Mapping of the Creative Economy of Brasília

culture

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HELPS TO UNDERSTAND WHERE A PLACE COMES FROM, WHY IT IS AS IT IS RIGHT NOW, AN HOW IT CAN SHAPE ITS FUTURE THROUGH ITS POTENTIAL.

index

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PREFACE by Ana Carla Fonseca 7 INTRODUCTION 9 CULTURE FOR SUSTAINABLE DEVELOPMENT 13 culture and the sustainable development goals

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cultura and the sustainable urban development

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SENSIBLE CITIES

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big data

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open data

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data visualization

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CREATIVE ECONOMY

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creative economies

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genius loci

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creative economy and sustainable development

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creative economy in Brazil / the world

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creative economy and urban regeneration in Brazil

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CREATIVE CITIES

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the creative class

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creative economy and urban development

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UNESCO creative cities network

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BRASÍLIA AND THE CREATIVE ECONOMY

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brasília and unesco creative cities network

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the development of the creative economy in Brasília

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MAPPING OF THE CREATIVE ECONOMY OF BRASÍLIA

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about 47 how it works

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collaborative stores

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cria brasília

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fairs 52 picnik 52 liga pontos

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CONCLUSION 80 LIST OF FIGURES 84 BIBLIOGRAPHIC REFERENCES 86

PREFace

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Preface

Seen by some as a thought-provoking and inviting term and by others as the retention of the economy to the arts and culture world, the creative economy turns out to something way more profound and transformer, in a growing complex social and economic reality. For many economists, amongst which I include myself, the creative economy resembles the economic logic of our times and a prelude to the upcoming. Catalysed by the revolution of digital technologies and conformed by goods and services which added value comes from human creativity, the creative economy recognizes the power of creativity as non-copiable and non-transferable economic active.

To sign this proposal in countries where the development of public policies anchored in intangibles still raises reserves constitutes, certainly, a great challenge. To advance in this direction, it is crucial to dispose of a consistent body of statistics, mappings, studies, and surveys, comprehending the most diverse indicators: the number of workers appointed in the creative sectors(the socalled creative industries, understood as the ones that comprehend at least 30% of professionals dedicated to creative activities), to the territorialization of these activities.

It is to minimize this void that we welcome - specialists, scholars, practitioners, and supporters of the creative economy - to the work “Mapping of the Creative Economy in the Federal District�.

Even more significant contribution, to add to a precise content and a still rare practical, applied and sensible look of academy members. May this work, which embryo emerged as a completion of course work, be the beginning of a long road of contributions and provocations signed by Pedro Rodolpho, in our still incipient harvest of studies turned to the Creative Economy and the territorialization of economic activities linked to the creativity. And may it constitute inspiration for the generation of new studies, by professionals as creative and serious as this work’s author proves to be.

Ana Carla Fonseca

Economist and doctor in Urbanism, international specialist in Creative Economy and Creative Cities

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INTRODUction Third of the Ten keys to Foging New Pathways for Development: “Reveal opportunities through mapping local assets of the creative economy (...) As previously mentioned, there is a knowledge gap at the local level and basic evidence is conspicuous by its absence. Without such knowledge, everyone from policy-makers to project managers take decisions on the basis of incomplete information. In addition, political commitment and the willingness to invest will remain elusive. Mapping the challenges, structure and functioning of the local economy is therefore important in order to subsequently measure the impact of policies. Evidence in this Report demonstrates how cultural and creative industry mapping exercises provide local authorities are necessary for evidenced-based policy-making as they provide an overview of place-specific characteristics, human and institutional capacities, sector specific challenges, and opportunities across the value chain. (...)

The results of mappings can help authorities determine the competitive advantage of their locality, as well as define the expected outcomes to be achieved through investment in the local creative economy development.�

Creative Economy Report 2013, UNESCO and UNDP.

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introduction

This is a dreaming project.

But it couldn’t be different. The raised theme and the study objects are constructions that only exist due to a myriad of happenings interconnected through many years, but essentially start in the same place: The individual dream of many people, yet different amongst them and with its own particularities.

If it’s from dreams that new realities are created, the panorama of the Creative Economy of Brasília is one of its great examples, and it also carries within it many other valuable lessons. One of these is that no one can do anything alone and that a new collective reality can be created fro the action and individual and group efforts, configuring great changes and generating significant impacts.

A stencil over a tunnel of the highway axis of Brasília warns: Dream with your feet on the ground.

And it is exactly the articulation between dreams and a realistic approach for its accomplishment one of the main vocations and characteristic of the actors and agents that constitute the Creative Economy and entrepreneurship of Brasília.

Only from a critical view of your inhabited city, and a sight of the city that you wish, it is possible to trace the path so the first can turn into the seconds. And it is exactly this process ongoing in Brasília, due to the dream, vision, and work of many people.

To get where you wish is necessary, however, to be able to look back. And this is one of the main reasons for the existence of this, that is born in the scope of the Architecture School of the University of Brasília.

The urbanistic premise of the Pilot Plan of the city of Brasília influences the city and its inhabitants in many different ways, in every scope of their life. And this fits even with the inhabi-

tants of the Pilot Plan as the other administrative regions of the Federal District, once that, although gradually have a bigger independence between themselves, still find intrinsically connected.

The development of the relationship between the study object and the city of Brasília - not limiting itself to the Pilot Plan -, happens especially from the comprehension and analysis of the urban spaces that compose them. It is also in this same scope that believes to be able to contribute: The comprehension of the urban, social, economic and cultural development potential through the incentive to the strengthening of the local Creative Economy.

This happens through many paths, such as the potential strengthening of the tourism through the attraction of new interest groups, with the projection of the city as a creative and cultural representativity in a national and international level - fact that strengthened with the recent integration of the city in the UNESCO Creative Cities Network, as a Creative City of Design -, such as the establishment of more propitious areas to the attraction and retention of cultural institutions, creative and gastronomical enterprises and a bigger reflex of the strengthening of the Creative Economy of Brasília in a urban level. And this process carries within it a series of potential benefits for the local economy and, especially, the own relationship of the city inhabitants with their spaces and its improvement, although it also comes with particular challenges that should be taken in account by the involved agents and policy-makers.

The development of the project happens through different paths, being one of its the creation of exclusive mappings that present visualizations of the reflection of the growth of the Creative Economy of the Federal District between the years of 2013 and 2017, the year that this was developed, in the geographical space of the region.

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These mappings, developed by geoprocessing and graphic design tools, present vocations, challenges, imbalances and potentials, that can serve as an accessory to the analysis and observation above the information contained in it and support the necessary actions for the growth of its economy in the region.

Developed from material and collected data with many agents involved in the process that culminated in the growth in the specified period, especially, fair producers that gather especially local and author products, as well as collaborative stores creators, the mappings indicate the geographical distribution of author enterprises in the sectors of Arts, Design, Fashion and Gastronomy in the Pilot Plan and the Federal District.

It would be insufficient, however, to present the information and discoveries without presenting and exploring forehand the themes that compose the character of the Creative Economy, that constitute the economic development from the creative activities, and the

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Creative Cities, those that establish the creative industries as one of its main development vectors. To compose such panorama, this study also presents, even if succinctly, case studies of cities and regions that passed through transformations, positive and negatives, from the establishment of the Creative Industries in the center of their development agendas.

The intention that the developed material can support and stimulate the process that it reflects upon remains.

If dreams can only be born and find space in the imagination and creativity, it’s exactly the same that allow the development of creative solutions for problems and innovation, responsible for the creation of new realities.

introduction

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culture for sustainable

development

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culture for sustainable development

In 2015, the United Nations General Assembly adopted the “2030 Agenda for Sustainable Development”, with 17 global goals that should be implemented so the development, in all of its spheres, happens in a sustainable way.

As a sustainable development, it’s understood as the development that attends the needs of the current global population without compromising the future generations.

In this context, Culture is an essential element for Sustainable Development to become a reality.

The maintenance and preservation of the cultural manifestations and the identity of people’s, as well as material and immaterial heritage, are essential so that in the current world, and in the world under construction, there is space for cultural diversity and the maintenance of societies everywhere in the world.

mainly positive, direct or indirect, exchange relationships, as well as the independence of the use of natural resources for this development, constitutes the culture as an important vector for sustainable development, affecting every sphere of society.

Considering this, the United Nations Educational, Scientific and Cultural Organization(UNESCO), adopt the culture and the cultural preservation as fundamental elements for the Sustainable Development and the accomplishment of the Sustainable Development Goals(SDG). It is more essential, as well as a reality, that governments also put culture as a strategical factor of the social and economic development in the governmental agenda of cities and countries.

The cultural and artistic manifestations as essential elements for the development of people’s culture and the immaterial benefits in an individual and collective level of the contact with these diverse manifestations is also essential for the maintenance and the economic, social and political development of societies.

The characteristics of this development, based mainly on the personal development and the improvement of structures that stimulate

Figure 1: United Nations Sustainable Development Goals.

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CULTURE AND THE

SUSTAINABLE DEVELOPMENT

GOALS

The Sustainable Development Goals(SDG) trace ambitious goals - to be accomplished by 2030 - for the creation and maintenance of a more egalitarian, inclusive and fair world for everyone.

The successor of the Millenium Development Goals(MDG), 8 goals established by the United Nations to be accomplished by 2015, the Sustainable Development Goals add an essential factor for the increase of the responsibility of everyone for these goals to be accomplished.

While the MDG placed the responsibility of its accomplishment majorly on the government’s hands, the SDG establish the importance of the development of new governance relations and a bigger participation of every agent of the society for its development.

While the Culture relates directly to many of these goals - that cover issues such as the end of poverty and the hunger, as well as the development of clean energies and the maintenance of biodiversity -, it also has an intrinsic relation to the accomplishment and achievement of each of these objectives.

