee, Lecturer
ICDC at Liverpool John Moores
(Liverpool, UK) Simon Robertshaw,
Professor/Director
ICG Consulting Group AG -
culturplan (Berlin, Germany)
Dieter Haselbach, Senior Partner
ImpulsProgramm creativwirtschaft
(Vienna, Austria) Mag. Sabine Puempel,
Projectleader
Independent (MA, USA)
Beate Beaker, Consultant
Independent (Belfast, Ireland) Bronagh
Lawson, Training & Business Consultant
Independent (Newcastle/Gateshead,
UK) Peter Stark, Cultural Policy Adviser
Independent (Belfast, UK)
Gerri Moriarty, Community Artist and
Industrial Modernization
Programme (Cairo, Egypt)
Shereen Shirazy, Cluster Program
Manager
Information and Cultural Exchange
(Parramatta, Australia)
Lena Nahlous, Director
INHOLLAND University of
Professional Education (Haarlem,
Netherlands) Paul Rutten, Reader
Innovate Centre for Creative
Industries (Plymouth, UK)
Roslyn Porter, Centre Manager
Institut of Public Affairs Jagiellonian
University (Cracow, Poland) Monika
SmoleD, Assistant
Institute of Art Design and Technol
(Co. Dublin, Ireland)
Josephine Browne, Head of School of
Business and Humanities
Institute of European Studies
(Macao, Macao)
José Luís de Sales Marques, President
Institute Public Affairs Jagiellonian
University (Cracow, Poland)
Andrzej Kurkiewicz, Assistant
Institute Public Affairs Jagiellonian
University (Cracow, Poland)
Andrzej Kurkiewicz, Assistant
Interface, University of Ulster
(Belfast, UK) Karen Fleming,
Reader, Coordinator of Textiles Research
Interface, University of Ulster
(Belfast, UK) Declan McGonagle, Director
International Business Centre
(Derry, UK)
Edel Griffin, Programmes Manager
InterTradeIreland (Newry, UK)
Dermot O'Doherty, Senior Adviser -
Business Networks
InterTradeIreland (Newry, UK)
Aidan Gough, Director, Strategy & Policy
Invest NI (Belfast, UK)
Alastair Higgins, Social Economy
Invest NI (Belfast, UK)
Stephen Mullen, Head of Digital Media
Invest NI (Belfast, UK)
Ian Murphy, Director
iP ImpulsProgramm
creativwirtschaft (Vienna, Austria)
Sabine Puempel, projectleader
Jadeas Trust (Lagos, Nigeria)
Yetunde Aina, CE
Jersey Arts Trust (St. Helier, UK)
Chris Clifford, Director
Jersey Arts Trust (St. Helier, Jersey)
Jo Falla, Business Development
Executive
Jyväskylä Polytechnic (Jyväskylä,
Finland) Petri Jussila, R&D Manager
Kent County Council (Maidstone,
UK) Verrinia Rees, Community Arts
Manager
KK-stiftelsen (Stockholm, Sweden)
Ingegerd Green, Programme Director
KK-stiftelsen (Stockholm, Sweden)
Maria Bergkvist, Programme Manager
KK-stiftelsen (Stockholm, Sweden)
Carin Daal, Programme Manager
Knowle West Media Centre (Bristol,
UK) Carolyn Hassan, Director
LAC Limited (Huddersfield, UK)
Lee Corner, Director
Language Network Northern Ireland
(Belfast, UK) Arthur Bell, Coordinator
Limavady College (Limavady, UK)
David Hanna, Head of Centre for Design
& Creative Technologies
Limavady College (Limavady, UK)
Dr Anne Heaslett, Drictor
Limavady College of Further Educ.
