Europe's Creative Hubs

Who they are, what they do

EUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBSEUROPE’S CREATIVE HUBS

EUROPE’S CREATIVE HUBS

Who they are, what they do

Summary report – 2015

This research – based on 100+ survey responses, 12 depth interviews, and analysis of nearly 200 other Hubs – provides the starting point for understanding Europe’s Creative Hubs. It sets out who they are, what they do, and what support they need. It shows:

● There are a huge variety of Creative Hubs, with a range of public and private funded organisations running Hubs. Around one-third receive no public funding. This diversity of business models makes it hard to provide effective support to the sector as a whole.

● To manage this diversity, we can break Hubs down into two groups: space-based Hubs (Studios or Centres) and place-based Hubs (Clusters or Networks).

Executive Summary

42% of our sample are non42% of our sample are non42% of our sample are non42% of our sample are non----profits. profits. profits. profits. One quarter are government One quarter are government One quarter are government One quarter are government agencies. agencies. agencies. agencies.

Three quarters aim to support their Three quarters aim to support their Three quarters aim to support their Three quarters aim to support their local economies and the same to local economies and the same to local economies and the same to local economies and the same to support their local communities. support their local communities. support their local communities. support their local communities.

22222222% % % % of Hub Managers ask of Hub Managers ask of Hub Managers ask of Hub Managers ask for for for for management management management management support to help them support to help them support to help them support to help them manage the range of skills needed manage the range of skills needed manage the range of skills needed manage the range of skills needed to run their Hubs. to run their Hubs. to run their Hubs. to run their Hubs.

HEADLINESHEADLINESHEADLINESHEADLINES


● All Hubs aim to make a difference – to businesses, economies, and communities. Interviews identified evidence of this impact as a key research gap.

● To help reach their potential, Hub Managers need support to manage the range of challenges they face from advocacy to growth management. The proposed network is important in helping them to do this.

● But most of all, they are hungry for investment to help them develop new facilities and new services. EU funding programmes may not work for them.

● Hubs are optimistic and they feel their time has come. As recognition for the Creative Industries grows, so does the optimism of Hub Managers, who see themselves as drivers of this change.

to run their Hubs. to run their Hubs. to run their Hubs. to run their Hubs.

90% are optimistic about the 90% are optimistic about the 90% are optimistic about the 90% are optimistic about the future.future.future.future.

The major reason for pessimism is The major reason for pessimism is The major reason for pessimism is The major reason for pessimism is lack of funding. lack of funding. lack of funding. lack of funding.

Around half have applied for EU Around half have applied for EU Around half have applied for EU Around half have applied for EU Funds, but few Funds, but few Funds, but few Funds, but few have won have won have won have won them. them. them. them.

2

ContentsThis research aims to set the context This research aims to set the context This research aims to set the context This research aims to set the context for and for and for and for and to better understand Europe’s creative hubsto better understand Europe’s creative hubsto better understand Europe’s creative hubsto better understand Europe’s creative hubs

OVERVIEWOVERVIEWOVERVIEWOVERVIEW

IntroductionIntroductionIntroductionIntroduction 4444

Where are Europe’s Creative HubsWhere are Europe’s Creative HubsWhere are Europe’s Creative HubsWhere are Europe’s Creative Hubs 5555

TypologyTypologyTypologyTypology 6666

Operating modelsOperating modelsOperating modelsOperating models 7777

KEY ISSUESKEY ISSUESKEY ISSUESKEY ISSUES

ImpactImpactImpactImpact 8888


EUROPE’S CREATIVE HUBS EUROPE’S CREATIVE HUBS EUROPE’S CREATIVE HUBS EUROPE’S CREATIVE HUBS is a is a is a is a report authored report authored report authored report authored bybybyby

Callum Lee Callum Lee Callum Lee Callum Lee of of of of BOP Consulting on behalf BOP Consulting on behalf BOP Consulting on behalf BOP Consulting on behalf of of of of thethethethe