In Special, Culture has an important task in the development of a world where Achieve gender equality and empower all women and girls(SDG 5) is an imperative; and it also presents infinite possibilities to Promote inclusive and sustainable economic growth, employment and decent work for all(SDG 8); can be an important element to Reduce inequality within and among countries(SDG 10) and its fundamental to Make cities inclusive, safe, resilient and sustainable(SDG 11).

CULTURE AND THE SUSTAINABLE

URBAN

DEVELOPMENT Currently, half of the world’s population 3,5 billion people - live in cities, and the projection is that this number reaches 60% of the population in 2030. The populational concentration in urban agglomerates constitutes, as a consequent, great challenges and opportunities.

How to guarantee that the urban development constructs egalitarian access opportunities, constituting spaces of encounter, not segregation? How the urban agglomerates

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can constitute social and economic development opportunities for all, such as universal access to basic services? How to guarantee that the development and expansion of cities occur without compromising the natural resources or increasing pollution and violence, specially in developing countries? In a globalized world under constant transformation, shaped by significant migration flows, how to guarantee the pacific coexistence of people from different cultures in urban centers?

culture for sustainable development

Figure 2: Lights Festival of Lyon. Credit: ŠMelville B.

The questions and challenges are uncountable and diverse, such on a global level, such as according to the particularities of each place.

In this context, culture is a fundamental element for the sustainable urban development.

In particular, taking into account that cities are constructed and constituted by people, and that culture has a fundamental task in the development of more humane and inclusive cities, in many different ways. This relation constitutes present either in the transformations of physical and social infrastructure, as well as the constitution of inclusion, equality and cultural diversity spaces.

With globalization, housing and migration flows have placed in evidence the necessity of pacific coexistence between people from different cultures in the urban centers. In this context, constitutes, as well, the opportunity of development of new cultural characteristics, that as a consequence change the urban space, due to different cultures exchange. The cultural inclusion, taking into account these

differences, also constitutes challenges to be outgrown, such as the creation of equalitarian access to cultural and economic resources.

The creativity and cultural and artistic manifestation, by its turn, constitute an important vector of urban, economic and social development, which increases in the context of the cities, besides creating more attractive spaces and stimulating the occupation of public spaces, it’s centered in people and developing the human scale.

The culture and the creativity are also important elements on the construction and preservation of people’s identity and the regeneration of urban spaces, having a potential of empowerment and development of human capital, creating countless other development opportunities.

The intrinsic relationship between creativity and innovation constitutes, also, a fundamental aspect of the development of more resilient, equalitarian and sustainable urban spaces. The creative and cultural develop-

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ment stimulates, as well, the creation of new governances, attributing a greater potential of transformation and development to its own inhabitants, which reflects on the cities and, consequently, the construction of more attractive and pleasant urban centers and spaces.

While the incorporation of the creative industries as economic and urban transformation vectors are at risk of being integrated into the strategic planning turned to the reproduction of the capital and can occur disassociated from the small and medium agents, perpetuating the retention of capital and concentrating opportunities to few, the same can also happen with the vision of empowerment of the local producers, in a symbiotic acting with its respective communities and attributing them a bigger participation on the cultural, economic and urban development of their cities.

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The development of the contemporary culture and its diverse manifestations, while having a potential of happening in the urban spaces, also develop and regenerate cultural structures and spaces. Nevertheless, they also have an important role in the social integration and the economic development, and it’s capable of stimulating a greater occupation of urban spaces, also independently, as with the support of the state and private institutions.

The cultural preservation, in its turn, also has a close relationship to the maintenance of the material and immaterial heritage, also presenting an urban, economic and social development potential. The sustainable tourism, as an example of these possibilities, it’s one of the main economic growth vectors around the world, aggregating people and creating new structures of social inclusion and opportunity generation.

culture for sustainable development

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SENSIBLE CITIES

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sensible cities

BIG

DATA For the development of more inclusive and people-centered urban spaces, is essential to obtain information about them and their current characteristics, so it’s possible to analyze their potential, challenges and its development process is more effective.

Technological innovations, that are implementing transformations in every sphere of life in cities on the 21st century, also present opportunities for a better comprehension about cities and its inhabitants. With these information, it’s possible to develop solutions for the problems they face with greater efficiency.

Over the last years, the presence of Big Data in most of industries and knowledge areas increased. The term refers to the huge amount

of information and data created and collected all the time, such as its impact on business and the opportunity it has to take insights and better strategic decisions from their analysis and comprehension.

Big Data, in its turn, it’s also possible to be implemented in the context of the cities and the diverse aspects for them to be better places to be experienced by its inhabitants - whether is it in urban mobility, cultural structures and infrastructure -, such as the creation of a new kind of development capital. The better comprehension of the city and its development it’s intimately connected, by consequence, to urban transformations.

OPEN

DATA The opening character pertinent to these processes open paths, also, for the development of new governances and relations between people and organs with the own city.

te with the comprehension and analysis of the city and, as a consequence, of the establishment of a critical vision and autonomy to develop solutions for problems.

The Open Data movement by different governments around the world offers a bigger openness and transparency for the population about their own cities, as well as offer the opportunity of contribution by specialists and enthusiasts on the creation of presentations and visualizations of this data, offering autonomy and mechanisms so this population is able to contribu-

Cities such as San Francisco(USA) and London(UK) offer public access to a great volume of open data, with information about many aspects o the city and information about culture, transportation and water system, amongst many others.

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Figure 3: San Francisco Open Data. Source: https://datasf.org/open-

DATA

VISUALIZATION The comprehension of social innovation through Design and Science is one of the main motivations of the MIT Senseable City Lab. The lab presents the term Senseable Cities, that take into consideration the emergence of new relations and ways to comprehend the cities and to develop new solutions for its problems, especially taking into account the information obtained through the monitoring and analysis of the cities and the aspects that compose them. Developing projects near governments, the lab develop “tools to learn about cities - so the cities can learn about us�

One of the main tools used by the lab for the development of this process is the creation of data visualization and mappings.

Data visualization is an essential tool for the compilation and comprehension of a huge amount of

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available data. In 2014, a report of the Technology Magazine Wired affirmed: Data is the new Oil of the Digital Economy. And it happens especially for taking into account the use and extraction of correct information from data banks, granting an important opportunity for strategic insights for enterprises and companies.

Isolated data, however, hardly accomplish the potential of passing the information they carry within themselves and the potential of the creation of strategic insights. The comprehension of data about cities couldn’t be different.

Taking this into account, the development of tools and ways to present data graphically turns out to be an important stage of the condensation and presentation of the information they carry within themselves.

sensible cities

“DATA IS THE NEW OIL OF THE

DIGITAL ECONOMY” Wired, 2014.

In the intersection between arts and science, Data Visualization accomplishes the function of communicating information in a clear manner, and attributes value for the presented data, being a strategic element for the extraction of information that a determined data bank carries within it.

This project finds on data visualization and the creation of mapping as a fundamental element to comprehend, specifically, the relationship between the development of the Creative Economy in Brasília and its process of occupation and development in the urban space of the city.

Figure 4: City Ways, Senseable City Source: http://senseable.mit.edu/cityways/

Lab.

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CREATIVE ECONOMY

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creative economy

CREATIVE

ECONOMIES There are different Creative Economies.

The comprehension of what is the Creative Economy and the areas of expertise that are understood under this spectrum has different attributions and can vary according to the definition previously adopted in each place.

In some definitions, Creative Economy is limited exclusively to the generation of economic value from the areas that use creativity directly as a production material. Other definitions, however, include as Creative Economy areas that use creativity directly or indirectly for the development of solutions and innovations, including sectors such as Biotechnology. It’s important to consider, also, that creativity is essential for the conception of basically any economic development activity.

The discussion and the plurality of comprehensions about what is the Creative Economy constitute by itself a great study material that, for means of the development of this work, won’t be deeply studied, although it creates a reflection that must be stimulated.

With this in mind, it will be used the comprehension of Creative Economy such as presented

by English writer John Howkins, herald of the term, as a concept attributed to the creation of

aggregated value from the development of creative activities, and that has a high potential of social, economic and community development.

In this context, it is also freely attributed the high potential of urbanistic development, taking into consideration the intrinsic relation of the constitution of this development sustainably.

Between the different systematizations of the Creative Economy and the Cultural Industries, such as the Concentric Circles Model and the UNESCO Institute for Statistics, this project will adopt the model of the Department for Digital, Culture, Media & Sport of the British Government(DCMS), that comprehends the Creative Economy as “activities that have their origins in creativity, ability and individual talent, and that have the potential for wealth and job creation through the generation and exploration of intellectual property”(British Council, 2012).

Under this model, 13 industries are considered creative: Advertising, Architecture, Crafts, Arts and Antiques market, Design, Designer Fashion, Film and video, interactive leisure software, Music, Performing arts, publications, Software and Computer Services, Television and Radio.

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GENIUS

LOCI In Latin, Genius Loci is a term that designates the spirit of the place.

The comprehension of the term on the classic Roman culture indicates a spirit that acts as the protector of a place and essentially implies on the intangible qualities of a place, subject to material or immaterial apprehension, developed from a cultural and nonintentional collective construction.

Due to this set of characteristics and intangible apprehension, and its consequent impact on the creative production and the cultural development of a determined place, the Genius Loci have an intrinsic influence on its artistic and creative creation. On its turn, it is also one of the elements that develop the specific characteristics of such place, translating in aggregated value, exactly by the factor of exclusivity on the manifestation in a matter and the symbolic and immaterial value it carries within itself.

On a creative level, this manifestation can be comprehended and exemplified in many different ways.

The art of the woodcutter José Francisco Borges, J. Borges, for an example, it’s only due to carry integrally all the thematic and stylistic characteristics because of the context and the immaterial and historic reference it carries from the local culture of the people from the backwoods of northeastern Brazil.