(Limavady, UK) Pauline Quigley,
Business Development Officer
Lodestar (Bangor, UK)
Karl Leathem, Director
London Borough of Camden
(Camden, UK)
Fiona McKeith, Jewellery Sector
Development Manager
London Centre for Arts and Cultural
Enterprise (London, UK)
Rosy Greenlees, Director
London Development Agency
(London, UK) Michelle Reeves,
International Initiatives Manager
London Development Agency
(London, UK) Parminder Vir OBE,
Diversity Consultant: Media, Business
and Arts
London Development Agency
(London, UK) Maher Anjum,
Senior Creative Hub Manager
London School of Economics
(London, UK)
Andy Pratt, Senior lecturer
London Seed Capital (London, UK)
Jason Ball, Investment Executive
LSE (London, UK)
Galina Gornostaeva, Research Officer
Maine Center for Creativity
(Portland, USA)
Jean Maginnis, Executive Director
Maverick Television (Birmingham,
UK) Jonnie Turpie, Executive Chairman
Meadowhead Projects Ltd
(Liverpool, UK)
Simon Ryder, Executive Director
Media Centre Lume, UAD Helsinki
(Helsinki, Finland)
Jarmo Elukka Eskelinen, Director
Media Centre Network
(Huddersfield, UK)
Catherine McGrath, Marketing Manager
Media Centre Network
(Huddersfield, UK)
Toby Hyam, Chief Executive
Microsoft UK (Reading, UK)
Chris Yapp, Head of Public Secto
midas initiative - university ulster
(Belfast, UK)
Judith Ryan, Project Manager
Mix Media Oy (Helsinki, Finland)
Helena Lehtimaki, Managing Director
Musicians in Focus (London, UK)
Jacqueline Clifton, Director
NESTA (London, UK)
Mark Fenwick, Head of Creative Pioneer
Programme
NESTA (London, UK) Nicky Edwards,
Policy and Public Affairs Manager
NESTA (London, UK)
Joe Meaney, Communications Manager
NESTA (London, UK)
Ian Poitier, Programme Investment
Manager, Creative Industries
NESTA (London, UK) Sian Prime,
Training and Development Manager
NESTA (Belfast, UK) Tanya McGill,
Northern Ireland Development Manager
NESTA (London, UK)
Michael Harris, Research Manager
NESTA (London, UK) Michael
Bedward, Business Support Manager
NESTA (London, UK) Richard
Smith-Bingham, Head of Policy and
Research
New Start and Social Enterprise
(Sheffield, UK) Jamie Veitch, Director
New Start magazine (Sheffield, UK)
Julian Dobson, Editor
New Zealand Trade & Enterprise
(London, UK) Sarah Todd, Market
Consultant, Creative Industries
NI Film & Television Commission
(Belfast, UK) Julieanne Crothers-Gibson,
CEO
NIFTC (Belfast, UK)
Richard Williams, CEO
NORIBIC (Derry, UK)
Tim Kelley, CBBIC Devlopment Officer
NORIBIC (Derry, UK)
Rita McCaughey, Consultant
North West Vision (Liverpool, UK)
Alice Morrison, CEO
Northern Cultural Skills Partnership
(Newcasyle on Tyne, UK)
Judy Seymour, Director
Nottingham Trent School of Art &
Design (Nottingham, UK)
Frank Abbott, Programme Leader
Creative Collaborations MA
NW fashion & Textiles Cluster
(Derry, UK) Jayne Quigg, project officer
OKN/Osrodek Kultury im.C.K.
