Inspiring creativity in heritage and the creative industries
![]() |
Contents |
[edit] Introduction
The Heritage Alliance (THA) is calling for greater recognition and funding to support the historic places and objects that underpin creative and cultural activities. It is challenging the stereotype of heritage as ‘a decorative incidental backdrop to contemporary creative work’.
A lack of communication, collaboration and “explicit recognition” of the importance of heritage to the creative industries’ success is limiting the sector’s potential, new research suggests.
A Heritage Alliance report published in September 2019 under the title ‘Inspiring creativity, heritage and the creative industries’ advocates greater funding for skills training in heritage professions. It seeks to draw a link between the ‘undisputed’ economic success of the creative industries and the ‘essential role’ heritage plays in that success: ‘We are great custodians who don’t constantly ask for ever increasing subsidies.’
‘Creative projects help heritage staff learn new skills and build capacity for partnerships, with creative practitioners serving as foundation partners for commercial projects and funding bids. Harnessed well, this match could greatly benefit both industries into the future.’
Heritage Alliance Chair Peter Ainsworth said there is a lack of recognition of those industries’ relationship with ‘places associated with the idea of heritage’, from historic shooting locations for film and television, to music venues and arts centres taking up residence in listed buildings, or video games that draw ‘inspiration from heritage and history’.
‘Historic places or objects are not just a decorative incidental backdrop to contemporary creative work; in each case they are integral to the whole enterprise.
[edit] Communication problems
The report says that ‘heritage can be perceived as elitist and not commercial or business-savvy’ by creative practitioners, and ‘associated exclusively with old stuff’ by many people.
‘The heritage sector needs to find the right avenues and opportunities to market itself better as a creative industry in its own right. Many heritage professionals (like conservators, traditional crafts experts, architects and even re-enactors) do not just support creative practice, their work is founded on artistic skill and creativity.
Despite frequently being listed with the creative industries, ‘heritage is often not seen as an equal partner of the creative industries’, the report says, and there is limited capacity and funding within the sector to produce evaluation reports that demonstrate the ‘full impact’ of creative heritage projects. The two sectors were described as speaking different languages.
‘Establishing practices to engage creative industries and heritage organisations in the same place is vital, in order to strengthen their common working practices, and learn how to add value and understand each partner’s wants, needs and limitations.’
The report also highlighted the challenge of communicating with diverse communities, who heritage and creative practitioners feel ‘fail to connect with the themes and stories’ they present. Collaborations on small-scale projects could ‘help the public identify and find a sense of place’ with local heritage, it suggests.
[edit] Lack of ‘explicit recognition’
Workshops, best practice guidelines, a database for specialist heritage knowledge, and specialist roles to broker relationships between the heritage and creative sectors should be used to improve collaboration, the report recommends.
It acknowledges that the dearth of skills, knowledge and capacity in the heritage sector for delivering creative industries-related projects can be ‘comprehensively improved by effective brokering and through connecting organisations in the same room to create models for working together’.
But this has been hampered by ‘a lack of explicit recognition’ by policy makers about heritage’s role in the creative economy: ‘The fact that [these sectors] sit together within the Department for Digital, Culture, Media and Sport should be an opportunity that can be truly harnessed and not hindered by Ministerial or sectoral portfolio divisions.’
Most publicly-accessed heritage is in the hands of private owners whose ability to apply for grants like Lottery funding is limited. They can also struggle to create partnerships and attract match funding, which some funders require.
‘We cannot forget the assets which underpin our creative success. Heritage is a public good. The majority is cared for by private owners – from buildings to vintage vehicles. The private, independent, public and charity sectors must work together for it to survive and thrive.’
The Heritage Alliance is calling for wider policy changes to support the sector, including improvements to rural broadband infrastructure, public transport, and placing heritage professions on the UK skills shortage list.
The report can be downloaded HERE.
[edit] About this article
This article was written by Adele Redmond. It previously appeared on the website of the Institute of Historic Building Conservation (IHBC) titled ‘THA: heritage key to creative industries’ success, report claims’. It can be accessed HERE.
More articles by IHBC on Designing Buildings Wiki can be accessed HERE.
--Institute of Historic Building Conservation
[edit] Related articles on Designing Buildings Wiki
- Archaeological officer.
- Archaeology and construction.
- Building Preservation Notice.
- Certificate of immunity.
- Conservation area.
- Conservation officer.
- Conservation.
- Designated areas.
- Ecclesiastical exemption.
- English Heritage
- Heritage asset.
- Historic England.
- National planning policy framework.
- Principles of conservation.
- Scheduled monuments.
- Sites of Special Scientific Interest.
- Urban archaeological database (UAD).
IHBC NewsBlog
Context 180 Released - Where Heritage and Nature Meet
The issue includes life, death, Forests, bats, landscapes and much more.
Church architecture awards 2024: now open
The National Churches Trust has announced three awards, all of which are run in partnership with the Ecclesiastical Architects & Surveyors Association (EASA).
The essential sector guide includes officers' updates and a foreword by EH Chair Gerard Lemos.
Historic England opens nominations for the National Blue Plaque Scheme
The scheme is open to nominations to celebrate people from all walks of life.
Striking photos show nature reclaiming brutalist concrete
‘Brutalist Plants’ explores nature’s links to the architectural style characterised by imposing form and exposed concrete.
Purcell’s guidance on RAAC for Listed Buildings in England & Wales
The guidance specifically focuses on Reinforced Autoclaved Aerated Concrete (RAAC) in listed buildings.
IHBC Membership Journal Context - Latest Issue on 'Hadrian's Wall' Published
The issue includes takes on the wall 'end-to-end' including 'the man who saved it'.
Heritage Building Retrofit Toolkit developed by City of London and Purcell
The toolkit is designed to provide clear and actionable guidance for owners, occupiers and caretakers of historic and listed buildings.
70 countries sign Declaration de Chaillot at Buildings & Climate Global Forum
The declaration is a foundational document enabling progress towards a ‘rapid, fair, and effective transition of the buildings sector’
Bookings open for IHBC Annual School 12-15 June 2024
Theme: Place and Building Care - Finance, Policy and People in Conservation Practice.