The Metropolitan Area of Queretaro, Mexico: between the creative

1
The Metropolitan Area of Queretaro, Mexico: between the creative
industry and the aerospace industry. Building Bridges for the
Development1
Work on progress
Paper to be presented at the 19th Conference on Cultural Economics. Association for
Cultural Economics International. 21st to 24th june 2016, Valladolid, Spain
Desireé González-Otero
Marcos Valdivia-López
Abstract
The present paper identifies factors and creative resources in the Metro Area of Queretaro
(MAQRO) with the aim of analyzing the interaction between the Creative and Cultural
Industries (CCI) and the industrial process in this metro area, in particular with its
specialized sectors (aerospace, automotive parts and electrical appliances). A descriptive
analysis of the CCI and its creative actors in the region was carried out using a mixed
methodology from economics and socio-anthropology to put in perspective how these
creative activities have arisen in one of the most dynamic cities in Mexico during the last
decades. The industrial base of the MAQRO and its subsequent specialization in top sectors
(i.e. aerospace) is the central key that allows us to understand the strong emergence of the
creative industries in the region. The notion of creativity of the actors involved in the CCI
is strongly related to the manufacturing industry of the region, nevertheless, the cultural
activities have shown stagnation and a lack of correlation with the economic dynamics of
the region.
Key words: Mexico, Metro Area of Queretaro, Creative and Cultural Industries, Clusters,
Developing countries
Introduction
1
This work is part of the Research Project the “Creative Cities and its potential for the development of the
Metropolitan Areas in Mexico” from researchers of the Graduate Faculty of Economics (UNAM), the
Regional Center for Multidisciplinary Research (CRIM-UNAM) and the Graduate Faculty of Acatlan (FESAcatlan-UNAM).

PhD in Sociology. Professor at the Centro de Estudios Universitarios Arkos (Puerto Vallarta, Jalisco.
Mexico), e. mail: [email protected]

PhD in Economics. Regional Center for Multidisciplinary Research, (CRIM) UNAM. e. mail:
[email protected]
2
In this paper, a first exploratory approach is carried out to identify and analyze the creative
economic activities in the Metropolitan Area of Queretaro (MAQRO). This metro area is
one of the most dynamic metropolis and one with the highest growth rates during the last
two decades in Mexico, and in which the so-called Creative and Cultural Industries (CCI)
have also registered an extraordinary expansion and unprecedented emergence of). In
particular, in this research attention is paid on how the Creative Agents belonging to these
CCI describe themselves as creative and on how they evaluate the creative potential of the
region, as well as its interaction with the urban context and the industrial dimension of the
city. The purpose of this research is to identify the creative potentialities from subjectsactors themselves and evaluate them in the industrial and urban environment in which
learning processes may occur from the creative actors’ interaction.
The case of the MAQRO is emblematic because it constitutes a reference of what
might be the immediate future of urban growth in Mexico, i.e., an urban system led by
highly dynamic middle-sized cities (ranging from one to two million inhabitants) and with
high economic potential. The MAQRO is the capital of the State of Queretaro which is part
of the Central Region of Mexico, and have displayed a regional GDP growth twice higher
of that observed in the country as a whole during the last fifteen years . Located in one of
the most dynamic industrial regional corridors – in the Bajío area- which the North
American Free Trade Agreement (NAFTA) has promoted , the State of Queretaro (and its
capital) also has the quality of being geographically close to Mexico City, the latter being with its 25 million inhabitants - the main growth engine in the country yet.
On the other hand, Queretaro has been able to become in recent years as one of the
most modern industrial bases of Mexico due to, among other things, direct foreign
investment as well as the programs of industrial promotion and infrastructure that the
federal government has developed in this region. The State of Queretaro displays a strong
economic specialization in the sectors associated with the manufacture of electrical
appliances, automotive parts and aerospace equipment; being particularly the latter, an
example often used to show the existence of an aerospace cluster in the region, in which
leading aerospace companies at the global level such as Bombardier, training centers and
aerospace research and sourcing companies have been established around the
Intercontinental Airport of Querétaro/AIQ - which is one of the best equipped airports of
3
Mexico. It is in this context of strong regional manufacturing presence that this research
explores the Creative and Cultural Industries (CCI) in the MAQRO. During the period
1998-2008, the CCI at MAQRO grew at an annual rate of 17 times higher than in the
whole of the Metropolitan Areas of Mexico, moving from an insignificant presence at the
beginning of the nineties to one with significant contribution to the GDP of the MAQRO
(see section II).
