Conversations on Creative Clusters

Art, it seems, is no longer just for art’s sake.

The latest estimate from the Department for Culture Media and Sport (DCMS) shows a £125 bn contribution from the creative industries and Labour has identified ‘Culture’ as one of eight priority sectors. What’s more, it is widely accepted that engaging with the arts produces positive impacts on health and wellbeing that reduce pressure on health services and the public purse. It stands to reason we should nurture both our established and emerging artists by providing the buildings and supporting infrastructure in which to produce and appreciate art in all its guises.

Culture as Catalyst

Central government’s recognition of the scale and potential of the creative sector can be traced back to the 1980’s, with interventions in creative spatial policy evident from the 90’s which have been influential across the world. The introduction of the National Lottery in 1994 acted as an enabler for major capital projects and initiated a trend for high concept architecture with associated cultural offerings. The resulting landmark buildings are considered anchors from which to spur economic agglomeration.

Towards the end of last year, Andy Haldane, Chief Executive of the Royal Society for Arts (RSA) and a former economist at the Bank of England, called for the government to invest in radical arts projects, citing The Lowry in Salford as a ‘pocket of brilliance.’ The iconic building acted as a catalyst for the subsequent arrival of the BBC and the rise of MediaCity. Their home, Salford Quays, now contributes a staggering £1.3 billion GVA to the economy, due in no small part to the scale of these transformational assets.

It was from The Lowry that Haldane launched the Creative Corridors report, a policy suggestion document by the RSA, Creative PEC and Arts Council England. The concept is based on the principle that creative organisations tend to concentrate their businesses or ‘cluster’ naturally in particular locations, and once connected, would drive further innovation and growth.

Creative Clusters

One such cluster can be found in Holt Town, home to a newly adopted, ambitious and transformative NDF. Located on Pollard Street, Grade II*-listed Hope Mill comprises Hope Mill Theatre and 84 artists’ spaces known as AWOL Studios. It provides spaces for performance and visual arts from across the creative spectrum including specialisms such as glass making, ceramics and photography and provides

theatre and art courses for the local community. Perhaps the most recognisable talent is that of self-proclaimed ‘street artist and mosaic storyteller’ Mark Kennedy, whose repertoire includes the legendary Northern Quarter street signs and recently, the tribute to the late Sir Howard Bernstein, at the Etihad Stadium.

AWOL Studio Manager, Jude Wainwright is an associate member of the Manchester Academy of Fine Arts and was a semi-finalist in Sky Arts Portrait Artist of the Year. She attributes the success of both her own career and the micro-cluster of studios to the heritage of the 200-year-old mill, its proximity to public transport and amenities but most importantly to the supportive environment of the artistic community.

“AWOL acted as a spark for my creative journey,” Jude remarked. She added: “An artist cannot work as an island.”

The question arises as to whether these clusters can be created intentionally and generate conditions for inclusive growth. Sound Engineer and Production Manager Chris Snow thinks so. Chris has worked on stages as diverse as Eurovision, English National Opera and Glastonbury Festival but his regular gig is managing technical aspects of musicians’ requirements including those of Middleton band, The Courteeners. With high profile stars calling for arenas to make financial contributions to grassroots music venues to support those starting out in the industry, the whole music ecosystem seems to be in dire straits. Chris relays the story of the band’s long search for rehearsal studios. Having been ousted from two rehearsal spaces they eventually persuaded a landlord to allow them to make acoustic improvements. But it is not a long-term arrangement. If a shared and more flexible facility were to exist, Chris feels the local music industry as a whole would benefit. What would follow are skills and equipment sharing, improved access to freelancers and training and knowledge transfer – ingredients for further growth.

Space to Create

Lack of space is not a problem we will have for long. Across Greater Manchester, we understand the need for artistic spaces and places. After all, our cultural offering is known to be one of the reasons people study, live and visit our region. Create GM, the Greater Manchester Strategy for Culture, Heritage and Creativity 2024-30 guides GM’s strategic interventions to support and nurture creative people and places within each of the 10 boroughs. This includes the incorporation of culture into wider GM policies and spatial strategies. In Manchester, for example, the 2023-4 Cultural Impact Survey showed culture brought a total of £342 m total economic impact to the city when its supply chain and resultant visitor economy are included. With substantial contributions from Aviva Studios, initiatives such as HOME arches, the plans for the Campfield Market buildings and further plans emerging later in the year, we are sure to keep our place as the country’s brightest cultural hotspot

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