European Creative Business European Creative Business European Creative Business European Creative Business Network (ECBNNetwork (ECBNNetwork (ECBNNetwork (ECBN).The ).The ).The ).The study study study study

was was was was part of part of part of part of a collaborative a collaborative a collaborative a collaborative project project project project between ECBNbetween ECBNbetween ECBNbetween ECBN, , , ,

ADDICTADDICTADDICTADDICT, , , , Creative Industries Creative Industries Creative Industries Creative Industries Portugal, and the Portugal, and the Portugal, and the Portugal, and the BritishBritishBritishBritish

CouncilCouncilCouncilCouncil....

Produced by Callum Lee (BOP Consulting , Produced by Callum Lee (BOP Consulting , Produced by Callum Lee (BOP Consulting , Produced by Callum Lee (BOP Consulting ,

www.bopconsulting.euwww.bopconsulting.euwww.bopconsulting.euwww.bopconsulting.eu), with Gemma Hutchinson,), with Gemma Hutchinson,), with Gemma Hutchinson,), with Gemma Hutchinson,

Kristina Kristina Kristina Kristina OrasaninOrasaninOrasaninOrasanin & Melanie Esteves& Melanie Esteves& Melanie Esteves& Melanie EstevesImpactImpactImpactImpact 8888

Business ModelsBusiness ModelsBusiness ModelsBusiness Models 8888

Support NeedsSupport NeedsSupport NeedsSupport Needs 9999

THE FUTURETHE FUTURETHE FUTURETHE FUTURE

Optimism Optimism Optimism Optimism 11111111

PessimismPessimismPessimismPessimism 12121212

FundingFundingFundingFunding 14141414

ConclusionConclusionConclusionConclusion 15151515

3

Kristina Kristina Kristina Kristina OrasaninOrasaninOrasaninOrasanin & Melanie Esteves& Melanie Esteves& Melanie Esteves& Melanie Esteves

Thanks to:Thanks to:Thanks to:Thanks to:

• Bernd Fesel, Mehjabeen Price, Michal Hladky & Leo Bernd Fesel, Mehjabeen Price, Michal Hladky & Leo Bernd Fesel, Mehjabeen Price, Michal Hladky & Leo Bernd Fesel, Mehjabeen Price, Michal Hladky & Leo

van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)van Loon (ECBN Executive Board)

• Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)Cristina Farina, Rui Monteiro, & Bruno Pires (ADDICT)

• Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)Lynsey Smith & Ben Evans (British Council)

• Jonathan RobinsonJonathan RobinsonJonathan RobinsonJonathan Robinson

• Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)Janine Matheson (Creative Edinburgh)

And all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took partAnd all the Hub managers who contributed or took part

Our approach

- Preliminary consultation with stakeholders to understand key Preliminary consultation with stakeholders to understand key Preliminary consultation with stakeholders to understand key Preliminary consultation with stakeholders to understand key issues facing Hubs.issues facing Hubs.issues facing Hubs.issues facing Hubs.

The argument for the value of culture and creative industries in Europe The argument for the value of culture and creative industries in Europe The argument for the value of culture and creative industries in Europe The argument for the value of culture and creative industries in Europe

has has has has largely been largely been largely been largely been won won won won –––– they help create societies that are worth living in, they help create societies that are worth living in, they help create societies that are worth living in, they help create societies that are worth living in,

and they are central to any successful, prosperous economy. and they are central to any successful, prosperous economy. and they are central to any successful, prosperous economy. and they are central to any successful, prosperous economy.

So the big question for government or those working in the sector is no So the big question for government or those working in the sector is no So the big question for government or those working in the sector is no So the big question for government or those working in the sector is no

longer longer longer longer whywhywhywhy should we invest, but should we invest, but should we invest, but should we invest, but howhowhowhow should we invest. And, therefore, should we invest. And, therefore, should we invest. And, therefore, should we invest. And, therefore,

they need new they need new they need new they need new evidence evidence evidence evidence to to to to help help help help make make make make these new decisions. these new decisions. these new decisions. these new decisions.