Indeed, it is important to highlight that the emergence of the CCI in the MAQRO is
undoubtedly linked to the previous presence of a significant industrial base (promoted by
regional policy), and therefore, here it would apply the premise à la Storper (2013) that first
was the attraction of firms followed by the mobility of talented people, explaining the
dynamism of the MAQRO - a situation which cannot be generalized to other regions of the
country with a strong creative presence.
The economic transformation previously mentioned has radically influenced the
sociodemographic dynamics of the MAQRO, fostering a strong attraction and population
mobility (domestic and international migration) towards the region. Under this context, the
urban environment of the MAQRO has been slowly transformed into a place in which
‘native queretanos’ have had to learn to live and interact with the ‘new queretanos’, which
has turned into the change of norms and tolerance levels towards the foreign or the
different. This, together with the expansion of real estate developments, the urban growth,
the related environmental pressure and the rising in insecurity configure the socioeconomic and urban landscape where the new creative actors associated with the CCI
operate. This work precisely has a first approximation to the behavior of these creative
actors and their interaction with this urban context through the qualitative analysis of a
series of interviews done to several persons who were identified as creative actors and
associated with the CCI.
The structure of this paper includes the following sections. In the first section,
general socioeconomic and geographical indicators of Queretaro and its metropolitan area
are described. In the second section, economic indicators of the CCI are shown. The third
section, employs qualitative techniques to analyze a a group of creative actors of the
MAQR (this analysis relies on semi-structured interviews and information processing in
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Nvivo), with emphasis on showing the factors and creative resources that these actors
display. The last section includes a number of final considerations.
I.
The State of Queretaro and its Metro Area (MAQRO)
The state of Queretaro is one of the smallest states of Mexico with 11, 691 km2 and a total
population of 1 827 937 inhabitants, but it is one of the most dynamic regional economies
of Mexico. Located at the central region of Mexico (see Map 1), the state displays a
strategic geographical position because of its proximity to both Mexico City (the main
economic engine of Mexico) and the so-called Bajio corridor, which agglomerates dynamic
manufacturing firms from other neighboring states such as Guanajuato and San Luis Potosí.
The state of Queretaro changed drastically -in a lapse of few decades- from an economy
based on the agricultural sector to other displaying one of the highest shares of industrial
activity in the state´s GDP (55% in 2013).
In recent years, the industry in the state has been driven by manufacturing
production oriented to export of goods (Daville, 2000). Nowadays, the state is hostage of
big international firms such as Daewoo, GE, Kelloggs, Bombardier, Samsung, etc., and it
ranks in the 5o place among 32 states in Foreign Direct Investment (SEDESU, 2015).
According to official reports from scientific agencies (Diagnóstico Estatal de Ciencia,
Tecnología e Innovación 2014 ), Queretaro has 18 industrial parks, one technological park
and one “aerospace cluster”.
The economic changes just mentioned in the industrial base of Querétaro can be
synthetized in Table 1 that displays the stages of industrial specialization of Queretaro (see
table 2): the State comes from an economy specialized in agroindustry, textile and food
industries during the sixties to other specialized in aerospace, electrical appliances and
automotive industry since 1990.
5
Table. 1 Stages of industrial specialization in the state of Queretaro
Period
1960
Industry specialization
Textile, agroindustry, food and beverages
1960-1990 Metal-mechanic, autoparts, electrodomestic, chemistry, thermoplastic industry
1990-2015 Aerospace, Information technology industries, autoparts, electrodomestic
Source: Own elaboration
Figure 1 displays quarterly growth rates series for Queretaro´s GDP (black series)
and Mexico´s GDP (red series) from 2001 to 2015. The series show clearly what we said
above about the extraordinary economic performance of Queretaro, its GDP´s rates are not
only well over the national growth figure but also many times they are similar to the
observed in dynamic economies like China with growth rates over 8%.
Queretaro has two
important industries in which it is highly specialized –the
aerospace and electrodomestic- and whose participation respect to the Mexico´s value
added of those industries is high (12 and 15% respectively)
Figure 1. Queretaro and Mexico GDP quarterly growth
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Map 1. Location Queretaro and Metropolitan Area
Source: http://www.travelbymexico.com/estados/queretaro_edo
It is worth to highlight that from 18 municipalities, four are acknowledged as
Magical Towns 2 , --Bernal Jalpa de Serra, Cadereyta de Montes and Tequisquiapan-(SECTUR, 2016). That is, the State growth in terms of economy and demography is not
only understood from the industrial dynamics, but also from the social, cultural and
environmental issues as they influence the location of people and industries.
