What attracts the “ creative class ” ?

1. Organizations, Scenes, and Local ContextsTerry Nichols ClarkUniversity of Chicago&Peter AchterbergErasmus University Rotterdam&Clemente Jesus NavarroUniversidad Pablo de Olavide Seville*For presentation to September 4 – 5, 2008, Workshop on Organizations in Urban Environments, Harvard University; adapted from earlier presentations to Colloque: Vers Une Nouvelle Economie Culturelle, ACFAS, Quebec City, Canada; Findings on the New Political Culture Conference, 27-28 March 2008, Institute of Social Sciences, Lisbon; and European Sociological Assn conference, Glasgow, September 2007.More work, videos, papers, details are on our site:www.tnc-newsletter.blogspot.com

2. What attracts the “creative class”?

3. Example 1: What scenes attract or repel different demographic groups? • Dependent Variables = change in share of population for: • 18-24; 25-34; baby boomers; retirees; college grads; non-whites

4. The New Political Culture

5. Past theorizing on cultural or organizational participation • Putnam’s: Bowling Alone • Participation is declining in general • Verba & Nie: Higher status, older persons participate more

6. How Amenities Drive Urban Development, from TN Clark, ed., The City as an Entertainment Machine I.Traditional Model

7. Refuting past theories of Putnam/Verba/Nie: cultural organizations are rising • Evidence • Study political party programmes • The salience of culture • Study individual level behavior • Cultural activity group memberships • 3. French culural groups show a rise in recent years • Questions: • Is culture on the rise? • Especially among younger parties and younger age cohorts?

8. World Values Survey, US and Dutch citizens show dramatic rise in cultural participation, Tripling in the US in 18 years; but Not in France. US N= 3525 citizens, national sample

9. .Rise in 13 other areas (sports, churches, etc.) for US, but weaker than culture Example: Social Welfare Participation Rose, WVS

10. No change in union participation in the US, WVS

12. Rise of Cultural Activity groups in many countries, data from over 100,000 citizens in World Values Survey

13. The rise of culture: Individual memberships • Communist countries: culture participation is decreasing • All other countries: Culture participation is rising • Greatest increase + highest levels in the Netherlands and U.S • Culture participation is more prevalent among younger age cohorts!

14. Youth participation increase in culture is broadly similar to adults, but stronger in Netherlands and the US. Age 15-24, World Values Survey

15. Summing up • Verba & Nie’s, & Putnam’s hypothesis on declining culture participation is rejected • Salience of culture is increasing • Individual culture participation is increasing • But: Why?? • Consider • France • US findings • Scenes Interpretation

16. Of 60,000 French Organized Groups, what types are most common? Long-Standing, Recognized Associations. Data from the French Journal Officiel.

17. The new French groups are predominantly cultural Creations by category over the last ten years. Data from the French Journal Officiel.

18. Where and why are these new cultural associations rising in France? Where and why are these new cultural associations rising in France? Start with a simple map.

19. Map: Paris and the North are loosing population in blue, while the West and South are gaining. • Regions 22 • Departments 96 • Communes 36,000

20. How explain the patterns in the new French map? Hypotheses: A. this is part of a move away from Paris and the North to the South and West. B. Cultural actviitye and assocaitons attract new residnts, but also C. New migrants create more new associations. To test? Start with a simple map of departments that are gaining and loosing population (change in “net migration”) Analyze the factors associated with change in population. How? Assemble national data to help interpret hypotheses -- for all French departments; compute multiple regressions and other statistical tests We have started assembling French data and have some tentative results, but welcome commentary and refinement. A few quick exmplaes follow, of regressions that show more growth where there is more cultural oranized activity, as well as instutions like museums.

21. The Ministry of Culture Examples of Data From

22. Departments with more culture have more net migration, even controlling 7 other factors; education and crime are insignificant

26. Negative Impacts of Top Down Culure on Net Migration, But Positive from Grass Roots Culture

27. First Conclusions • Culture participation is on the rise! • This has a lot to do with rising levels of prosperity • But also with its growing importance for identity construction • As countries are detraditionalizing • As scenes become more important

28. We now push the analysis further, and introduce Scencs. Art works often more powerfully in scenes, than in organizatoins.