And it’s exactly this factor that allowed the universal recognition of his works, inside and outside of Brazil, constituting also an important element of cultural maintenance and preservation of the people it represents.

The development and spread of such artistic

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manifestations don’t constitute only an important social and economic development vector for these people, but also a fundamental element for preservation and value of the cultural and immaterial heritage of them.

In the Creative Economy, the manifestation of the Genius Loci on the creation and constitution of a culture and its cultural demonstrations accomplish the role of maintaining diversity in a world where cultural exchanges and influence is growingly intense, but often reflected in an uneven manner on the influence of north-south relations.

It’s by its turn, also, an important economic and social aggregated value, as well as an element that stimulates a sense of belonging and collectivity, especially through cultural and artistic manifestations.

Still taking into account the reflects of globalization, the preservation of cultural and artistic manifestation, as well as its characteristics, although the exchange of cultural influences is natural, is what guarantees that societies preserve important aspects of its culture and the social and community aspects. And it’s exactly what makes them keep their cultural value and have a greater representation and aggregated value on a local, national and global level.

It’s no accident that many Brazilian cultural manifestations, such as the popular music or the traditional Frevo of the Carnival of Recife - which is a immaterial cultural heritage of UNESCO - have a great international recognition and stimulate either the preservation of these manifestations and the symbolic cultural elements they carry within themselves, such as the economic and social development of the acting artists and their communities.

creative economy

Figure 5: Moça Roubada, J. Borges.

CREATIVE ECONOMY AND THE SUSTAINABLE

DEVELOPMENT The Creative Economy has a role close to the preservation of the cultural identity and cultural manifestations of peoples, as presented previously. It is also an important vector for sustainable development, socially and economically, having a great potential for the manifestation of such development for urban regeneration and the creation of more livable cities for their inhabitants.

The innovation, intrinsic to its progress, it’s also a fundamental element for the creation of solutions for their actual problems, in every level, area and context.

The development focused on people an based on the performance of creative activities have, also, a great potential of social empowerment

and economic progress of those that work in these areas and their communities, as a direct or indirect influence.

Considering the current economic and political crisis moment in Brazil and other places around the world, the Creative Economy offers an essential opportunity for economic development from activities connected to the local culture and capable of benefiting the local communities in this process. Such development model can also evolve a sense of collectivity, belonging and community, which improvement presents a great potential of social inclusion and mobility, especially if it happens with the elaboration of suitable, efficient and inclusive public policies, so this process is not limited to a few social layers.

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Still taking into account this profile for other places in the world, that also face several human challenges, the consideration of a cultural development, specially in urban centers, where the coexistence is a necessity, it is also a media to humanitarian development and social integration of marginalized population, such as immigrants, and offers an opportunity of developing cultural diversity and the exchange in the context of the arts, the culture and the urban development.

In Brazil, considering the complexities and peculiarities of the marked social extraction, that perpetuate a historic of exclusion and social segregation, the development of the Creative Economy activities and creative activities, especially through the cultural appreciation - including the manifestations considered “without quality� by the predominant cultural establishment, and strongly base on the north-south influence of what culture is - the arts developed in the country, and influenced by the Genius Loci of each place where it is produced, also presents a great potential of social inclusion and mobility to current marginalized populations.

Not only for these people, the stimuli of this development is also essential for the creation of a more sustainable panorama for the development of artistic and creative activities in the country, which is frequently marked by the difficulty of economic subsistance of artists and producers.

With all of these aspects in mind, the development and stimuli of local activities of Creative Economy enterprises are important elements for the creation of a more prosperous country, with a more sustainable economic activity base, a collective comprehension strengthened by a feeling of belonging to the culture of the country, as well

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as the preservation of the symbolic material and immaterial elements of this culture, having internal and external consequences: More inclusive and safe societies and, as a consequence, better urban centers; and a more autonomous and sustainable economic and social development.

On a collective level, the current moment of crisis constitutes, as it is pertinent to these moments, a possibility of resignification of patterns.

In this context, the development, and strengthening of the activities of the Creative Economy is an opportunity for development.

On an individual level of the actors involved in the process, such as the ones that will be according to the appropriate opportunities, a great potential of personal growth, social mobility and economic prosperity, especially if there is enough public policies fostering the Creative and Cultural Industries as a fundamental item on the development agend on a local, state and national level, on a way that improves the access and inclusion of people from different social backgrounds on this process, such as there is more subsides for the maintenance and support for growth and the sustainable development for those involved in such activities.

These aspects have the potential to stimulate the creation of societies more open for the cultural diversity and subject to the accomplishment of the powerful personal and collective transformations that the arts and the development of creative activities can trigger.

creative economy

CREATIVE ECONOMY IN BRAZIL / THE WORLD While the culture and artistic and creative manifestations of Brazil have, historically, a great international representativity and notoriety, the panorama of the Creative Economy in Brazil is shaped by a moment of expansion, yet carried with a number of challenges.

Throughout the world, the Creative Economy develops either on a formal and an informal character - which might even be interesting for the kind of activity developed -, in Brazil, the sector is still heavily shaped by informality.

A reflex of this informality, in the country, is that there is also a challenge to configure these artistic and creative activities as Industries, what hardens the establishment of an officialized character for the exercise of these activities.

This state has negative effects either for those involved in these activities and for the governments, that loose the opportunity to stimulate the development of the same as a vector of job creation, tax collection, and social and economic development.

According to the ‘Mapping Brazil, Creative Industries, Creative Cities’ report, developed by the Dutch Center for International Cultural Cooperation, “Unlike Europe and some Asian countries, where new cross-sectional programs have introduced a multidisciplinary character for creative-economy related projects, Brazil retains polarization between culture and industry, despite some major advances as regards government or public sector policies”.

This character reflects the waste of countless opportunities for economic and social development.

Despite the notoriety of the richness and innovative character of Brazilian culture and creative economy, as well as its influence on a global

level, the development of public policies in the sector is still incipient and insufficient, and even the study of the profile of this Economy in the country still consists of a more relevant study object for external studies, such as the above mentioned Dutch Culture and the British Council, that also develops incubation projects for the improvement of Brazilian Creative Economy.

Places in the world where the Creative Economy is admittedly adopted as an important vector of development, it is stimulated the creation of centers and hubs for analysis, study, and stimuli to the development of the Creative Economy on a local level, as well as the integration and exchange on a regional and global level. Cities such as Edinburgh and Dundee, in Scotland, and Berlin, have governmental cores for incentive and help to individuals and business of the Creative Economy, stimulating the connection and the joint action between these elements, and constantly generating studies about the profile and the development of such sectors on a local level, considering the particularities and opportunities of each sector of the Creative Economy.

In such places, initiatives and private and governmental organizations offer subsidies, as well as material and intellectual resources for the development of new creative enterprises, in a way that they have more chances to prosper and develop themselves more officially and formalized, granting a bigger opportunity for return and tracking on a governmental basis.

The above-cited British Council, an initiative of the British governmental, as an example, generate reports and studies that reinforce the importance of the Creative Economy for the economic and urban development, especially in a moment of global crisis, as experienced in the last years. Some of these reports, available for

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Figure 6: Watershed Hub Bristol. Source: https://visitbristol.co.uk/thin-

free by the institution and, frequently, in different languages, include practical guides for the mapping of the creative industries on a local level, reports about the growth of the creative economy around the world and support guides for creative entrepreneurs.

Notwithstanding, in European Countries, the creation of Creative Hubs intensified over the last years, as well as the creation of connection and exchange networks between these hubs, that are essentially spaces of connection and promotion to the new urban economy. They also accomplished a role of formation and creation of opportunity for new and acting agents and entrepreneurs, having an important role in the economic, urban and social development of these places, also generating impacts, according to the British Council,� on the generation of jobs, new products and services, talent develo-

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pment and retention, informal education, urban regeneration, research and development, new connections, innovative organization models, improvement on quality of life and resilience�.

In Brazil, by its turn, it is also possible to verify the growth on the existence of institutions and organizations with the intention of promoting the local Creative Economy. However, it is still difficult, especially for the lack or insufficiency of connection, exchange, and governmental incentive, of observing a consolidation of these systems and its establishment as fundamental vectors for national development. Such characteristic reflects on the insufficiency of the creation of studies on a local level, that constitutes an obstacle for the analysis of opportunities and challenges for this growth to happen, as well as for the adequated potential to be fully accomplished.

creative economy

These questions have negative reflects internally and externally.

While many opportunities are not developed by the difficulty to establish connection networks, new enterprises and initiatives are under the risk of growing on the margin of informality and without the needed support for them to have the adequated competences and information to prosperate, and these elements generate a chain of negative effects on a social and economic level: There is the waste of talents due to their migration to more adequated places to these activities, which can, by its turn, generate an unbalaced concentration of people in a few urban conglomerates in the country; there is a waste of opportunity for the development of exchanges and the export of brazilian creative products , and as a consequence, the loss of huge potentials of job and wealth generation, such as ooportunities for social and economic inclusion for marginalized and with a lack of access populations, which also constitutes as an underdevelopment of talents, which reflects on the urban centers of the countries and the maintenance of known social problems. And these are only some of the negative effects of the wasted opportunities.

While such Economy has a strongly collaborative character, its performance stimulates the development of new governance relations and the strengthening of the involved institutions, the governmental incentive has an important role in its strengthening.

In the country, countless culture incentive programs are supported by local and national governments, constituting an important element for the development and cultural and economic sustainability for every artistic manifestation.

Currently in the country, however, there is a lack of public policies and well-defined plans for the development of the Creative Economy apart from the promotion of artistic and cultural initiatives, which correspond but a part of the

sectors contemplated by such Economy.

In 2015, a then Creative Economy Federal Secretary was extinct. By its turn, the last plan of the Creative Economy Secretary, with policies, guidelines, and actions, comprehended the years from 2011 to 2014. That is, the country has been with several years without a clear and efficient governmental plan for the development of the Creative Economy in the country.