2
Program developed in 2001 by the Ministry of Tourism and that it aims to channel financial
resources for the maintenance of locations offering by its socio-historical and cultural features, a
tourist alternative for domestic and foreign. To date we have in country 111 places with this
recognition.
7
The Metropolitan Area of Queretaro (MAQRO) is the main urban concentration of
the state of Queretaro with 2,035km2 (0.1% of the land area of the country) and an average
urban density of 98.1 hab / ha (2010). It had a population of near 1,100 thousands people in
2010 which explained little more than 50% of the total population in the state. The annual
average population growth in MAQRO during 2000-2010 was of 2.9% almost two times
than the observed in the whole of metro areas in Mexico (CONAPO). Likewise, the
MAQRO has an attraction of people that is one of the most intense in the country; for
example, it ranked first across all metro areas in the net migration balance in 2010 with
22,089 persons (ibid.).
In terms of its economic performance, the MAQRO also displays a strong growth.
According to industrial census data (INEGI), the annual average rate of growth of the gross
value added (GVA) of the MAQ (2.9%) was above the national figure (2.6%) during the
period 1998-2013; likewise, the annual average rate of growth of the employed population
(5.7%) was almost two times to the exhibited in the whole country (3%). In 2013, slightly
more than half of the Value Added of the MAQ was generated by the service sector which
concentrated 62% of total employment in the metro area; the other half of the Value Added
is produced by the secondary sector which concentrated 39% of the employed population.
II. Creative Industries in the Metropolitan Area of Querétaro
The creative economy has aroused interest because of its potential to detonate the growth
and development of cities. The activities that are generally considered as creative are:
traditional cultural expressions, performing arts, audiovisual, new media, design,
publishing and printing houses and, visual arts and cultural sites. From this list of activities
different proposals for their classification have been made that allow quantifying the
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importance of these creative activities in the economy. This research considers the approach
done by UNCTAD to measure the creative industries, and other elaborated by Santos-Cruz
and Texeira 3 for the measurement of creative occupations, both being adapted through
sectorial and occupational classification used in Mexico (SCIAN and CMO/SINCO
respectively).
The GVA of Mexico had an annual average growth of 2.6% in the period 19982013, registering first a strong growth during the period 1998-2003 (4.94%) and then an
stagnation during 2008-2013 so that economic activity decreased 0.19% 4 annually on
average in this five-year period. The creative industries at the national level grew on
average 0.7% annually during the period 1998-2013, well below the 2.6% growth in all
industries; in contrast, creative industries in the period 1998-2013 grew at an annual
average of 4.2%, which was higher than the registered throughout the whole economy
(3%).
In the state of Queretaro, creative industries accounted for 2.6% and 3.1% of total
GVA and total employment in 2013 (see table 2), increasing its contribution in the
economy with respect to the year 2008; in particular, the contribution of the creative
industries in Queretaro is higher than that observed at the national level for the same year
2013 (2%) while the share of employment is similar (3.1%).
Table 2. Economic Structure of Queretaro State 2008-2013
Labor Force
GVA
Economic Activity
2008
2013
2008
2013
Primary
0.10
0.04
0.01
0.01
Secondary
5.74
3.95
7.97
3.21
Manufacturing
31.18
35.79
55.05
50.43
Trade
25.86
25.00
14.99
21.13
non-Financial Services
35.58
31.42
17.54
20.91
Financial Services
0.90
0.74
2.57
1.69
Creative Industries
2.65
3.05
1.87
2.62
100.00
100.00
100.00
100.00
Total
Source: Authors’ elaboration, based on Industrial Census 1998-2013.
3
Sara Santos Cruz y Aurora A.C. Texeira, Methodological Approaches for Measuring the Creative
Employment: a critical appraisal with an application to Portugal.
4
Growth Rates calculated with base 2008.
9
The average annual growth of the GVA and labor force of the creative industries in
the MAQRO was 8.8% and
10.5% respectively during the period 1998-2013: these
numbers were 12.6 and 2.5 times the national figure during the same period. As shown in
table number 3, the period of greater expansion of the creative industries occurred between
1998-2003 at the national and Metropolitan Areas levels.