One gap in the research is around the Creative Hub, an elusive One gap in the research is around the Creative Hub, an elusive One gap in the research is around the Creative Hub, an elusive One gap in the research is around the Creative Hub, an elusive

organisation defined by us as an “infrastructure or venue that uses a part organisation defined by us as an “infrastructure or venue that uses a part organisation defined by us as an “infrastructure or venue that uses a part organisation defined by us as an “infrastructure or venue that uses a part

of its leasable or available space for networking, organisational and of its leasable or available space for networking, organisational and of its leasable or available space for networking, organisational and of its leasable or available space for networking, organisational and

business development within the cultural and creative industries business development within the cultural and creative industries business development within the cultural and creative industries business development within the cultural and creative industries

Introduction EUROPE’S CREATIVE HUBS

- Structured web search to identify nearly 200 Creative Hubs as Structured web search to identify nearly 200 Creative Hubs as Structured web search to identify nearly 200 Creative Hubs as Structured web search to identify nearly 200 Creative Hubs as well as basic data on size, type, location.well as basic data on size, type, location.well as basic data on size, type, location.well as basic data on size, type, location.

- Short survey circulated through ECBN members and in Short survey circulated through ECBN members and in Short survey circulated through ECBN members and in Short survey circulated through ECBN members and in registration for the European Creative Hubs Forum (held in registration for the European Creative Hubs Forum (held in registration for the European Creative Hubs Forum (held in registration for the European Creative Hubs Forum (held in Lisbon in January 2015) . This was open between December Lisbon in January 2015) . This was open between December Lisbon in January 2015) . This was open between December Lisbon in January 2015) . This was open between December 2014 and February 2015. Additional responses were included 2014 and February 2015. Additional responses were included 2014 and February 2015. Additional responses were included 2014 and February 2015. Additional responses were included from other ECBN members and project partners to increase from other ECBN members and project partners to increase from other ECBN members and project partners to increase from other ECBN members and project partners to increase sample sizes and fill gaps. sample sizes and fill gaps. sample sizes and fill gaps. sample sizes and fill gaps.

- 12 detailed interviews with Hub managers, half of which were 12 detailed interviews with Hub managers, half of which were 12 detailed interviews with Hub managers, half of which were 12 detailed interviews with Hub managers, half of which were at the Forum and half as follow ups. at the Forum and half as follow ups. at the Forum and half as follow ups. at the Forum and half as follow ups.

- Summary Report launched May 2015, with listings and location Summary Report launched May 2015, with listings and location Summary Report launched May 2015, with listings and location Summary Report launched May 2015, with listings and location data made open and available online. data made open and available online. data made open and available online. data made open and available online.

business development within the cultural and creative industries business development within the cultural and creative industries business development within the cultural and creative industries business development within the cultural and creative industries

sectors.”*sectors.”*sectors.”*sectors.”*

This research This research This research This research –––– based on 100+ survey responses, 12 depth interviews, based on 100+ survey responses, 12 depth interviews, based on 100+ survey responses, 12 depth interviews, based on 100+ survey responses, 12 depth interviews,

and analysis of nearly 200 other Hubs and analysis of nearly 200 other Hubs and analysis of nearly 200 other Hubs and analysis of nearly 200 other Hubs –––– aims to provide a starting point aims to provide a starting point aims to provide a starting point aims to provide a starting point

for this debate by providing first indications of who these Hubs are, what for this debate by providing first indications of who these Hubs are, what for this debate by providing first indications of who these Hubs are, what for this debate by providing first indications of who these Hubs are, what

they do, and the support that they need. they do, and the support that they need. they do, and the support that they need. they do, and the support that they need.