The Culture Ministry by the time of the development of this work, Sérgio Sá Leitão, affirmed in an interview with Folha de São Paulo in August 2017 that the development of the Creative Economy constituted a priority, highlighting the difficulty of delimitation and general comprehension of the population and even the governments about the Creative Economy as activities with an economic dimension, attributing the necessary value for the theme. The minister affirms, also, that he would leave the ministry by the end of 2018 endowed with guidelines, policies, and actions for the Creative Economy.

Until the closure of this, it wasn’t possible to verify if such guidelines and policies were executed as predicted by the same.

By its turn, some institutions in the country have an important role in the development of studies and important references for the comprehension and analysis of the development of the Creative Economy on a local and national level, such as the Industry Federation of Rio de Janeiro, which, every three years, launches a diagnostic and mapping od the Cultural Industries in Brazil.

The collection and presentation of information about the development of the Creative Economy constitute one of the challenges for its development on a local level.

It’s possible to consider the existence of two development axises of the Creative Economy in the Country, with the determined demands and challenges pertinent to each one of them.

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On a macroeconomic level, there is a demand for greater development and monitoring, creation of creative territories, studies, researches and legal marks. On a microeconomic level, there is a demand for promotion to the creative companies and the formation of creative complexes, networks, and collectives.

atest participation of the Creative Economy on the IBP of the city, with 20% of participation. The degree of participation in cities such as Barcelona and Amsterdam, however, reach 70%.

Such challenges influence, also, on the improvement of the Creative Economy on a local level and the accomplishment of its opportunity for economic development in the cities.

Rio de Janeiro is the Brazilian city with the gre-

Figure 7: Porto Digital, Recife.

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creative economy

CREATIVE ECONOMY

AND THE URBAN

REGENERATION IN BRAZIL The development of conglomerates has an important role in the attraction, concentration and creation of exchange networks, cultural and creative production and incentive for the Creative Economy in the country. As a consequence, also, on the urban development and regeneration.

One of the main and more consolidated centers in Brazil is Porto Digital, in Recife, a citie known for its cultural expressiveness, including on the generation of artists with national and international representativity.

Currently proceeded by Porto MĂ­dia, such initiatives took place in the port area of Antique Recife constitutes a clear initiative of establishing Culture, Creativity, Technology and Creative Industries as a vector of economic and social development, as well as urban regeneration, constituting a relevant role on the attraction and retention of talents through the creation of opportunities and offering structure and support for the development of creative projects in the place, focused essentially on the promotion of the human capital as a vector of transformation.

Created in 2000, currently, 267 enterprises are based in the place, according to the website of Porto Digital, as well as universities and governmental organs. Constituting an important ele-

ment on the promotion and strengthening of the representativity of the city on a national and international level, specially as a place of cultural relevance and imporant center for development of technological industries in the country, the area also hosts avents and meetings in such sectors, such as the Music Convention Porto Musical. The convention is the most important meeting turned to music professionals in the country, taking place every two years, since 2005, constituting an exchange point between members of each chain of the Music Industry on a local and international level, which in parallel to the event, also hosts musical presentations that stimulate, even more, the culture as an important mean to aggregate people, occupy urban spaces and promote social inclusion and economic development.

The important example of Porto Digital explicit the huge potential of transformation, opportunity generation, urban regeneration and sustainable development on the establishment of Creative Economy in the heart of the economic and social development in the country, as well as the viability of such accomplishment with the adequated concentration of efforts and public and private incentives.

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CREATIVE

CITIES

“OUR CITIES BECAME

MORE IMPORTANT THAN ANY TIME IN THE HUMAN HISTORY” Richard Florida

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creative cities

Creative Cities are cities that find creative solutions for its problems.

Considering the growing demand for solutions for the challenges faced by the urban centers in the context of its development, it is necessary for governments, communities, and individuals to find solutions to resolve the problems of the cities in each of its spectrum. Through the consideration and search for solutions for these problems is where it is found the path for the development of more inclusive, resilient, and safe cities.

In this context, considering the potential of economic development from the performance of creative and cultural activities, such elements have a great potential of contributing to the social and economic development of these urban centers.

While every city can be creative when it comes to the resolution of problems and implementation of strategic innovative measures, creative cities are especially those that assume culture as the main vector of social, economic, community and urban development. In this context, the development of the Creative Economy has a primary role, once that granting that the Creative Economy have the needed conditions to prosper and develop in such places is granting, also, that this promotion is accomplished and the agents involved in such process find space and opportunity for their professional activities to take place, granting them, as a consequence, a greater share of the role of social transformation.

As a consequence of the appropriate development of such conditions, such cities start, also, to have more conditions to develop sustainably and resiliently according to its challenges, offering better urban spaces for its citizens and developing other strategies for economic, social and community development. As a consequence, also being spaces for innovation and laboratories for the creation of solutions for local or global problems.

While Creative Cities and the development of the Creative Economy stablish new agents in the center of this progression, it also allows that new social classes have more space and representativity. The Creative Class, that has a fundamental role in the Creative Economy and the constitution of Creative Cities has, by its turn, demands that have stimulated transformations in tangible and intangible structures, as well as urban, in cities around the world.

The globalization stimulates the dissemination of services, experiences, and cultures around the world. Such constitution can stimulate a cultural homogenization and present challenges for the preservation of local character and cultures, especially considering the character of imbalance in cultural export flows, and the above-cited predominance of the cultural influence of the countries in the north of the world, more developed, over the south of the world.

Creative Cities, in its turn, has a strong relationship with the maintenance of the balance of such aspects. But it is not exempt, however, from such challenges and opportunities.

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THE CREATIVE

CLASS

The Creative Class, a term created by the economist and sociologist Richard Florida, comprehends the agents responsible for the economic growth of societies through creativity. It includes professionals from artistic and scientific areas that conceive new ideas, technologies, and creative contents.

Florida describes the creative class in two work segments: the creative professionals and the super creative core. The first includes professionals that work in areas of business, finances, and education, while the second comprehends scientists, engineers, artists, designers and related.

The author describes such class as that which exercised a strong influence on the development of post-industrial cities of the United States, but it’s also possible to comprehend this class as the responsible for the exercise of such influence in many cities around the world - especially medium and big cities.

Throughout seminal books, Florida discusses yearnings, necessities, and priorities of this class, and it’s made inevitable the relation between it, the improvement of the Creative Economy and the potential of sustainable economic and social development. Such transformations have an intimate and deep relationship with urban spaces, especially urban centers.

Globalization and information brought a new opportunity for professional growth and personal establishment anywhere in the world, in parallel with the maintenance of the exercise of professional and economic activities.

Supposedly, by this character, it was expected that the development of cities as a center of attraction of people would constitute in a second plan element, once the digital space would be the main space to be taken into account for the

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progress of the life of those involved in professional activities that would allow this lifestyle. As cities, it would be expected a dispersion of human capital and a diminishment of its strategic importance for the development of these new sectors of the economy, each day more representative and associated with the main transformations the world has been through.

However, the opposite happened.

Despite a bigger freedom to develop economic and professional activities remotely, cities started to be spaces of even more attraction and concentration of such new classes, especially because of the relationship they have with the availability of services, cultural infrastructure, and opportunities for meetings and collaboration for project development. The cities started, by its turn, to present a role that exceeded its politic or economic role: They turned out to be even symbolic and strategic.

In this context, some cities in the world started to attract such classes more strongly, especially due to the array of opportunities they offered, a more tolerant and multicultural character, and their abundance of variety and cultural programs. Not by coincidence, some of these cities are the most representative cities when Creative Economies and Creative Industries are considered, such as Berlin and New York.

The attraction and retention of these classes started, as a consequence, to stimulate the economic development of these cities. Such factor started, by its turn, to also be a strategic factor for other cities around the world, that from their potential and vocation, could transform into centers of talent attraction and retention, and, as a consequence, of investment, of the Creative and Technology Industries, in special.

creative cities

The development of such characteristics started to exercise influence in these urban centers and in their particularities. Some positively, other not.

Naturally, the attraction of investments and the economic development generate reflects on the infrastructure and configuration of these urban centers. While a positive reflex of such process can be the occupation of abandoned areas with enterprises and services of the creative sectors, stimulating better urban experiences of these places, such process can also generate the expulsion of the original population from these places due to the real estate speculation that can elapse from these processes.

The presence of services and physical and cultural characteristics throughout the world, a result of the globalization, offers a considerable threat to the maintenance of the original characteristics of the cultural manifestation in the urban space.

Considering these classes are in the front of the main economic development processes currently throughout the world, which attributes a characteristic power of buying and welfare state to the same, such configuration contributes as well with a threat to the possibility of maintenance of the native communities of the cities, which is related, in a cyclic manner, to the perpetuation of traditional cultural characteristics in such spaces.

Prohibitive rent values in San Francisco, the main pole of attraction of workers from the digital and technologic industries, due to the Silicon Valley, are an example of such process. The process of gentrification in the main capitals of the world are also an example of an analog process, which generates the repulsion of local populations due to the increase of rent prices due to a greater occupation of urban spaces, inittialy by creative classes, that find in these spaces supposedly cheaper rent and more interesting areas due to more ‘established’ parts of these urban centers, process that is followed by the installation of structures from the great capital that generate the repulse of these classes and the consequent occupation of other local and

cheaper areas than the values the occupied areas inittialy had.

Still taking into account these challenges, is up to the government the appliance of pertinent measures, such as to civil society itself, that through a more conscient occupation, in tune with the local characteristics, participate of this process in a less predatory way, even if unconsciously.

Also taking into account the characteristics of such class, it is essential to comprehend its role on the urban and economic development, as well as the potential positive unfoldings from its establishment and agglomeration in such urban center.

