Contents: Introduction, Saskia Warren and Phil Jones. Part I Creative Practice, Creating Communities: Producing people: the socio-materialities of African beadwork, Shari Daya; People, place and fish: exploring the cultural ecosystem services of inshore fishing through photography, Tim G. Acott and Julie Urquhart; Evaluation, photography and intermediation: connecting Birmingham's communities, Dave O'Brien; Creative place-making: where legal geography meets legal consciousness, Antonia Layard and Jane Milling. Part II Policy Connections, Creative Practice: Bridging gaps and localising neighbourhood provision: reflections on cultural co-design and co-production, Ginnie Wollaston and Roxanna Collins; The everyday realities of digital provision and practice for rural creative economies, Liz Roberts and Leanne Townsend; Libraries and museums as breeding grounds of social capital and creativity: potential and challenges in the post-socialist context, Monika Murzyn-Kupisz and Jaroslaw Dzialek; Cross intermediation? Policy, creative industries and cultures across the EU, Paul Long and Steve Harding; Conclusion: the place of creative policy?, Phil Jones and Saskia Warren. Index.

’A book which usefully re-orientates the study of creative economy to questions of community and place, and helps us to understand how policy from below is capable of reshaping these developments towards saner and more just outcomes.’ Kate Oakley, University of Leeds, UK ’Creative industries and the creative economy have rapidly established themselves within dominant discourses in terms of how we value and explain the role of culture and creativity in contemporary society. If this sudden emergence as fast policy wrong-footed many working in the fields of cultural economy, this new book by Warren and Jones shows how we can come to terms with the challenge. It takes us into the everyday reality of making, connecting, celebrating and earning a living that has long marked the complex value of culture, and helps point us behind the narrow confines of a relentlessly instrumental present.’ Justin O'Connor, Monash University, Australia