We hope these findings provides a base from which further research can We hope these findings provides a base from which further research can We hope these findings provides a base from which further research can We hope these findings provides a base from which further research can

be commissioned, and which will ultimately improve the support offered be commissioned, and which will ultimately improve the support offered be commissioned, and which will ultimately improve the support offered be commissioned, and which will ultimately improve the support offered

to Creative Hubs, and so the contribution that the cultural and creative to Creative Hubs, and so the contribution that the cultural and creative to Creative Hubs, and so the contribution that the cultural and creative to Creative Hubs, and so the contribution that the cultural and creative

industries make, across Europe. industries make, across Europe. industries make, across Europe. industries make, across Europe.

4*See creativehubs.org/en/creative-hubs-project/what-is-a-creative-hub


Our sample

But it’s neither a precise But it’s neither a precise But it’s neither a precise But it’s neither a precise mmmmaaaappppppppiiiinnnngggg oooorrrr ppppeeeerrrrffffeeeecccctttt ssssaaaammmmpppplllleeee.... WWWWeeee hhhhaaaadddd mmmmoooorrrreeee HHHHuuuubbbbssss ffffrrrroooommmm tttthhhheeee UUUUKKKK,,,, PPPPoooorrrrttttuuuuggggaaaallll &&&& NNNNeeeetttthhhheeeerrrrllllaaaannnnddddssss than expected than expected than expected than expected ––––rrrreeeepppprrrreeeesssseeeennnnttttiiiinnnngggg the contacts of the the contacts of the the contacts of the the contacts of the organisations who organisations who organisations who organisations who sponsored the study. sponsored the study. sponsored the study. sponsored the study.

The 300 Hubs we studied came The 300 Hubs we studied came The 300 Hubs we studied came The 300 Hubs we studied came from 24 of the 28 EU nations. from 24 of the 28 EU nations. from 24 of the 28 EU nations. from 24 of the 28 EU nations.

The sample is fairly well balanced The sample is fairly well balanced The sample is fairly well balanced The sample is fairly well balanced at an EU level. The 100 Hubs at an EU level. The 100 Hubs at an EU level. The 100 Hubs at an EU level. The 100 Hubs who responded to the survey who responded to the survey who responded to the survey who responded to the survey were representative of High and were representative of High and were representative of High and were representative of High and Low Creative Intensity countries. Low Creative Intensity countries. Low Creative Intensity countries. Low Creative Intensity countries.

3%

3%

4%

5%

5%

7%

8%

9%

16%

23%

Estonia

Italy

Austria

France

Belgium

Germany

Portugal

Spain

Netherlands

UK

Origin

TTTThhhheeee ssssuuuurrrrvvvveeeeyyyy ssssaaaammmmpppplllleeee ((((wwwwhhhheeeerrrreeee many of the findings are many of the findings are many of the findings are many of the findings are drawn from) is particularly drawn from) is particularly drawn from) is particularly drawn from) is particularly oooovvvveeeerrrr rrrreeeepppprrrreeeesssseeeennnnttttaaaattttiiiivvvveeee ooooffff tttthhhheeeesssseeee groups.groups.groups.groups.

51%

1%

1%

1%

1%

1%

1%

1%

1%

1%

2%

2%

2%

2%

3%

Croatia

Cyprus

Malta

Poland

Luxembourg

Romania

Slovakia

Sweden

Denmark

Latvia

Czech Republic

Hungary

Greece

Ireland

Estonia

Hubs in study EU pop.