In Cities and the Creative Class, Florida establishes guidelines that cities must have to attract the creative class. Considering the presented relationship between the creative class, the development of the Creative Economy on a local level and the Creative Cities as cities that establish the culture as a vector of sustainable development, it is comprehended, besides the challenges, as a positive relationship for cities.

These principles are based on the three T’s: Talent, Tolerance, and Technology.

Such principles also start, as a consequence, to be important for the development of the Creative Economy and the accomplishment of its potential in any city.

Comprehending the Creative Economy as extremely based on the development and personal acting of its agents, that can turn to have a strategic role with extreme influence on a local level and the propagation of the qualities and cultural characteristics of a place on a national and/or international level, still considering the panorama of globalization and the infinite potential of exchanges, the retention and attraction of talents is one of the fundamental elements for the development of Creative Cities.

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For the accomplishment of such process, it takes into account the diverse advantages and structures cities must have to be able to stimulate and develop local talents. It must offer them opportunities for full development of their potential, as well as retain them and act in the attraction of more talents, on different levels. Such structures, in general, constitute themselves as appreciation and cultural development, life quality and spaces for stimuli and opportunity creation.

Tolerance also turns out to have a fundamental role, still taking in consideration the globalized

character of the development of this culture and the characteristics of these classes, as well as offering adequated technologic infrastructure for the development of initiatives in such sectors.

It is possible to perceive, as a consequence, a cyclical relationship between the processes of these populations and the development of the Creative Economy and the accomplishment of the vocation of urban centers for Creative Cities and, as a consequence, of the potentials of urban development and regeneration they carry within them.

Figure 8: South by Southwest Festival, Austin.

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creative cities

CREATIVE ECONOMY AND THE URBAN

DEVELOPMENT As previously presented, the Creative Economy is an important media for Urban Development and Regeneration.

While it can happen on an extended scope, such as entire cities, this progress can reflect specifically in some regions of a city. For the observation and analysis of such process, it’s important to consider the potentials and vocations of development of cities and regions, for it to be conducted and created efficiently.

In a context of cities, the American city of Austin, Texas, experienced an intense economic transformation due to the appearance and development of different sectors of the Creative Economy in different moments of its recent history.

In the 1980’s, the establishment of two technology companies, from a joint action between state and private sector, stimulated the attraction of workers and businesses from the technology sector, attributing, with time, a character of concentration of this sector, followed by the creation of over 100 thousand jobs of this sector in the city.

Still in the 1980’s, the Festival South by Southwest was create in the city, stimulating the development of music as another important sector of the Creative Economy in the city. Currently a Convention on Music, Art, Technology, and Comedy, the Festival attracts to the city around 370 thousand people annually and stimulates the flow of over 300 million dollars in the period, and was fundamental for the development of music as a fundamental element on talent attraction and retention in the city, as well as an intense economic development through the direct and indirect job creation, investment

attraction and the increase of tourism. The city hosts over 200 music venues and employs over 50 thousand people in the cultural sector and, currently, established culture as one of the main vectors of development of the city.

UNESCO establishes Culture in the heart of Urban Regeneration and innovation, with a growing role in stimulating the revitalization of public spaces and rehabilitation of declining industrial areas and the stimuli of economic development.

While the Urban Development from Creativity and the Creative Industries, more specifically, aggregates a series of challenges for cities that have been or will be, through this development process, the opportunity of development from a chain of advantages in these places is also a fact.

According to the Center for the Urban Future, New York hosted, in 2013, 8,6% of every job vacancy in the Creative Industry in the United States. In the second half of the first decade of the 2000’s, areas outside of Manhattan, especially in the Brooklyn, such as Williamsburg and Bushwick, started to receive plenty of artists and workers of the Creative Sectors, that migrated from Manhatten due to the increase of rent values.

Such process stimulated either a period of intense economic development in these areas, especially due to the progress of the Creative Economy and the creation of Infrastructure, job vacancies, and opportunities, as well as a period of growth and stimuli of the occupation of spaces not used and the urban revitalization in these areas, that started to also stimulate the improvement of tourism, another factor that stimulated the local economy. In some years, the region started to host diverse structures for

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Figure 9: Williamsburg, New York.

the Creative Economy, such as music venues, shops, cafes and restaurants, such as small and medium-sized enterprises from the Creative and Technologic sectors. These factors stimulated the resignification and the development of the are through different ways.

As mentioned, this process didn’t happen free from negative reflections and impacts that, for the analysis of the involved benefits, must be taken into consideration as a study case. Gentrification and the increase of rent prices caused the repulse of the original population and, currently, generated the process of repulsing part of the population and creative enterprises, that also couldn’t keep track of the increase in these values. In this context, New York, as a city that have a relevant influence in the Creative Economy on its cultural and economic prosperity, is also experiencing an

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intense evasion of creatives, that are migrating to cities such as Los Angeles, that also host development potential and, meanwhile, can have cheaper rents than New York.

Impacts of the Economic Development and Urban Regeneration through the stimuli of the Creative Economy also happened in many other cities throughout the world, such as Berlin, in areas like Kreuzberg and NeukĂślln, and London, especially in areas in the East of the city, such as Shoreditch. Even if accompanied with the same complexities indicated in New York, these areas also developed a number of opportunities, attracting enterprises, stimulating the local economy, the revitalization of public spaces and the international projection of these cities as important creativity and culture poles, which also results on talent attraction and retention.

creative cities

UNESCO

CREATIVE CITIES NETWORK The establishment of culture as a strategic vector on the sustainable development for the urban development it’s an element with ascending importance on the development agenda of the United Nations.

In this context, UNESCO Creative Cities Network was created in 2004 with the fundamental objective of promoting the connection and cooperation between cities that identified creativity as a strategic vector of development. In 2017, 180 cities in 72 countries integrated the network, with the common objective and compromise of, according to the description of the network website,” placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level.”

Also according to the website of the network, the cities that start to integrate the network assume the compromise of sharing practices and develop partnerships in the public and private sectors, and in the civil society, to strengthen the creation, production, and distribution of cultural assets and services; develop creativity and innovation hubs, stimulating the creation of opportunities for professionals of the sector; enlarge access and participation to the cultural

life and “fully integrate culture and creativity into sustainable development plans”.

Distributed in seven creative sectors, cities establish a more representative sector of the local Creative Industry, compromising with the strengthening of practices, especially, but not only, in the same sector. The development of different fields stimulates, also, the exchange and improvement of partnerships and experience exchange between cities from the same sector, which can happen through meetings, conventions, agents and artists exchange and so on. The seven creative sectors determined by the network are: Design, Film, Media Arts, Crafts & Folk Arts, Gastronomy, Literature, and Music.

Currently, 8 cities in Brazil integrate the Creative Cities Network. Belém, Florianópolis, and Paraty, as Creative Cities of Gastronomy; Santos, as the Creative City of Film; Salvador, as Creative City of Music; João Pessoa, as Creative City of Crafts & Folk Arts; Curitiba and Brasília, as Creative Cities of Design.

The representativity and relevance of the Creative Cities Network are in a moment of intense stimuli and development, including on a national level.

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brasÍlia

AND THE CREATIVE ECONOMY

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brasÍlia and the creative economy

BRASÍLIA AND THE UNESCO

CREATIVE CITIES NETWORK The application of Brasília for being subscribed on UNESCO Creative Cities Network, made by the Tourism Secretary of Distrito Federal, presents countless opportunities for improving the local Creative Economy, as well as attracting investment, strengthening tourism, and attracting and retaining talents.

While Brasília, as an administrative city with a significant architectonic and urbanistic heritage stimulates a kind of tourism to the city, the consolidation, and progress of Creativity and Creative Economy locally present a valuable opportunity on the propagation of other vocations and qualities of the city and its population.

While tourism and the symbolic value of the heritage of the city, that has been a UNESCO World Culture Heritage for 30 years, are essential on the local artistic and economic development, the national and international recognition of the contemporary local production amplifies the focus for the current qualities of the city, not only its historic characteristics.

The subscription in the sector of Design, that succeeds a first non-successful application in the sector of Music, in 2015, carries a potential attached to vocations and characteristics developed in the city over the last years, that although might have a national representativity, didn’t accomplish its full potential, also for the anachronic comprehension of people about hte city and the negative reflections of the politic and administrative character the city carries within. Such accomplishment brings the potential of deep transformations in the comprehension of the city, its characteristics and creative production, either in the development of new identity and belonging relations, as well as recognition, valorization, economic and social development. And, as a consequence also of urban development and regeneration.

Brasília as a Creative City of Design will develop and multiply opportunities, especially through the exchange of experiences with cities around the world. So far, besides Brasília, Curitiba and Buenos Aires are the only Creative Cities of Design in South America, what naturally will bring attention to local Design and its agents and artists involved in such process, development a role of attracting a new kind of tourism, as well as talents and infrastructure for the progress of such sector locally, specially for the consequent commitment adopted by the local government, by the subscription in the network, of putting creativity in the heart of the local sustainable development.

As part of the network, the city will have direct exchange opportunities with cities like Berlin, Beijing, Montréal, Helsinki, Budapest, and Seoul, amongst others, considering the growing character of the network, that accepts applications annualy.

Figure 10: Logo of Brasília Creative City of Design.

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THE DEVELOPMENT

OF THE CREATIVE ECONOMY

OF BRASÍLIA The vocation of Brasília for Design remounts to the time of its construction and growth. The development of Arts and Creativity in the city, direct or indirectly permeated and evolved in its architecture, has always been representative and shaped by a strong and peculiar characteristic to the place. This draws from the acting of the plastic artist Athos Bulcão, whose works with tiles throughout the city, including in symbolic buildings like the Itamaraty Palace, dialogues with the characteristics of the city and merges with it.

