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The purpose of this paper is to investigate the role of intersectoriality within the cultural, creative and tourism industries in Italian local development.

The research design builds on the literature on culture-led development and adapts the established body of empirical research on industrial districts to tourism and cultural development. The quantitative analysis of intersectoral specialization and the clustering of cultural, creative and tourism industries in Italian local labour systems (LLSs) combines specialization indexes with principal component analysis and cluster analysis.

About 50 per cent of Italian LLSs specialize in the economy of culture and tourism, mostly in material culture, although tourism has the highest level of specialization. There are three main patterns of agglomeration and clustering. The largest cluster is that of the cultural heritage and content and information industries, which coincides with the systems of medium-sized and large cities, followed by systems of tourism monoculture. The smallest is made up of material culture, typically made-in-Italy sectors. The tourism and material culture industries are monocultures – where tourism agglomerates, but material culture does not.

The analytical approach is quantitative and based on Istat’s Industry and Trade (2012) data set. Further studies are needed on the interaction between agglomerated specialized industries.

This paper contributes to the theoretical and political debate on the value generation and innovation potential of culture and creativity, and bridges the knowledge domains of local development and managerial studies. Novel statistical evidence on intersectoral specialization and the clustering of the cultural, creative and tourism sectors in Italy at the inter-municipal level is provided. This study helps to identify an Italian model of the economy of culture and tourism.

In spite of controversies in academia, various nations around the world have been propounding the importance of cultural and creative industries (CCIs) as the driving force in economic growth and development strategies. Accordingly, this research aims to understand how these industries could contribute to forming a cultural and creative policy scheme in an urban context that is structured based on local cultural assets.

The case analysis of Rasht city, a UNESCO Creative City, assesses the planning policies from the national to the regional level to determine the cultural policy planning platform of Creative Rasht in four phases of urban cultural resources, municipal objectives, festival urban branding and the role of stakeholders, which are fashioned by the integrated cultural identity and sustainable city. This is followed by semi-structured interviews with experts and young researchers in the field of culture-led urban regeneration to evaluate different phases of the policy planning process.

By means of the qualitative method and ethnographic research, this paper argues that managerial regulations for local cultural industries contribute not only to the reinforcement of cultural resources but also to urban cultural sustainable development.

Building on empirical research, this paper attempts to argue the significant role of local CCIs alongside social values in creating a creative city platform, given the necessity for an urban cultural platform in Iran. It also emphasises the importance of local communities’ participation in the decision-making process and awareness-raising among different groups of stakeholders.

This paper aims to identify the nature of creative tourism and the roles of interrelated concepts especially those of creative industries in the value creation process, by analyzing the trends in existing practices.

Based on a thorough literature review of the multidisciplinary “creative” related research, this paper provides a conceptual insight of the value creation process in creative tourism.

A conceptual framework is provided to consolidate the value creation process of a creative economy by considering the nature of creative tourism and interrelated concepts.

This study contributes to the literature because it provides a valid research base and insights for future research, based on a clear perspective that amalgamates essential information.

Creative tourism offers immense opportunities in the global context as tourists are constantly looking for new experiences and opportunities. This study provides insights for creative workforces, entrepreneurs and organizations in formulating appropriate management and marketing strategies by considering all relevant components and the roles they can play to capitalize on this opportunity.

Creative industries play a critical role in introducing new strategies in the service sector by enabling an upgrade of value-added activities to those that are currently offered, in a sustainable manner. However, studies so far have not taken into consideration the nature of the sector and have not attempted to clarify its relevance (for example, creativity, creative industries and creative workforces) in the value creation process. The study contributes to filling the gap from a conceptual perspective.

The rich history and cultural heritage in Africa have been arguably a missed opportunity, which the region is now seeking to leverage following many years of neglect. Evidently, a new direction of travel is warranted, especially as far as the creative economy of Africa is concerned. This chapter provides a background at-a-glance insight into what may seem like disparate fields – that is, international business and the creative industries – bridging them into a single narrative. This fusion is also, in a pioneering effort, taken from the purview of Africa.