Countries with High Countries with High Countries with High Countries with High Creative IntensityCreative IntensityCreative IntensityCreative IntensityThose with high proportions of CI jobs as % of total*

71%71%71%71% 64%64%64%64%

Countries with Low Countries with Low Countries with Low Countries with Low Creative IntensityCreative IntensityCreative IntensityCreative IntensityThose with low proportions of CI jobs as % of total

29%29%29%29% 36%36%36%36%

*See The European Cluster Observatory (2011) Priority Sector Report: Creative and Cultural Industries

EUROPE’S CREATIVE HUBSUsing the data, we identified four distinct types of Creative Hub

STUDIO CENTRES CLUSTERS NETWORKS

Smaller, niche creative Smaller, niche creative Smaller, niche creative Smaller, niche creative spaces, like Coworking spaces, like Coworking spaces, like Coworking spaces, like Coworking

Halfway between a Halfway between a Halfway between a Halfway between a Factory and a Network. Factory and a Network. Factory and a Network. Factory and a Network.

These Hubs don’t run These Hubs don’t run These Hubs don’t run These Hubs don’t run physical spaces (although physical spaces (although physical spaces (although physical spaces (although

HUBS BASED AROUND HUBS BASED AROUND HUBS BASED AROUND HUBS BASED AROUND PLACESPLACESPLACESPLACES

Larger, physical spaces. Larger, physical spaces. Larger, physical spaces. Larger, physical spaces. Like StrijpLike StrijpLike StrijpLike Strijp----S in the S in the S in the S in the

HUBS BASED AROUND HUBS BASED AROUND HUBS BASED AROUND HUBS BASED AROUND SPACESSPACESSPACESSPACES

spaces, like Coworking spaces, like Coworking spaces, like Coworking spaces, like Coworking Salzburg in Austria. Salzburg in Austria. Salzburg in Austria. Salzburg in Austria.

18% of our sample. 18% of our sample. 18% of our sample. 18% of our sample. We We We We defined these as defined these as defined these as defined these as

physical spaces supporting physical spaces supporting physical spaces supporting physical spaces supporting fewer than 20 fewer than 20 fewer than 20 fewer than 20 businesses.businesses.businesses.businesses.

Factory and a Network. Factory and a Network. Factory and a Network. Factory and a Network. These include both big These include both big These include both big These include both big networks and physical networks and physical networks and physical networks and physical

spaces, like Brighton Fuse spaces, like Brighton Fuse spaces, like Brighton Fuse spaces, like Brighton Fuse in the UK.in the UK.in the UK.in the UK.

16% of our sample16% of our sample16% of our sample16% of our sample. . . . Physical spaces but also a Physical spaces but also a Physical spaces but also a Physical spaces but also a

large networklarge networklarge networklarge network

physical spaces (although physical spaces (although physical spaces (although physical spaces (although they may use them) but they may use them) but they may use them) but they may use them) but they are often they are often they are often they are often based on a based on a based on a based on a geographical area, like geographical area, like geographical area, like geographical area, like Portugal’s ADDICT. Portugal’s ADDICT. Portugal’s ADDICT. Portugal’s ADDICT.

19% of our sample. These 19% of our sample. These 19% of our sample. These 19% of our sample. These have no physical have no physical have no physical have no physical space.space.space.space.

Like StrijpLike StrijpLike StrijpLike Strijp----S in the S in the S in the S in the Netherlands. Netherlands. Netherlands. Netherlands.

47% of our sample. 47% of our sample. 47% of our sample. 47% of our sample. Physical spaces Physical spaces Physical spaces Physical spaces

supporting more than 20 supporting more than 20 supporting more than 20 supporting more than 20 businesses.businesses.businesses.businesses.

On average, these have:

20 BusinessesEUR 210k Turnover

3.5 FTE staff

On average, these have:

40 BusinessesEUR 120K Turnover

9 FTE staff

6Base: 44; 35


#1 #1 #1 #1 Helping Helping Helping Helping businesses to connectbusinesses to connectbusinesses to connectbusinesses to connect

#2 #2 #2 #2 Supporting the Supporting the Supporting the Supporting the local creative local creative local creative local creative economyeconomyeconomyeconomy

#3 #3 #3 #3 Supporting the Supporting the Supporting the Supporting the local communitylocal communitylocal communitylocal community