29. Scenamatography, or The Science of Scenes: A Multi-Level Research Program • Background • Multi-Disciplinary • Social and Cultural Change: self-reflexive modernization • Theoretical Level • Basic assumptions (action, consumption, meaning, interaction) • Conceptual Analysis (bring phenomenon into view, rendering it observable, articulating its natural “joints”) • Model-building (analytical elements) • Methodological Level • Operationalization • Empirical Level • Description • Quantitative • Ethnographic Case Studies • Explanatory Propositions

30. A scene includes: • 1. neighborhood • 2. physical structures • 3. persons labeled by race, class, gender, education, etc. • 4. the specific combinations of the above 3 and activities (like attending a concert) which join them. These four components are in turn defined by • 5. the values people pursue in a scene. General values are legitimacy, defining a right or wrong way to live; theatricality, a way of seeing and being seen by others; and authenticity, as a meaningful sense of identity.

31. Background on scenes • Invoked by critics as loose collection of people and activities involving culture: • Blues in Chicago, Theater in New York • More than the amenity or art per se: • The beach scene in Miami: • Beach, but also chance to ogle and be ogled, bars, music, restaurants, hedonism. • Neighborhood scenes: Wicker Park, Haight-Ashbury, Soho • Linked with broader themes in cultural studies • Dynamic Village in The City (Straw, Blum) • Product of modernization, individualization, consumer society (Irwin) • Graft tastes and affinities to physical locations, unify seemingly heterogenous activities, provide grooves for cultural reproduction of urban sociality (Straw) • Aesthetic criteria are joined to scene dimensions

32. Naples

33. Kapor

34. Bogota bikesContextualizing culture

35. Scenes as Systems of Social Consumption • Parsons on social action; Scenes as specific form of social action • Consumer vs. Worker vs. Resident

36. Urban Amenities Database Sources • US Census of Business for zipcodes and counties • Dun & Bradstreet arts organizations • Urban Institute Unified Database of Arts Organizations (UDAO), IRS 501c3 reports • Yellow Pages • industry datasets • DDB Citizen Lifestyle Surveys, 84,000 citzs

37. Solution: Amenities database • National, covering all U.S. metro areas • Unified • Including other standard variables affecting location decisions (schools, crime, etc.) • As differentiated as possible • Open-ended and scalable

39. Three dimensions of cultural value Theatricality.As the very word “scene” implies, one thing that may be sought for in a cultural experience is the chance to see and be seen. Participants seek the essentially social pleasure of performing a role or a part, or of watching others do so. Authenticity.Cultural experiences, even theatrical experiences, may aim to provide a sense of an authentic cultural tradition, activity, or identity. Legitimacy.Cultural experiences may be intended to encourage a sense of what is right and wrong, how one ought to live.

40. A GRAMMAR OF SCENES

41. Value Dimension #1: Theatricality or the Pleasure of Seeing and Being Seen (or not!) • Standing on the red carpet at Cannes ogling the stars going by. • Going to the opera in white tie and tails • Watching a performance artist pierce his skin. • Sharing the experience of a school play with other parents. • Jumping onto a raised platform to dance in front of a crowd at a rave.

42. Glamour The value of displaying charm, allure, star power, and status • Versus exhibitionism, where value is in being object of gaze (woman in window need not be glamorous) • Designer boutiques, night clubs with VIP rooms, Prada and Gucci stores • Pro: movie openings, design schools, TV and movie production, art galleries, interior design firms, beauty salons, advertising firms, fine art dealers/galleries, department stores, opera companies, private golf clubs, fine dining restaurants, designer clothing, custom jewelry stores • Anti: warehouse stores, convenience stores, NASCAR tracks, scientific R & D, bowling centers, convents/monasteries, country music clubs, bible stores.

