Display candidate transaction variables for article
| Id | 218 | |
| Author | Navarro Yanez, C., J. | |
| Title | Do ‘creative cities’ have a dark side? Cultural scenes and socioeconomic status in Barcelona and Madrid (1991–2001) | |
| Reference | Navarro Yanez, C.J. (2013). Do ‘creative cities’ have a dark side? Cultural scenes and socioeconomic status in Barcelona and Madrid (1991–2001). Cities, 35: 213‑220. |
Link to article | https://doi-org.sire.ub.edu/10.1016/j.cities.2013.05.007 |
| Abstract | Studies of culture and creativity have shown that they can play an effective role in promoting local development. However, cultural projects and strategies oriented to promote creativity may also promote inequalities inside the city. According to the gentrification thesis, the result of these strategies could be segregation processes and the generation of “tourist bubbles”. Thus, “creative cities” may have a “dark side”, which becomes apparent when the analysis compares differences whitin instead of among cities. This article aims to examine this issue in two large Spanish cities (Barcelona and Madrid) by analyzing the change in socioeconomic status and cultural scenes between 1991 and 2001 at the city and neighborhoods levels. This analysis will attempt to answer two main questions: is localization of cultural scenes in the city associated with socioeconomic status?, does this relationship varies between cities? The main results indicate a positive answer for these questions. First, there is a strong relationship between socioeconomic status and non-conventional cultural scenes. Nevertheless, cross-lagged regression analyses show that change in cultural scenes depends on socioeconomic status, whereas the effect of cultural scenes on socioeconomic change is weaker. Second, this pattern is stronger in Madrid than in Barcelona: a stronger relationship between cultural scenes and socioeconomic status exists in Madrid, and socioeconomic status had a stronger effect on changes cultural scenes between 1991 and 2001. This difference may be explained by the urban policies developed in these cities. More comparative analyses needed to confirm this potential dark side of creative cities. |
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| The process of urban renewal linked to this strategy involves the use of new urban space, as well as the renewal of central spaces in the city. . | Studies of culture and creativity have shown that they can play an effective role in promoting local development. . | Furthermore, such neighborhoods have diverse and innovative cultural markets as the result of the presence of small groups of artists, other creative people and new spaces for cultural consumption. . | From the perspective of the creative city, the cultural market involves economic development through the attraction of high status (creative class) groups and/or visitors. . | Cities initiate processes of urban renewal in their central and older areas to attract tourists. . | In both cases the provision of opportunities for cultural consumption in the city to meet the demands of creative sectors or visitors plays a vital role. . | Thus, the tourist bubble effect could be understood as a specific process of gentrification due to the improvement of tourist activity. . | A closer analysis of creative city initiatives and their localization in the cities, as policy variables, could improve our explanation of cultural scenes changes because these initiatives generate cultural clusters in specific areas of the cities. . | These areas combined the new and large cultural installations such as music venues and theaters as well as the entertainment and commercial facilities (restaurants, bars, specialized shops etc.) that constitute the main attraction for the high status population but also for tourists. . | First, there is a strong relationship between socioeconomic status and non-conventional cultural scenes. . |
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