Norwida (31-959 Krakow, Poland)
Bozena, Specialist of Transnational
Cooperation
One NorthEast (Newcastle, UK)
Mark Adamson, Creative Industires
Specialist Advisor
Ontario Media Development Corp
(Toronto, Canada) Cherith Rachel Muir,
Directorof Business Affairs and Research
Parker Associates (Glenavy, UK)
Mike Parker, Director
Peacefulfish (Berlin, Germany)
Thierry Baujard, CEO
Pembridge Partners LLP (London,
UK) Hugh Mason, Partner
Pixel-lab (Nottingham, UK)
Toby Barnes, Founder and MD
Preston City Council (Preston, UK)
Jenny Rutter, Creative Industries
Development Officer
Preston City Council (Preston, UK)
Lynne Sargeson, Assistant Creative
Industries Officer
Preston City Council (Preston, UK)
Jenny Rutter, Creative Industries
Development Officer
Prevista (Islington, UK)
Richard Parkes, Chair
QED Consulting (London, UK)
Frances Hinton, Senior Consulting
QNB Volante (Stockholm, Sweden)
Tobias Nielsen, Senior analyst
Queen Mary, University of London
(London, UK) Evelyn Wilson,
Arts and Cultural Enterprise Manager
Red Lemon Productions (Belfast,
UK) Shane Quinn, Marketing Director
Red Tape Studios (Sheffield, UK)
Nick Cartledge, Acting Manager
Red Tape Studios (Sheffield, UK)
Chris Madden, MOLP Tutor
Regional Development Centre
(Dundalk, Ireland)
Anne Tinnelly, Clerical Officer
Renaissance South Yorkshire
(Rotherham, UK) Will Bedford, Creative
& Digital Industries Project Manager
Rock City Hultsfred (Hultsfred,
Sweden)
Lars-Erik Rönnlund, Business Developer
Roda Linjen (Stockholm, Sweden)
Peter Englén, Coordinator
Roskilde Business College
(Roskilde, Denmark)
Jes Hedensted, Vicepresident
Roskilde Business school (Roskilde,
Denmark) Per Jensen
Roskilde Business school (Roskilde,
Denmark) Erik Staunstrup, Senior
Lecturer
Roskilde Business school (Roskilde,
Denmark) Dan Sønderskov, Student.
Performace Management
Royal College of Music in Stockholm
(Stockholm, Sweden)
Kersti Larsson, Head of Planning, project
manager Starthus KMH
School of Art, Design and Media,
University of Portsmouth
(Portsmouth, UK) Tim Putnam, Professor
of Material Culture
Scottish Enterprise Edinburgh and
Lothian (Edinburgh, UK) June Allison
Edgar, Creative Industries Manager
Scottish Enterprise Glasgow
(Glasgow, UK) Jonathan Clark, Director
Scottish Enterprise Glasgow
(Glasgow, UK) Keith Falconer, Senior
Executive
Sheffield Hallam University
(London, UK) David Cotterrell, Senior
Lecturer in Fine Art
Showhow (246 Stockwell Road, UK)
Kathy O'Brien, Project Manager
Silverleaf Associates (Bristol, UK)
Deborah Harrison, Consultant
Skillfast-UK (Leeds, UK)
Linda Florance, Chief Executive
Skillset (Leeds, UK)
Malcolm Leick, Director, Business Affairs
Sligo County Council (Sligo, Ireland)
Mary McAuliffe, County Sligo Arts Officer
Somerset County Council (Bridgwater,
UK) Susan Isherwood, County Arts
Officer
South West RDA (Exeter, UK) James
McNaughton, Creative Industries Adviser
States of Jersey (St Helier, Jersey)
Jason Lane, Strategy Director
Synergy Learning (Belfast, UK)
Dr Alan Largey, Education Director
Systems Insight Ltd (Ayr, UK)
Peter Dunsmuir, Managing Director
T-Shirts and Suits Ltd (Manchester,
UK) David Parrish, International
Management Consultant and Trainer
Talking Birds (Coventry, UK)
Janet Vaughan, Artist
Taunton Deane Borough Council
(Taunton, UK) Caroline Corfe, arts
officer
Technology Centre Kareltek Inc
(Imatra, Finland) Johanna
Vayrynen, External Relations Manager
Technology Centre Kareltek Inc
(Lappeenranta, Finland)