In contrast, in the Metropolitan Area of Querétaro creative industries had a greater
presence and greater dynamism since 2003. It is also observed that the participation of
creative activities in the GVA's overall economy has decreased, but not in the city of
Queretaro, where there is an upward trend (see table 3).
Table 3. Creative Industries in Mexico: GVA* 1998-2013
Economy
Total
1998
2003
2008
2013
National
Total MAs
ZMQRO
3,411,661
2,675,733
44,573
4,342,509
3,194,546
50,972
5,050,904
3,405,680
66, 681
5,002,813
3,544,367
68,422
AVGR 19982013
2.6
1.9
2.9
National
Total MAs
MAQRO
87, 795
78,293
609
106,602
98,257
902
98,025
86,206
1,609
97,846
84,875
2,160
0.7
0.5
8.8
Creative
Industries
Participation
of the creative
industries
National
2.57
2.45
1.94
Total MAs
2.93
3.08
2.53
MAQRO
1.37
1.77
2.41
Source: Authors’ elaboration based on data from the Industrial Census (INEGI)
* Millions of pesos based upon 2008 year. Average Annual Growth Rates, AVGR).
1.96
2.39
3.15
In general, it is observed that employment in the creative industries has a different
behavior that the observed in the GVA, because the employed population in this sector
increases its share and follows a rising tendency since 1998 (Table 4) both nationally and
also in the Metropolitan Area of Queretaro.
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Table 4. Creative Industries in Mexico: Occupied Population Total 1998-2013
Economy
Total
1998
2003
2008
2013
National
Total MAs
MAQRO
13,827,025
10,368,479
154,947
16,239,536
12,000,859
199,740
20,116,834
14,622,261
289,720
21,576,358
15,663,488
355,386
AVGR 19982013
3.0
2.8
5.7
National
Total MAs
MAQRO
362,709
292,830
2,901
472,787
390,697
5,450
583,637
471,181
8,241
671,343
551,732
12,902
4.2
4.3
10.5
Creative
Industries
Participation
of the creative
industries
National
2.62
2.91
2.90
Total MAs
2.82
3.26
3.22
MAQRO
1.87
2.73
2.84
Source: Authors’ elaboration based on data from the Industrial Census (INEGI). Average Annual Growth
Rates, AVGR).
The strong dynamism of the creative industries in the MAQRO has allowed this
urban concentration to emerge as one of the main metro areas of the country specialized in
creative industries. Fiigure 2 displays a Bump Chart showing the change of position from
1998 to 2013 of the 20 most specialized metro areas in creative industries. The importance
of the metro area might be viewed through the increase in the rate of specialization of the
creative sector acrossmetropolitan areas.
In the case of the MAQRO there is a jump in the index of specialization of the
creative industries, either using the GVA or employment, being the latter a much more
important increase as the MAQRO is located as the second Metropolitan Area specialized
in creative industries (see right panel of Figure 2).
11
Figure 2. Bump chart index of economic specialization in the Creative Industries across most
specialized Metro Areas between 1998 and 2013
Source: Authors’ elaboration based on data from Industrial Census 1998-2013 (INEGI)
According to the classification of UNCTAD (2008), activities belonging to creative
industries are: 1) Publishing Activities, 2) Video Filming and Sound Industry, 3) Playing
and Programming Activities 4) Computer Programming, Consultancy and other activities,
5) Architecture, 6) Research and Development (R & D), 7) Advertising and Marketing, 8)
other professional creative activities, 9) artists, 10) Libraries and Museums, 11) Games and
Gambling and 12) Sports and Entertainment. Next, we describe the behavior of these
groups in MAQRO.
Figure 3 –displays a web chart that shows the structure of the GVA of 1998 and
2013 of the creative industries contrasting national, Metropolitan Areas and MAQRO
levels. First, national and metropolitan areas participations of the creative industries
structure are essentially the same (see blue series of Figure 3), which indicates that the MAs
are basically determining the behavior of the creative industries: publishing and
architecture activities in 1998 were the prevailing activities with a 45% of the GVA of
creative industries, in 2013 the video filming and sound industry and (computer)
programming consultancy and others increase their participation to the interior of the
creative sector. In contrast, the structure of the MAQRO differs strongly from the national
pattern (see red series), in 1998 it shows a bias towards programming and broadcasting
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activities, and in 2013 it predominates an important concentration in (computers)
programming, consultancy and other activities, as well as architecture.