The development of the local Creative Economy over the last years, direct or indirectly, also establishes an intense dialogue with the city, either to praise it or question its complexities and contradictions. The influence and incorporation of the local Genius Loci on the local creative production and its Creative Economy developed a remarkable and peculiar characteristic to these works, which essentially carry a valorization of the material and immaterial cultural heritage of the city, stimulate the sustainable economic and social development of the region and, mainly, commit themselves with the propagation of the cultural value of Contemporary Brasília, considering its history, but not defining itself exclusive by it, and assuming the city as a body under constant movement and transformation.

In this aspect, the relationship of the Creative Economy of Basília is intimately connected to the urbanism of the city - considering the comprehension of Brasília as the Pilot Plan and the Satellite Cities. From one side, such configuration stimulates the cultural diversity of the local production, especially due to the cultural plurality of each region of the city, as well as presents a material of inspiration and cultural reaffirmation, either because of the relationship of the city with nature, the architectonic and urbanistic set and

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the cultural peculiarities developed in the city; on the other side, it makes harder the articulation and acting of the development of the Creative Economy on an urban level, as well as the potential transformations that can turn out from it, once the geographic distancing can make the creation of conglomerates harder and desperate enterprises that could get stronger and have a greater opportunity to prosper if they were concentrated, configuring clusters of creative enterprises, propitiating a more consistent development of such economy locally.

Also considering this, the development of the Creative Economy in the city over the last 5 years happened extremely connected to the own questioning of the role of the population regarding the city and developed an important role on the occupation of public spaces and the stimuli to the valuing and engagement of the population with the local production.

For the development of this work, it was taken into account the emergence and dissemination of two phenomena that stimulated the projection and articulation of local and authorial creative enterprises, which characterize the character of the local creative economy as strongly collaborative, with an auto-organized character and displaced from great entrepreneurs and funders of the Creative Economy: Fairs and Collaborative Stores.

On April 21st, 2012 - the 52nd anniversary of Brasília - the first edition of Picnik no Calçadão took place, on the recently opened deck of Asa Norte. The event, that happened on a Saturday afternoon by the Paranoá Lake, gathered some dozens of producers and creative entrepreneurs, mainly locals, and counted with a dancefloor, also configuring a cultural space, that

brasÍlia and the creative economy

accompanies the event through different scales up until now.

The occupation of the public space of Deck by an enormous amount of people - a place that has become an important leisure space for the local population -, turned out to be some of the main characteristic of the event, that through, so far, 5 years, had 25 editions that happened in many diverse open spaces of the city, such as Banco do Brasil Cultural Centre(CCBB), Botanical Garden of Brasília, FUNARTE, City Park and TV Tower, as well as undervisited spaces, like the Crystal Plaza, on the Urban Military Sector.

The event, that currently moves at least 7000 people on its editions, also counts with well-succeeded editions outside Distrito Federal, in cities like Goiânia and São Paulo.

From such period, considering the previous existence of some Creative Fairs in public spaces of the city, there was the creation and development of countless other fairs turned to the exposition of producers of the Creative Economy,

varying between themselves in profile, size, and target audience. In overall, however, keeping the essence of occupying public spaces, an aspect that developed a near relationship between the local Creative Economy and the resignification of the relationship of its inhabitants with the spaces of the city, stimulating a relationship of greater empowerment over the possibility of constructing collectively a city accordingly with the necessities and aspirations of its contemporary population, even if under influence of the urbanism of the city, notable by its peculiarities, advantages and challenges it offers.

The development of such collectivity and collaboration relationship turned out to, as a consequence, integrate the genes of the local Creative Economy.

Feira Livre, for an example, is a fair that commonly happens on Eixão do Lazer, the road axis of the city, that opens on Sundays for the occupation of the population, especially for the practice of physical exercises and the happening of

Figure 11: Picnik at Deck da Asa Norte, 2011. Credit: Thum Thompson

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interpersonal encounters. Usually taking place at the end of Asa Norte, the fair has a close relationship with the freedom of artistic manifestation and diverse cultural activities, such as Music and Circus, and its comprehended as an event that, besides stimulating the local Creative Economy, shaped by the absence of taxes for participating on it, it’s also an event that stimulates lifestyles and cultural diversity in the city, even reaching thousands of people each edition.

The development of creative local enterprises, especially after the opportunity from the dissemination and commerce space characteristic to these fairs, stimulated a process of greater professionalization and officialization, opening space for every advantage pertinent to such process, especially the economic and social development, considering its sustainable profile.

According to data and informations collected with entrepreneurs, fairs producers and collaborative store creators, many enterprises that initially were a secondary profit generator activity for its producers turned out to offer conditions

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to transform into primary activities, or at least present better opportunities to prosper and generate direct benefits for civil society, private initiatives and the state.

With such process, there was the emergence of many collaborative stores, currently present in different areas of the city - either in the Pilot Plan and the satellite cities.

Proceeded by Endossa, branch of a collaborative store from SĂŁo Paulo, currently with two unities in the city, such stores present to the entrepreneur the advantages and opportunities of establishing a physical space for the commercialization of its products, such as the perenniality of cashier flow in the establishments despite of when such commerce is occasional or depends strictly on online sales, as well as a greater disclosure in such process and the infrastructure offered by the stores for the exhibitors due to the payment of maintenance fees. While the establishment of an individual physical store is accompanied by high investment and maintenance costs, which can not always be paid by

brasĂ?lia and the creative economy

the small or medium entrepreneur of the sector, collaborative stores offer the advantages of the physical space under a reduce investment.

Such process presents diverse direct and indirect benefits to the city, socially and economically.

It stimulates the attraction and increase of investments, the generation of job posts, tax collection and the urban development of the places they are inserted, especially through urban regeneration and the happening of cultural and creative activities in such areas, once they stimulate, also, the development of other sectors of the local Creative Economy.

In parallel, the strong appeal of the community profile also brings diverse benefits for the affective relationship of the citizens with the city, the

local culture and production, stimulated by movements such as #feitoembsb, that stimulate the valorization of the material and immaterial cultural characteristic of the city.

Considering the different sectors of the Creative Economy, for this study, it will be taken into consideration especially those directly related with the development of the presented profile, inclusive due to its proximity with the establishment of BrasĂ­lia as a Creative City of Design, and the potentials of development that present from these. Specific studies about other Creative Industries in the city, such as Music and Film, should also happen and present a potential to bring forward important insights, especially because of the current expansion of such sectors in the city and the development of its representativity on a national level.

Figure 12: Picnik Festival at Praça dos Cristais, 2015. Credit: Tomas Faquini

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mapping of the creative economy of BrasĂ?lia

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mapping of the creative economy of BrasĂ­lia

ABOUT The Mapping of the Creative Economy of Distrito Federal comes from a deep belief of Culture as an important vector for Sustainable Development and the potential of the creation of uncountable opportunities and economic, social and urban progress. The project adequates such comprehension in the context of the development of the Creative Economy of Distrito Federal.

Considering the current scenario of these sectors in the city, it constitutes an important moment of analysis and observation of potentials and challenges, especially for the most adequated referrals from now on. By the eve of an imminent moment of transition for a period of greater recognition of the local production on a national and international level, this project proposes to offer a subsidy for the comprehension of the development of the local Creative Economy between the years of 2013 and 2017, a fundamental period for the consolidation and strengthening of some of the sectors of the local Creative Economy and the development of characteristics of the local production.

The examples and case studies previously presented indicate opportunities and challenges to be taken into account for such development process, especially the complexities associated with the occupation of urban spaces in such cities.

The project considers the development of the local Creative Economy in the urban space important for stimulating the creation of opportunities and urban transformations.

The development of mappings, a primordial element of the research work, consists of visualizations of the development and the geographic occupation and growth of the local Creative Economy, created by geoprocessing and graphic design tools. The same was made from

Data Collection and Organization about the participating enterprises on Fairs and Collaborative Stores, and the research and individual organization of geographical data of the same from available information on social network and data gathering with the stores.

Such mappings consider the following sectors of the local Creative Economy, accordingly with the predominance on the participation on fairs and collaborative stores: Arts, considering products directly created by artistic processes, attributing aggregated value to them; Fashion, in its diverse creations; Gastronomy, considering the commercialization of food in the contexts of the mapping; Publications, including zines and publishers; and Design, including from decoration objects to accessories.

The material, developed from the gather of data with the collaborative store Cria BrasĂ­lia and the fairs Picnik and Liga Pontos, creates visualizations and condensates informations regarding the previously presented process, allowing the observation of how the same occurred in the urban space of the city, its characteristics and offering subside for the analysis of the same, which matches with the following section of the material. Such analysis is realized even in the aspect of numbers and information about the development of the local Creative Economy in the referred years, as well as the urban aspect of its happening.

The mapping is developed with the presentation of the visualizations of different editions of the two different fairs, being Picnik supporting the comprehension of the development on the level of actuation accordingly with different administrative regions, and Liga Pontos more specifically on the distribution of enterprises on the areas of the cities of Distrito Federal(Federal District of Brazil).

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HOW

IT WORKS? The organization of the mapping takes place, mainly, from two elements: Collaborative Stores and the Fairs.

The mappings of the collaborative stores consider where the producers are based or have a located physical store, offering information about the geographic distribution of the production space of the entrepreneurs that exhibit in the stores.

It was developed mappings for the collaborative store Cria BrasĂ­lia, located at Liberty Mall.

The mapping of the fairs was developed from the collection of data with the fairs Picnik and Liga Pontos.

For the first, it was developed mappings with the geographic distribution of the participants between the editions 22 and 25, which took place in the year of 2016, from gently conceived data from the event production. It was taken into account the information indicated by the participants about the administrative region where they’re based. It was also developed a mapping indicating places where the event happened between 2012 and 2017. The development of analog mappings for the previous years of the event wasn’t possible to be developed due to a lack of data.