Creativity is becoming one of the most powerful sources of competitive advantage in the modern economy. As more developed economies progress from the tertiary (or service-based) level to the quaternary (or knowledge-based) level, successful nurturing of creativity and innovation provides competitive advantages for industries and countries alike. The paper aims to discuss these issues.

Based on the extant literature, a set of performance measures and metrics for the creative economy is proposed.

A conceptual framework for developing a creative economy is presented, and measures and metrics to be used as a managerial tool for controlling performance in creative economies are provided.

Although the measures and metrics presented are based on the best available research, they are not empirically tested. Thus, the measures and metrics must be considered speculative and descriptive research is needed to validate their utility.

Utilizing the performance measures and metrics identified in this research provides policy and decision makers with a foundation on which to build their local or regional economies.

The research as presented contributes to the literature on the creative economy and is unique in its contribution to said literature.

Creative industries (CIs) constitute the most important area in the contemporary global, knowledge-based economy. These enterprises, which operate in creative sectors, represent the most innovative businesses. Such sectors generate both growth and employment. CIs were defined as the activities that have their origin in individual creativity, skill, and talent as well as open the potential for wealth and job creation by generating and taking advantage of intellectual property. The problems and challenges in CI management are solved because of the accumulated resources of knowledge and the capacity for their effective implementation. Such processes rely on a creatively talented man who takes advantage of unconventional thinking and acting patterns. However, studies covering CI functioning, from the perspective of management science and primarily the concept of knowledge management have, so far, remained few and fragmentary. In one of the author’s previous research, related to the sector of CIs, it was indicated that talents, competencies, and ideas for starting a business can bring these people together who were growing up and influenced by the same urban, academic, or artistic environments. Narrow social groups of friends or good acquaintances, who establish a creative knowledge-based organization, are mutually, strongly, and emotionally bonded. The crucial issue here is the impact exerted by motivating, communicating, or team work orientation on knowledge sharing processes. The results of the study were used to develop a business model totally oriented to knowledge used in CIs.

This chapter provides case illustrations at the sub-regional creative hubs from East to West, and North to South Africa. Starting off with a broad overview of creative hubs – notably African Tech Hubs, and how they have been at the forefront of culture and innovation on the continent, the chapter moves on to discuss a few examples from the Co-Creation Hub in Lagos Nigeria to the South African Cultural Observatory, Starplace Hub and Playable City Lagos. A Sectoral Journey in other Places & Spaces is also undertaken from the African Literature sub-sector to the Music and Fashion sub-sectors. Finally, a selection of Art Galleries and Cultural Centres such as The Bruce Onobrakpeya Foundation and the Nike Center for Art and Culture and the Dak’Art Biennial, Dakar, Senegal are highlighted alongside the Kó Art Space, Lagos, Nigeria.

The purpose of this paper is to explore and clarify the relationship between creative developments and the concepts of place and placemaking.

This paper systematically reviews scholarly literature on the relationship between creative developments and the concepts of place, and critically analyzes the extent to which creative developments acknowledge different aspects of place.

The findings demonstrate that the relationship between creative development and place is multifaceted, and combines physical, cultural and social aspects of place. However, the literature also calls for the greater valuation of particular facets of place, including the daily experiences of communities and local cultural producers, alongside symbolic and imagined aspects of place, all of which inform either positive or negative perceptions of urban form. In addition, the authors argue that the cultural value of the creative industries needs to be better acknowledged in creative developments, implying support for a range of cultural practitioners.

The authors argue that embracing a more holistic understanding of place in creative development has the potential to minimize the negative impacts sometimes associated with such developments (like gentrification and social displacement) while generating greater social and cultural benefits to people and place. The study findings raise questions that frame a critical research agenda for creative-led developments and creative placemaking in this context.

By examining the broader relationship between creative developments and place and identifying areas neglected by researchers, this research contributes to an articulation of “creative placemaking” that moves creative city policy toward enhancing community development.