Hubs feel they make a difference in three main ways

“We invest part of our “We invest part of our “We invest part of our “We invest part of our income from rent into income from rent into income from rent into income from rent into making the building making the building making the building making the building

into into into into artartartart----work work work work and into and into and into and into

“Bringing artists “Bringing artists “Bringing artists “Bringing artists & & & & residents residents residents residents together together together together ––––supporting the areas supporting the areas supporting the areas supporting the areas creative environment creative environment creative environment creative environment

“We help “We help “We help “We help freelancers & freelancers & freelancers & freelancers & location location location location independent independent independent independent

workers be more workers be more workers be more workers be more socially connected, socially connected, socially connected, socially connected, into into into into artartartart----work work work work and into and into and into and into

creative projects in creative projects in creative projects in creative projects in neighbourhoods”neighbourhoods”neighbourhoods”neighbourhoods”

creative environment creative environment creative environment creative environment whilst whilst whilst whilst promoting promoting promoting promoting it as it as it as it as

vibrant, creative, socially vibrant, creative, socially vibrant, creative, socially vibrant, creative, socially engaged and welcoming.”engaged and welcoming.”engaged and welcoming.”engaged and welcoming.”

socially connected, socially connected, socially connected, socially connected, productive and productive and productive and productive and happy”happy”happy”happy”

7

84% 84% 84% 84% of Hubs saidof Hubs saidof Hubs saidof Hubs said they did thisthey did thisthey did thisthey did this



Base: 68

... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact... But interviews with Hub Managers suggested few have robust evidence of their own impact

67%

54%33%


Source of funding

1 in 3 receive no public funding. On average, Places Hubs received more than Spaces Hubs. Non-profits are the largest group.

Hubs have a wide range of funding models

Earned IncomeEarned IncomeEarned IncomeEarned Income Public FundsPublic FundsPublic FundsPublic Funds

A non-profit (e.g. Community)

42%42%42%42%

Part of government 27%27%27%27%

Organisation type

46%67%

SPACES PLACES

8Base: 94; 94; 44; 40

Part of government 27%27%27%27%

A business (i.e. Profit making)

24%24%24%24%

Part of a University 7%7%7%7%


Hubs ask for funding and resources, but also management support

22%22%22%22%

42%42%42%42%

management management management management supportsupportsupportsupport

funding or resourcesfunding or resourcesfunding or resourcesfunding or resources

As % of total requests for support

Our interviews suggest Hubs Our interviews suggest Hubs Our interviews suggest Hubs Our interviews suggest Hubs are run by passionate, are run by passionate, are run by passionate, are run by passionate, committed and committed and committed and committed and entrepreneurial individuals. entrepreneurial individuals. entrepreneurial individuals. entrepreneurial individuals.

But many recognised gaps in But many recognised gaps in But many recognised gaps in But many recognised gaps in their expertise and lacked their expertise and lacked their expertise and lacked their expertise and lacked resources to address them resources to address them resources to address them resources to address them

14%14%14%14%

14%14%14%14%

international international international international networkingnetworkingnetworkingnetworking

support for support for support for support for businessesbusinessesbusinessesbusinesses

resources to address them resources to address them resources to address them resources to address them (overleaf). (overleaf). (overleaf). (overleaf).

The British Council are The British Council are The British Council are The British Council are developing a developing a developing a developing a HubKitHubKitHubKitHubKit for Hub for Hub for Hub for Hub Managers, from Spring 2015Managers, from Spring 2015Managers, from Spring 2015Managers, from Spring 2015

9Base: 94


Hub Managers asked for management support in three main areas

“Help me with Hub management”

“Help me improve the services I offer”

“Help me with advocacy or

communications”

● Growth management Growth management Growth management Growth management to support scaling up, or in reaching new markets.

● Bureaucratic or governance governance governance governance issues issues issues issues to support relationship

● Delivering an effective programmeprogrammeprogrammeprogramme of activity.

