The paper attempts to understand the role of the creative class in the proliferation of a creative economy in Baguio City. It draws discussion from the discourse of the reconstruction of Baguio City as a Creative City and from the insights gained by the author during the International Conference on Southeast Asian Crafts and Folk Arts (ICSEACFA). This paper will synthesize empirical specifics and theoretical posits in order to arrive at a deeper and broader understanding of the creative class and the creative economy in Baguio City.
The paper puts premium on the exploration as to how the creative economy is ultimately driven by the creative class. Through a review of empirical facts and the theories on creative economies and identifying the creative class, the author affirms the vital role, the creative class plays in the proliferation and development of the creative city.
Conversely, the development of the creative city enlivens the creative sectors and encourages them to continue innovating, becoming more productive, generating more employment, increasing household incomes, savings, and investments. Baguio City's position as a UNESCO creative city entails a lifelong commitment of the creative class in proliferating the creative economy.
Today, Baguio City is known as the “Summer Capital” of the country. It is one of the most dynamic and prominent cities in the Philippines. It is home to 345,000 residents as of 2015, and has been growing exponentially at a rate peggedm at 1.54 percent. Baguio is now comprised of migrants from various ethno-linguistic groups who have now outnumbered the original Ibaloi population. Currently, only 4% of the total Baguio population are Ibalois. It is an educational, trading, tourism, and administrative hub in northern Luzon.
Table of Contents
1. Introduction
2. Evolving Historical Nodes of Baguio City
3. Baguio as a Creative City
4. The Creative Economy
5. The Creative Class
6. The Role of the Creative Class in Proliferating the Creative Economy
7. Ways Forward for the Baguio Creative City, its Creative Economy, and its Creative Class
Research Objectives and Key Topics
This paper investigates the pivotal role of the creative class in fostering a sustainable creative economy within Baguio City. It examines the historical evolution of the city and its contemporary designation as a UNESCO Creative City, while critically analyzing the theoretical relationship between creative industries, economic growth, and social inclusion.
- Historical transformation of Baguio City from indigenous territory to a modern administrative hub.
- Theoretical frameworks connecting the "creative class" to urban regeneration and economic productivity.
- Evaluation of Baguio City's alignment with international UNESCO Creative City standards.
- Analysis of the potential for the creative economy to mitigate urban poverty and promote social equity.
- Strategic recommendations for the sustainable development of Baguio's creative sector.
Excerpts from the Book
The Creative Class
The creative community who could propel a city to creative economy is what we call the creative class. The creative class is defined as members that “engage in work whose function is to create meaningful new forms” (Florida, 2008). The creative class is divided into two inter-operating core groups- the super-creative core and the creative professionals (Florida, 2008). The super-creative core is composed of individuals who produce new forms or designs which are readily transferrable and are broadly useful (Florida, 2008). Some of the professions which belong to this core group are the educators, researchers, designers, the artists, the crafters, the strategists for selling, use, and composition of creative products. On the other hand, the creative professionals are those that wok in a wide range of knowledge-intensive industries and are engaged in creative problem solving. This core group includes professions in the financial, legal, health care services, and the like, who supports the residents’ creativity production (Florida, 2008). Florida argues that it is precisely these occupations which serve as magnets to which mobile, hi-technology, and high-growth firms are drawn (Pratt, 2008).
The relations of production are set into motion by the people inhabiting the city. Stemming from two theoretical posits of social capital theory and human capital, Florida (2008) asserts that the discourse on creative city enmeshes the concepts of production, capital, and space. In Florida’s conceptualization, the city, as the space, sets the tenor of creativity. Thus, the people inhabiting a city establishes a creative community whose members are “not invasive” so as not to impede creativity (Florida, 2008). Drawing from the idea of a creative capital wherein “creative people are the driving force in regional economic growth”, the concept of creative city “identifies a type of human capital, or creative people as they key to economic growth” (Florida, 2008). From this, emerged the idea of a creative class.
Summary of Chapters
Introduction: Outlines the purpose of the study, which is to examine how the creative class serves as the primary engine for Baguio City's burgeoning creative economy.
Evolving Historical Nodes of Baguio City: Details the transition of Baguio from its indigenous origins as a ranch land to its development as an American-built colonial center and modern urban hub.
Baguio as a Creative City: Explores the city's recognition by UNESCO, focusing on its commitment to sustainable urban renewal and the integration of crafts and folk arts into its development strategy.
The Creative Economy: Provides a theoretical foundation for the creative economy, highlighting the shift toward knowledge-based productivity and the challenges of identifying the relationship between culture and market dynamics.
The Creative Class: Defines the specific segments of the workforce, including the "super-creative core" and "creative professionals," that drive economic growth and innovation within urban spaces.
The Role of the Creative Class in Proliferating the Creative Economy: Analyzes the tangible impact of creative clusters and the potential for a creative economy to address or exacerbate urban social inequality.
Ways Forward for the Baguio Creative City, its Creative Economy, and its Creative Class: Offers a synthesis of future-oriented strategies for stakeholders to ensure that Baguio's development remains inclusive, sustainable, and culturally vibrant.
Keywords
Baguio City, Creative Class, Creative Economy, UNESCO Creative Cities Network, Urban Regeneration, Sustainable Development, Cultural Industries, Human Capital, Social Inclusion, Economic Productivity, Crafts and Folk Arts, Regional Growth, Innovation, Urban Planning.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines the role of the creative class in driving Baguio City’s development into a sustainable creative economy.
What are the central themes discussed in the work?
Key themes include urban regeneration, the socioeconomic impact of creative clusters, historical city development, and the balance between cultural promotion and social equality.
What is the main objective or research question?
The main objective is to understand how the creative class influences the proliferation of the creative economy and how this contributes to the broader development goals of Baguio City.
Which scientific methodology is utilized?
The work utilizes a synthesis of empirical observations from regional conferences and theoretical frameworks established by scholars like Richard Florida and others in the field of urban geography.
What topics are covered in the main body of the paper?
The main body covers the historical evolution of Baguio, the definition and classification of the "creative class," the theoretical links between creativity and economics, and the challenges of equitable urban development.
Which keywords best characterize this work?
Key terms include Creative Economy, Baguio City, Urban Regeneration, Creative Class, and Sustainable Development.
How does the author define the "super-creative core"?
The author defines this group as individuals who produce new, transferrable, and useful forms or designs, such as artists, educators, researchers, and crafters.
What concerns are raised regarding the "creative economy"?
The paper discusses concerns about potential social dislocation, economic inequality, and the risk that creativity might be treated purely as an "instrumental" tool for the economy rather than a social good.
What is the importance of the UNESCO Creative City title for Baguio?
The title serves as a catalyst for urban renewal, linking local craft and folk art sectors with global networks and standards for sustainable, inclusive development.
What does the author suggest for the future of Baguio?
The author suggests a collaborative synergy between the local government, the creative community, and the public to ensure that growth extends beyond economic output to include social inclusion and environmental sustainability.
- Citar trabajo
- Julie Anne Dimapilis (Autor), 2019, The Role of the Creative Class in Proliferating the Creative Economy of Baguio City, Múnich, GRIN Verlag, https://www.grin.com/document/923343