For Liga Pontos fair, it was developed mappings from every edition of the event until the closure of this work - 17 editions. IN such mappings, it was indicated the percentage of participation amongst the determined sectors for each edition, as

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well as the name of every participant in each edition, also accordingly to its acting sector, and a map indication of where the enterprise is located, when it has a physical establishment. It was also developed a map that points out every enterprise, from the agroupment of the maps of every edition of the event.

The data bank used for the achievement of these mappings were developed by the author of the project from the collection of information on online pages - mainly on Facebook - from every participant enterprise from every edition, considering each edition of the event. Such methodology took place from the absence of pre-existing data bank and takes into account the connection between the profile of the creative enterprises of the city and its presence on social media, associated as the main connection space between the consuming public and the enterprises, specially considering the occasional and non-permanent character of the fairs, spaces responsible for the main visibility for such entrepreneurs.

Throughout the presentation of the mappings, some analysis is indicated, proceeded by a specified section of observations and analysis of potentials, vocations, and disabilities of the study object, specially associated with the geographic distribution of the enterprises, either in the scope of Distrito Federal and the different areas of Plano Piloto - the administrative region where most enterprises are still concentrated.

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COLLABORATIVE stores CRIA BRASÍLIA

The collaborative store Cria Brasília was cre- have products exposed in other collaboated in the end of 2015 and is located at Li- rative stores, while others have an excluberty Mall, in the central area of Plano Piloto. sive physical space for the showcase of their work in the store.

A loja coletiva Cria Brasília surgiu no final de 2015, instalada no Shopping Liberty In the mapping, it’s possible to perceive Mall, na região central do Plano Piloto. the concentration of Fashion producers at Lago Norte and Asa Norte, as well as The store focuses on the exhibition of a greater concentration of Design proproducts from Fashion entrepreneurs, ducers in Asa Norte, followed by Jardim despite the availability of products from Botânico. other sectors in the venue, such as books and accessories. In 2017, the store ope- The main producers concentration is at ned a second branch in the satellite city Asa Norte, followed by Lago Norte, and of Águas Claras. despite a greater diversity of producers based at Asa Sul, there isn’t a strong preThe mapping, developed from data col- sence in such region. Despite the prelected with the store in the month of sence of entrepreneurs based on other August 2017, counts with 35 different administrative regions, Plano Piloto and producers, distributed by different ad- adjacent regions, such as Sudoeste and ministrative regions of the city. Amongst Cruzeiro, constitute the main origins of these, some have a physical store or also the exhibitors of the store.

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fairs PICNIK Taking place since April 2012, Picnik counts with editions happening in different places throughout Distrito Federal, as well as editions happening in the cities of Goiânia and São Paulo.

Some places received more than one edition, such as the Crystal Square, that received three editions in the format of a Music Festival, happening in the course of two days. The deck of Asa Norte, located by the lake, but its turn, received 10 editions of the event. Since 2014, especially because of the proportion of the event - that grown vertiginously amongst the years of its realization -, the event happens in the Parking Lot 4 of the City Park, counting with a participant public of over 7000 people.

One of the main motifs of the event is the oc-

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cupation of underutilized spaces of the city and the stimuli of a creative occupation of the same.

In this sense, the free event has an important role in the development of new relationships between the inhabitants and the public spaces of the city. While spaces like Ermida Dom Bosco and CCBB receive a great volume of visitants, especially on weekends, places like Concha AcĂşstica and Crystal Square were appointed as never visited places for a reasonable amount of the visitants. And it happens either for their distance as due to the absence of leisure and commerce equipment in its adjacences, which make them, in overall, little-frequented places.

Throughout 2016, around 1500 exhibitors presented their products in the 4 editions of the event.

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In each of these editions, according to data obtained with the production of the event, at least 50% of the exhibitors have already presented their products in previous editions of the events, while at least 18% participated as an exhibitor for the first time, despite having previously already participated in the event as public. Such data indicates that, despite the presence of frequent participants, such growth potential is directly or indirectly associated to the event and its influence in the growth of the Creative Economy of Distrito Federal, the same is still an important platform of presenting products of new exhibitors, especially due to the space of connection with new public.

In all of the editions, over 60% of the exhibitors presented authorial products, at least 64% had the activity exercised as the main income font, and over 56% had formalized its activity. Only between 25 and 32% of the exhibitors, however, had some sort of governmental support or had participated programs from institutions such as SEBRAE and the Work Secretary of Distrito Federal.

Such data indicate that the number of entrepreneurs at Distrito Federal is still ascending and that fairs such as Picnik are still an important space of presentation and fostering to them, and the development of such activities have a fundamental importance for the economic development of the producers and the region.

However, it’s still possible to verify and informal character to a significative amount of the producers, as well as their acting without the support of institutions and governmental organs.

Such factors are extremely detrimental to the strengthening of the Creative Economy in the region and a greater sustainability and longevity for such enterprises.

In every edition in the specified year, at least 21% of the exhibitors concentrated at Plano Pi-

loto, while in the editions 22, 23 and 24, there was also a relevant presence of exhibitors from Águas Claras(8 - 10%), Guará(8%), Sobradinho(6%) and Taguatinga(8%), regions that presented potential of strengthening such Economy sectors.

In the last edition of the same year, however, regions such as Lago Norte and Jardim Botânico also indicated an increase on the number of exhibiters in the event, with 6% and 5%, respectivelly. In every observed edition, regions such as Cruzeiro and Gama also indicated a bigger number of participants, if compared to another administrative regions, with between 2 and 3% from the total ammount of participants. In every edition of 2016, at least 7% of the participants were from outside of Distrito Federal, which points to an importance of the event to stimulate the projection of Brasília as an important regional and national center of the Creative Economy, a fact that, naturally, stimulates other sectors of the local Economy Sectors, such as hotel and gastronomy sectors, as well as stimulate the exchange with local producers and the potential of projection of the same in other regions of the country.

Despite the indications of growth on the number of participants from other administrative regions beside the main indicated regions, and the potential they present, indicate there is still and absence or little expressivity of participation of entrepreneurs from other administrative regions. This can indicate either a potential abscence of fostering to the development of such sectors in these regions, which compromises the action of the benefits from the economic growth in such regions; as well as a weakened articulation of such sectors on a regional level, as well as producers exchange and reach of potential public on the different administrative regions.

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LIGA-PONTOS Liga Pontos fair, that until the closure of this had realized 16 editions, it’s a fair that usually occurs on the same venue since its first edition, the Objeto Encontrado Cafe, at 102 Norte. In the end of 2017, there was a first edition outside of this place, in a square at 210 Norte.

Organized by entrepreneurs that owned a clothing brand of the city, the fair is turned, mainly, for the exhibition of authorial products on the sectors of Design, Fashion, and Arts, also counting with exhibitors in the sector of Gastronomy and Publications.

While the focus of some of the specified sectors establishes a greater determination of the

target public of the fair, in comparison of fairs like Picnik, the analysis of its growth presents important informations for the comprehension of the development of the Creative Economy of the region from 2013 and how such process occurred in the urban space of the city, also with the comprehension of the importance of the establishment of a physical space for the growth of most part of the enterprises.

It’s important to reiterate that the mappings take into consideration only the enterprises which location information was found on websites or Facebook and Instagram pages of the same, an aspect used to assume that, at least a share of the enterprises without available location

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information corresponded to establishment without a showroom space. Considering such aspect, it’s possible to perceive in the analysis of the mappings of the fair throughout the years a significant increase in the number of entrepreneurs with an indicated physical space, as well as the areas where such installation happened.

Still considering such mappings, a good part of the entrepreneurs that participate in such fair is installed at Plano Pilot, although there is a participation of entrepreneurs from other administrative regions.

In such sense, the mappings serve as a support to analyze the regions of Plano Piloto - the administrative region with a greater representativity of such sectors - which have a greater potential for the establishment of conglomerates of enterprises of such sectors, considering the possible benefits from this process, previously presented through this publication.

It’s important to anticipate that some of the regions with a greater concentration of participants correspond to collaborative stores where exhibitors also present their products in fairs, which highlights the interconnection between the two objects and the importance of both in the articulation of the development of the local Creative Economy. From such regions, some of the main concentration happen in the branches

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of the store Endossa, in the commercial blocks of 306 South and 310 North and, more recently, in stores such as Nós Mercado Crativo, located at Shopping Iguatemi at Lago Norte; a Lojinha da Virada Verde, at Sudoeste; and Square Brasília, at Setor Hoteleiro Norte.

In the mapping boxes, it was included the number of participants on each edition of the event, besides the above-cited box of the percentage of participation according to each sector, information that complements the sectors with greater potential and representativity on the local Economy.

Each sector is presented with the indication of a different color, which is included in the map accordingly with the number appointed in the enterprise list accordingly to each sector for each of the editions. In such boxes, were included the names of every participant of the edition, and the participant which name isn’t with a number indicates it wasn’t possible to find location information about it.

In each mapping, are included only the markings of the sectors that had entrepreneurs in each edition. Even if there is a participation in every sector, it’s notable the greater representativity of the sectors of Fashion, Design, and art, respectively.

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Between the years of 2014 and 2015, it’s possible to observe a considerable increase in the number of participants - that almost doubled between the two editions of 2014 - and especially the number of enterprises with physical spaces for product sale.

Also in these mappings, it’s possible to verify the concentration of enterprises located at Plano Piloto, despite the existence of enterprises with physical stores or exhibition spaces in regions such as Guará, Lago Sul, and Taguatinga.

Such years were, also, one of the moments of greater expansion of the Creative Economy of Distrito Federal, as well as the years when new collaborative stores and fairs appeared, as well as they reached high landmarks and a greater number of visitors and exhibitors.

From the mapping of such years, it’s possible to verify a concentration of enterprises in different regions of Plano Piloto, also varying to

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each kind of sector.