Hannu Lappalainen, Project Manager
The Engine Room, Wimbledon
School of Art (London, UK)
Hayley Skipper, Project Coordinator
the hub (London, UK)
Julia Payne, Director
The Mindful Way (London, UK)
Sita Ramamurthy, Director
The Salem Partnership (Salem,
USA) Patricia Zaido, Executive director
The University of Bolton (Bolton,
UK) Rebecca Albrow, Creative Industries
Group Manager
The Work Lab (North Hobart,
Australia) David Morgan, CEO
thefishcansing (London, UK)
Howard Beale, Founding Partner
thefishcansing (London, UK)
Nathan Midgely, Writer / Researcher
Transit-Konstfack (Stockholm,
Sweden) Claes Boman, Director
TyneWear Partnership (Sunderland,
UK) Rhiannon Bearne, Policy Officer
U.S. Consulate General (Belfast, UK)
Cathy L. Hurst, Public Affairs Officer
UCE, Birmingham (Birmingham, UK)
Steve Harding, Business Developme
UK Film Council (London, UK)
Tim Cagney, Head of UK Partnerships
UK Film Council (London, UK) Chris
Chandler, Deputy Head of UK
Partnerships
UNESCO (Paris Cedex 15, France)
Arian Hassani, Consultant
UNESCO (Geneve, Switzerland)
Pernille Askerud, International
consultant
University College Falmouth
(Falmouth, UK) Alan Livingston, Principal
University of Central Lancashire
(Preston, UK)
Alizon Brunning, Clerical Assistant
University of Central Lancashire
(Preston, UK) Sally Kellet, Research
Fellow
University of East London (London,
UK) Graham Jeffery, Senior Lecturer
University of Lincoln (Lincoln, UK)
Andrew Stevenson, Business Incubation
Manager
University of Liverpool (Liverpool,
UK) Max Alder, Business Development
Associate - Arts & Culture
University of Newcastle Upon Tyne
(Newcastle Upon Tyne, UK)
Roberta Comunian, Ph.D. Student
University of Portsmouth
(Portsmouth, UK)
David Goodman, project manager
University of Portsmouth
(Portsmouth, UK)
Bev McManus, Faculty Manager
University of Teesside (Middles-
brough, UK) Tim Martin Brunton,
Business Development Manager
University of Ulster (Belfast, UK) Tim
Kerr, Cultural Development Department
University of Ulster (Belfast, UK)
Deborah Fraser, Distinguished Teaching
Fellow, Course Director Pg/MA
University of Ulster (Islandmagee,
UK) Amanda Montgomery, PhD
University of Ulster (Belfast, UK)
Christopher Murphy, Subject Director in
Interactive Multimedia Design
University of Ulster (Londonderry,
UK) Kate Bond, Head of Cultural
Development
University of Ulster, Magee Campus.
(Derry, UK) Nollaig Ó Fiongháile,
Programme Specialist
University of Warwick (Coventry,
UK) Chris Bilton, Lecturer, Centre for
Cultural Policy Studies
University of Washington (Seattle,
USA) Joaquin Herranz, Professor of
Public Affairs
University of Winchester
(Winchester, UK) Paul Chamberlain,
Director Regional Programmes
UWE (Bristol, UK) Sam Thomson,
Head of Foundation Studies
Victoria and Albert Museum
(London, UK) Kathryn Patten,
Creative Industries Manager
Wandsworth Borough Council, EDO
(London, UK) Mike Roberts,
East Battersea Programme Manager
Warrington UK (Warrington, UK)
Helen Williams, Marketing Manager
Warwick District Council
(Leamington Spa, UK) Nicholas
Ripley, Creative Industries Officer
WEA (Belfast, UK) Carole Kane,
Development Officer- Creative Industries
WIPO (Geneva, Switzerland)
Donna Ghelfi, Program Officer
Wolverhampton Art Gallery
(Wolverhampton, UK)
Pat Jones, Development Officer
World Intellectual Property
Organization (WIPO) (Geneva,
Switzerland) Christopher
Kalanje, Consultant, SMEs Div
Yuan Ze University (Chung Li,
Taiwan) Yiche Grace Chen, Professor