43. Neighborliness The value of closeness, personal networks, and intimacy of face-to-face interactions • Amenities affirm sense of being part of a warm, inviting community (Little League, reading clubs) • Value lies in interaction vs. authenticity • Pro: community centers, street fairs, pubs, bowling alleys, bed and breakfast inns, religious organizations, community organizations, business organizations, bakeries, florists, county fairs and festivals, sports clubs • Anti: warehouse clubs and superstores, department stores, amusement parks, fast-food restaurants, tele-communication networks

44. 5 Standards of Authenticity Locality The value of feeling the rooted in a place • Pro: Local restaurants, farmers markets, community theatre, independent bookstores, independent music stores, historical sites, bed and breakfast inns, spectator sports, souvenir stores, antiques and collectibles, film festivals, county fairs and festivals • Anti: Warehouse clubs and superstores, human rights organizations, casinos, computer systems, design, and related services, convenience stores, fast food

45. Individual Self-expression The value of unique, personal, expression • Experimental theatre, Jazz and comedy clubs, Arts and crafts classes • Pro: fashion houses and designers; body piercing; custom printed t-shirts; jazz clubs; modern dance; experimental music; Dance companies; Fine arts schools;art dealers; Musical groups & artists; Independent artists, writers & performers; Graphic design services; custom computer programming services; interior design • Anti: business and secretarial schools; business associations; offices of lawyers; scientific research centers; database and directory publishers; Catholic churches; folk arts; industrial design

46. Egalitarianism The value of universal equality, treating others non-strategically, as ends-in-themselves • Public festivals, Public libraries, Free public lectures • Pro: human rights orgs; junior colleges; Christian churches; social advocacy organizations; public schools; community service orgs (YMCA); salvation army; public aquariums; public tennis courts; • Anti (value of rank): private golf and tennis clubs; casinos; private clubs; yacht clubs; gourmet restaurants; equestrian; cigar bars

47. Charisma The value of being in the presence of an exceptional personality. • Jesse Owens vs. Chicago Marathon; Blockbuster shows or concerts; Public art by famous artists • Pro: spectator sports; motion picture theaters; Film festivals; performing arts; book stores; public relations agencies; television broadcasting; political orgs; fashion; designer clothing and accessories; art galleries; government: executive; popular music; • Anti: scientific R & D; wilderness refuge and nature preserves; fast food restaurants; salvation army; industrial design; physical sciences research centers; big band

48. Propositions re rise of scenes • 1. less attached to primordial groups • 2. younger • 3. unmarried • 4. more educated • 5. unemployed or working in part time or fluctuating jobs • 6. change residence more often –not WVS • 7. travel more – not WVS • 8. more aesthetically concerned –“I like pictures”WVS; I like to go to museums. • 9. women • 10. less religious- WVS • 11. more leisure time • 12. childless • 13. not responsible for caring for other family members, esp. parents (and from cultures where this is a norm: (ranging approximately from Protestants to Catholics to Muslims, Buddhists, Confucians) – live w parents WVS • 14. higher occupational status WHY- N drops if include in WVS • 15. more psychologically confident and independent, esp. in aesthetic issues None in WVS?ddb has. • 16. more sociable styles—this varies by scene, however, and is more important for those scenes, e.g. where theatricality and social interaction are more central, such as dancing. Sociability could be measured as an individual trait but also related to subcultural patterns (Catholicism, etc.) • 17. trust and security must be sufficient to permit certain scenes dynamics to operate. Scenes with a potential for more extended, even intimate, social contact (bars, clubs) cannot flourish if trust is too low. Still a moderate sense of risk, edginess, a slight threat of danger enhances the attraction of some scenes (Bohemia), but weaken others (Disney Heaven). • 18. from societies where • a. A. political parties are weaker • b. civic/cultural/internet groups are stronger, and • c. issue politics is stronger, • d. making cultural decisions thus more independent of political ideology (US, Canada, Austria, Korea, high, Japan medium, Europe low; but changes important so younger Asians and Europeans should be more different from older cohorts). Could elaborate and clarity political institutions but too complex for this paper? • 19. in societies and locales where there are more local amenities that foster scenes, individuals participate in them more: more urban locations, better transit, more dense institutions, more tolerant norms from families about the young going out together, etc. WVS anomie for individual; ; add next round. • 20. where the political system permits young persons to congregate and tolerates more “deviant” behaviour, scenes will grow stronger (e.g. many Spanish cities shifted from intolerance to permitting large groups of youth to drink, talk, play loud music in the streets most nights of the week) • 21. foreign or cosmopolitan tourists can serve as models for such individualism/scene consumption/art for younger persons in more traditional societies and smaller towns

49. Scenes participation: Propositions

50. Results: Who participates more? Explaining culture, WVS, OLS regressions; entries are beta’s