Beyond the above-cited regions where the branches of Endossa Store were located, the pioneer of the collaborative stores of the city, it’s possible to verify the development of a new concentration fo enterprises at Sudoeste, especially Fashion and Design. beside a concentration of Fashion enterprises in the first commercial blocks of Asa Norte, such as 102 Norte, as well as an exclusive appearance of artistic enterprises with a showcase on the last blocks of Asa Norte.

Comparing to the next years, it was verified a clear ascension on the number of establishments with a physical store, distributed through diverse administrative regions, and primarily throughout Plano Piloto. A recently verified process was also entrepreneurs with diverse selling spots(3-5), what also stimulates the strengthening of brands and the local production in places which installation wouldn’t be expected forehand, such as cafes throughout the city.

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Conclusion

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Conclusion

Nobody does anything alone.

Brasília was a city that synthesized the dream and vision of some. However, it was only possible to be materialized because of the work of a great number of people from different parts of Brazil.

Such legacy definitely accompanies and will accompany the city as it turns to gain new characteristics through time, and will gradually develop its identity, contemporarily, consonantly with the identity of its citizens.

In this sense, the sectors of the Creative Economy on a local level are one of the elements that carry within themselves one of the greatest potentials of stimulating such realization.

With this, also the cultural and urban development, will also be able to have a greater influence on a community, economic and policy level of the city. And every indication point that this is not far from happening.

It’s up to the integrants of such process a critic capacity throughout it, as well as conscience of the importance of the development of their activities, even if carried with countless challenges, that will have better possibility to be outgrown if addressed collectively, through a greater articulation between the agents and entrepreneurs of the local Creative Economy.

In such process, the fostering and support of the local government are essential for the accomplishment of the vocations and potentials of the city and its production.

With this, Brasília will also be known as a city that, despite its political character, is a city with an extremely creative, resilient and active population on the creation of the city they want to live. And this is a fundamental role for the population of any city of the world, once cities are created by people, and that a city life can’t be resumed to paths or private spaces, but for occupied public spaces under constant movement.

From mid-2012, the Creative Economy of Brasília finds under constant movement and has stimulated the movement of the city, its citizens, and public spaces. And it’s not a coincidence that the motif of the fair Picnik, the biggest of the city, is “a city in movement”.

The city, that is currently on the way for a new stage, also, but not only, on its Creative Economy, due to the growth of enterprises and actions and its subscription on UNESCO Creative Cities Network, carries the potential of passing through diverse transformations due to such process. It’s up to agents, entrepreneurs and responsible organs the observation and establishment of parameters about the direction such growth must happen, especially for it to happen in an inclusive, sustainable manner on a long term.

The development of this project allowed to point some processes and to verify that the strengthening of the Creative Economy is happening on a regional level, counting with regions with a strong potential of development of such sectors, and those that must definitely receive a greater incentive, events, and establishments to strengthen such process. However, it’s also notable the concentration of such sectors in the Pilot Plan - one of the most prospers administrative regions of Distrito Federal -, and an absence or lack of representativity of entrepreneurs from many administrative regions that receive a great number of citizens - such as Samambaia -, a factor that indicates a weakening of articulation of these sectors on a regional level. Between all of the potential underdeveloped benefits, such as the urban regeneration and social and economic opportunity generation, there is also a deepening on the inequality panorama, especially if considered the potential of establishing the culture and the creative economy as some of the fundamental aspects on the development agenda of the region.

For such process, it is required creativity and

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the stimuli of government policies to support small and medium entrepreneurs, such as the project Território Criativo DF, in course, so the establishment of a Creative Brasília doesn’t resume to the administrative regions that also present a greater participation in such process.

Considering the process of urban occupation of the local Creative Economy, that happened intrinsically to its growth in the studied period, it was evident the process of greater establishment of stores and physical spaces of the enterprises of the sectors, a process in course.

Also due to this, mappings developed present support for the observation of places that present a potential of development and concentration of different sectors or some sector in special, such as the case of the vocation of the first commercial blocks of Asa Norte for Fashion Establishments, or blocks that already receive collaborative stores, important vectors for the development of the sectors in the city.

The process of concentration of the creative enterprises and cultural and gastronomic establishments - also considering the sector as a Creative Economy sector - presents a potential of occupation of the city either during the day and the night, and might be fundamental for the local economic development, the prosperity of the establishments and the realization of a greater representativity of these sectors on a national and international level.

As presented, in places around the world

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where this happened, such process was responsible for the economic development of the Creative Industries and the regeneration of urban spaces, beside reflecting on other sectors of Economy, such as, for an example, the creation of jobs and the heating of the hotel market due to the stimuli to tourism.

Such process also have diverse positive unfoldings for the city, especially in what relates to the human capital, due to the talent attraction and retention, which stimulates the development of innovation and positive transformation in the economic sectors and the local economy, considering the elements that attract the called Creative Class, term created

by Richard Florida.

As presented on study cases of regions of Williamsburg, in New York, and the city of Austin, Texas, prosperous and relevant areas for the sectors of the Creative Economy, such process must occur accompanied of a strong critic sense and caution, for it not to foster gentrification and other negative processes that simulate social exclusion and repulsion of local populations due to an increase in the cost of living in such regions.

Brasília is, as a matter of fact, a city under movement. For its potential to be fully accomplished, however, nobody must be outside this process. And this depends not only on each person involved currently or in the future but also an articulation on a regional level.

Conclusion

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list of figures

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list of figures

Figura 1: United Nations Sustainable Development Goals. Source: https://en.wikipedia.org/wiki/Sustainable_ Development Goals Figure 2: Lights Festival of Lyon. Credit: ©Melville B. Figure 3: San Francisco Open Data. Source: https://datasf.org/opendata/ Figure 4: City Ways, Senseable City Lab. Source: http://senseable.mit.edu/cityways/ Figure 5: Moça Roubada, J. Borges.

Figure 6: Watershed Hub Bristol. Source: https://visitbristol.co.uk/things-to-do/watershed-p26341 Figure 7: Porto Digital, Recife. Source: http://www.portodigital.org/empresas/empresas-embarcadas/empresas-de-economia-criativa Figure 8: South by Southwest Festival, Austin. Source: https://www.fuse.tv/2013/02/sxsw-south-by-southwest-festival-guide Figure 9: Williamsburg, NY. Source: https://www.compass.com/neighborhood-guides/nyc/williamsburg/ Figure 10: Brasília Creative City of Design logo. Source: https://www.agenciabrasilia.df.gov.br/2017/06/06/ brasilia-concorre-ao-titulo-de-cidade-criativa-da-unesco/ Figure 11: Picnik at Deck da Asa Norte, 2011. Credit: Thum Thompson Figure 12: Picnik Festival at Praça dos Cristais, 2015. Credit: Tomas Faquini Figure 13: Mapping of the Collaborative Store Cria Brasília.

Figure 14: Picnik locations, between 2012 and 2017.

Figure 15: Mapping of participants of the 22nd Edition of Picnik, April 2016.

Figure 16: Mapping of participants of the 23rd Edition of Picnik, July 2016.

Figure 17: Mapping of participants of the 24th Edition of Picnik, October 2016.

Figure 8: Mapping of participants of the 25th Edition of Picnik, December 2016.

Figure 19: Mapping of participants of the 1st Edition of Liga Pontos, May 2013.

Figure 20: Mapping of participants of the 2nd Edition of Liga Pontos, September 2013.

Figure 21: Mapping of participants of the 3rd Edition of Liga Pontos, December 2013.

Figure 22: Mapping of participants of the 4th edition of Liga Pontos, May 2014.

Figure 23: Mapping of participants of the 5th edition of Liga Pontos, August 2014.

Figure 24: Mapping of participants of the 6th edition of Liga Pontos, December 2014.

Figure 25: Mapping of participants of the 7th edition of Liga Pontos, May 2015.

Figure 26: Mapping of participants of the 8th edition of Liga Pontos, August 2015.

Figure 27: Mapping of participants of the 9th edition of Liga Pontos, October 2015.

Figure 28: Mapping of participants of the 10th edition of Liga Pontos, December 2015.

Figure 29: Mapping of participants of the 11th edition of Liga Pontos, May 2016.

Figure 30: Mapping of participants of the 12th edition of Liga Pontos, August 2016.

Figure 31: Mapping of participants of the 13rd edition of Liga Pontos, November 2016.

Figure 32: Mapping of participants of the 14th edition of Liga Pontos, December 2016.

Figure 33: Mapping of participants of the 15th edition of Liga Pontos, May 2017.

Figure 34: Mapping of participants of the 16th edition of Liga Pontos, August 2017.

Figure 35: Mapping of the participants of editions 1-16 da Liga Pontos.

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bibliographic references

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bibliographic references

FLORIDA, Richard L. The rise of the Creative Class, revisited. New York: Basic Books, 2012.

SISTEMA FIRJAN. Mapeamento da Indústria Criativa no Brasil, 2016.

MATHESON, Janine; EASON, Gillian. Creative Hubkit, Made by Hubs for emerging hubs.

Dundee, 2016.

REIS, Ana Carla Fonseca. Cidades Criativas, Análise de um conceito em formação e a pertinência de sua aplicação à cidade de São Paulo. São Paulo: Tese de doutorado, 2011.

SENATE DEPARTMENT FOR URBAN DEVELOPMENT AND THE. Third Creative Industries Report, development and potential. Berlin: Senate Department for Economics, Technology and Research, 2014.

DUNDEE PARTNERSHIP. Dundee Cultural Strategy, 2015 – 2025. Dundee: Dundee Partnership, 2014.

UNDP. Creative Economy Report 2013, Widening Local Developmen Pathways. New York: UNDP,2013.

MINISTERIO DA CULTURA. Plano da Secretaria da Economia Criativa: políticas, diretrizes e ações, 2011 – 2014.

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