● Effective Effective Effective Effective collaboration collaboration collaboration collaboration with local universities.

● Marketing and brandingMarketing and brandingMarketing and brandingMarketing and branding.

● AdvocacyAdvocacyAdvocacyAdvocacy to promote the creative and digital sector, or national lobbying for the creative industriesissues issues issues issues to support relationship

with funders or government.

● Business Business Business Business model model model model or cash flow issues, such as operating without subsidy, maximising economic return.

● Establishing a collective visionvisionvisionvision.

● Best Best Best Best practice practice practice practice for my situation, such as creating a rural hub.

● Enabling cross innovationcross innovationcross innovationcross innovation.

● Meeting Meeting Meeting Meeting partners and partners and partners and partners and collaboratorscollaboratorscollaboratorscollaborators.

● Market Market Market Market research research research research to understand the context that they work in.

creative industries

● Changing Changing Changing Changing the mindset of the mindset of the mindset of the mindset of entrepreneurs entrepreneurs entrepreneurs entrepreneurs in the area to understand the value of these support services.

Internationalisation Internationalisation Internationalisation Internationalisation was a crosswas a crosswas a crosswas a cross----cutting cutting cutting cutting theme, mentioned in all theme, mentioned in all theme, mentioned in all theme, mentioned in all three categoriesthree categoriesthree categoriesthree categories

10Base: 94


Hubs feel their “time has come”

90% of Hubs are optimistic about the future, for three main reasons:

1.1.1.1.Enthusiasm Enthusiasm Enthusiasm Enthusiasm 2. 2. 2. 2. Growing Growing Growing Growing 3. Growing 3. Growing 3. Growing 3. Growing 1.1.1.1.Enthusiasm Enthusiasm Enthusiasm Enthusiasm & support of & support of & support of & support of membersmembersmembersmembers

2. 2. 2. 2. Growing Growing Growing Growing recognition of the recognition of the recognition of the recognition of the Creative Industries Creative Industries Creative Industries Creative Industries

and of...and of...and of...and of...

3. Growing 3. Growing 3. Growing 3. Growing recognition of recognition of recognition of recognition of HubsHubsHubsHubs’ ’ ’ ’ role in the local role in the local role in the local role in the local & & & & national national national national economic economic economic economic

contextcontextcontextcontext

11Base: 70


...there is one major reason for pessimism, which we heard often

“I “I “I “I don’t have don’t have don’t have don’t have any any any any money”money”money”money”

All pessimistic Hubs report funding as a

“I “I “I “I don’t have don’t have don’t have don’t have any any any any money”money”money”money”

12

report funding as a reason for gloom

Base: 24


... managers want these funds as an investment in their work, not just to cover costs

If you had more funding, what would you do?

“We would invest in “We would invest in “We would invest in “We would invest in “We would invest in better “We would invest in better “We would invest in better “We would invest in better ““““Funded business residencies to Funded business residencies to Funded business residencies to Funded business residencies to “We would invest in “We would invest in “We would invest in “We would invest in bbbbeeeetttttttteeeerrrr eeeeqqqquuuuiiiippppmmmmeeeennnntttt,,,, bbbbeeeetttttttteeeerrrr training, and also bring training, and also bring training, and also bring training, and also bring people from abroad to people from abroad to people from abroad to people from abroad to provide a different provide a different provide a different provide a different insightinsightinsightinsight.”.”.”.”

“We would invest in better “We would invest in better “We would invest in better “We would invest in better salaries, on operating costs, salaries, on operating costs, salaries, on operating costs, salaries, on operating costs, better security, better security, better security, better security, accommodations for accommodations for accommodations for accommodations for guests, as well as guests, as well as guests, as well as guests, as well as more more more more lecturerslecturerslecturerslecturers.”.”.”.”

