The role of cultural clusters in the development of the creative economy of megacities
DOI:
https://doi.org/10.5281/zenodo.17107411Keywords:
cultural industries, urban transformation, social integration, audiovisual art, cultural heritage, international experience, digital transformationAbstract
Global trends indicate a growing role for the creative economy in shaping the strategic development priorities of countries and megacities. According to the World Bank and UNESCO, cultural and creative industries account for about 3% of global GDP, while their exports exceeded 1.3 trillion USD in 2022. In contemporary approaches, a key focus is placed on integrating cultural practices into urban recovery strategies, particularly through the CURE initiative, which promotes sustainable urban transformation. The purpose of the study is to summarize conceptual approaches to defining cultural clusters, analyze international practices of their functioning, and outline prospects for the development of Ukrainian creative industries under current conditions. Methods. The study is based on a comparative analysis of international case studies and UNCTAD statistical data on the global dynamics of trade in creative goods and services. This approach combines quantitative and qualitative methods, allowing both general trends and the specific functioning of cultural clusters in diverse socio-economic contexts to be identified. Results. The analysis demonstrates the diversity of cultural cluster models, including gastronomic (Lima), musical (Brazzaville), audiovisual (Seoul, Angoulême), craft-based (Madaba), and urban-regeneration (Amsterdam, Belgrade). It is established that these clusters not only generate economic benefits but also serve as spaces for social integration and the preservation of identity. The Ukrainian context reveals a combination of resilience and vulnerability. Despite retaining human capital and expanding international contacts, the sector faces acute shortages of funding and resources, as well as psychological exhaustion among teams. Particular emphasis is placed on the prospects for developing audiovisual clusters, which can enhance the country’s international visibility, strengthen cultural diplomacy, and contribute to shaping a positive global image of Ukraine even under the challenging conditions of martial law. Conclusions. Cultural clusters hold strong prospects as they integrate economic, cultural identity, and social dimensions. It enables them to act as catalysts for economic growth, instruments of cultural integration, and drivers of social cohesion, thereby reinforcing processes of urban renewal. In the Ukrainian context, this requires the development of long-term strategies to support creative industries, foster their digital transformation, and integrate them into global networks, which would enable clusters to become growth poles in the post-war period.
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Copyright (c) 2025 Оксана Дмитрівна Гнаткович

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