““““Funded business residencies to Funded business residencies to Funded business residencies to Funded business residencies to encourage more small encourage more small encourage more small encourage more small

businesses to engage with the businesses to engage with the businesses to engage with the businesses to engage with the University in a meaningful way University in a meaningful way University in a meaningful way University in a meaningful way through buying out some of through buying out some of through buying out some of through buying out some of

their time. We are in a their time. We are in a their time. We are in a their time. We are in a developing economy and we developing economy and we developing economy and we developing economy and we

need to incentivize investment need to incentivize investment need to incentivize investment need to incentivize investment in research and development.“ in research and development.“ in research and development.“ in research and development.“

13Source: Interviews


47%

Applied to EU funding

Applied for funds from...

... and who’vewon funding

Creative Europe

17%17%17%17% 13%13%13%13%

Money is an issue yet few have won the EU funding that is directed at the cultural and creative sectors

53%47%

yes

no

Europe17%17%17%17% 13%13%13%13%

ERDF 23%23%23%23% 13%13%13%13%

14Base: 70

Interviews suggested the funds were not suitable for many – but more research is needed here.


1. There are a huge variety of Creative Hubs. Future research should try to target subgroups of Hubs, as they have different operating and funding models and will require different support.

2. One common thread is that all Creative Hubs aim to make a difference – to businesses, economies, and communities. Interviews identified evidence of impact as a research gap, however.

3. To help reach their potential, Hub Managers need support to manage

Conclusions

3. To help reach their potential, Hub Managers need support to manage the range of challenges they face. The proposed network is important in helping them to do this.

4. They are also hungry for investment. But EU funding programmes may not yet work for them.

5. Hubs are optimistic – they feel their time has come.

15

All the data All the data All the data All the data

Availability of dataEUROPE’S CREATIVE HUBS

The data used in the report is open and available for researchers to use at:

ecbnetwork.eu/europes-creative-hubs-mappingAll the data All the data All the data All the data

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PROJECT PARTNERS

The European Creative Business Network

www.ecbnetwork.euwww.ecbnetwork.euwww.ecbnetwork.euwww.ecbnetwork.eu

ECBN is a network of cultural and creative industries development agencies. We represent our 20 board members and help them to:

• Learn and inspire each other

• Campaign for the sector in Brussels

British Council

creativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.orgcreativeconomy.britishcouncil.org

The British Council is UK’s international organisation

for educational opportunities and cultural relations.

The Council builds trust and understanding through

activities in English, in education, and through the

arts.

In addition to developing partnerships and projects • Campaign for the sector in Brussels

• Find new funding working with trusted partners

We were founded in 2011 and are a non-profit Foundation, based in the Netherlands.

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In addition to developing partnerships and projects

across each major art form, the British Council has a

bespoke programme focussing on the Creative

Economy. We aim to strengthen the links between

global and UK creative business, networks, policy

makers and entrepreneurs: promoting international

connections; exchanging skills, innovations and best

practice; and enhancing opportunities for artists,

creative businesses and entrepreneurs to reach

broader markets.


PROJECT PARTNERS

ADDICT – Creative Industries, Portugal

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Created in 2008, currently gathers around diverse 100 members spanning the whole

spectrum of the culture and creative sector and it is recognised by the Ministry for Economy

as the coordinator of the creative industries cluster in Portugal. ADDICT’s mission is to foster a

favourable environment for the creative economy to thrive, promoting capacity building and

internationsalisation, advocating for adequate public policy and acting as a networking and

knowledge platform.

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In the period 2009-2013, the North region invested in the creation of infrastructures and

events to ensure adequate conditions for hosting, producing and presenting cultural and

creative products and services.

Since 2013, ADDICT has been promoting the informal encounter and debate of the sector´s

main support venues. This group intends to be a space for exchange of experiences and

shared discussion on these creative centres’ role in the sector´s and the territory

development, in view of establishing partnerships for future collaborations and joint action at

regional, national and international level.

Government & Nonprofit

Europe's Creative Hubs