Figure 3. Structure of the Creative Industries (GVA) 1998 and 2013
Source: Authors’ elaboration based on data from the Industrial Census 1998-2013.
In the case of the employed population, the structure of creative industries in
Queretaro (see Figure 4) was relatively similar to the case of the total MAs and of the
country in 1998, however, in 2013, the MAQRO shows a bias towards programming and
broadcasting and architecture activities (see red series).
Figure 4. Structure of labor force in creative industries 1998 and 2013
Source: Authors’ elaboration based on data from Industrial Census 1998-2013 (INEGI).
The concentration of economic activity in Creative Industries, has also been
reflected in a higher index of economic specialization, the following table shows groups of
creative industries in which MQRO specializes.
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Table 5. Intra-specialization of the creative industries 2013
Specialization
of
Queretaro Metro Area
Publication of activities
Film Industry, Video
and Sound
Programming Activities
and Broadcasting
Programming
(computers),
Consultancy and other
Architecture
R&D
Advertising
and
Marketing
Other
Professional
Activities
Artist
Libraries and Museums
Games and Gambling
Sports
and
Entertainment
TOTAL
NO
NO
Specialization in the
Metropolitan Areas of
Mexico
Absolute
15
31
%
7.35%
15.20%
NO
13
6.37%
YES
8
3.92%
YES
NO
NO
9
16
2
4.41%
7.84%
0.98%
YES
28
13.73%
NO
NO
NO
NO
26
11
29
16
12.75%
5.39%
14.22%
7.84%
204
Source: Authors’ own elaboration based on Industrial Census.
In addition to the strong growth shown by the creative industries, high wages and
higher productivity are also important features of those industries. The average wage (for
employed personnel) is higher than in other sectors.
Figure 5. Average Wages in Metropolitan Area of Queretaro 1998-2013
Source: Authors’ elaboration based on data from the Censos Económicos 1998-2013.
* Without considering those sectors classified as creative
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In Figure 5, it is apparent how from 2003, the average wage of the creative
industries increase constantly, and it is until 2008 when is higher than the other sectors.
So far, we have used information based on industrial census, nevertheless such source of
information does not allow to identify the occupations associated to the sectorial activity.
Now, we present data from the National Survey of Employment (ENOE-INEGI) to
describe sectoral and occupational classification in the Metropolitan Area of Queretaro5.
Through this survey, which is elaborated quarterly since 2005, it is possible to obtain more
accurate information of different levels of aggregation in sectoral, geographical and
occupational employment in Mexico. With the latter it is possible to measure the creative
sector in Mexico in a much accurate way. According to the information of the ENOE, the
employed population in Mexico (in the range of 14 to 65 years old) grew up in average
1.82% per year. The fastest-growing group was salaried population (2.45%) followed by
the self-employed group (1.06).
Nationally, employment in the creative sector, using any of the measurement criteria
in table 6, increased their participation in the total employment, with the exception of
creative occupations and creative occupations in non-creative sectors; these two groups also
have average annual growth rate from 2005 to 2014, less than the growth of total
employment. It is interesting to highlight that if we consider a trident classification of
creative employment (see row labeled “creative occupations” of table 6), the city of
Queretaro (not necessarily the metro are of Queretaro) had a share of almost 13% of
creative employment.
5
The tables used in the ENOE were: socio-demographic variables (SDEMT) and the Questionnaire
of Occupation and Employment 1 (COE1) from the second quarter of each year.
15
Table 6. Creative Industries: National and the City of Queretaro 2005 and 2014
Nacional
2005
Occupations
in the
Creative
Sectors
Creative
Occupations
Creative
Occupations
and Sectors
Occupations
not creative in
Creative
Industries
Creative
occupations in
Sectors not
Creative
Total
Employed
Population
2014
City of
Querétaro
Share
occupied
pop.
2005
TCPA 200520014
2014
2014
2005
2014
Share
occupied
pop.
2005
TCPA
2005-2014
2014
2014
1,366,628
1,716,706
3.39
3.62
2.57
16,437
23,097
5.31
6.64
3.85
2,911,083
3,274,623
7.22
6.90
1.32
38,490
44,660
12.43
12.84
1.67
466,307
616,583
1.16
1.30
3.15
7,299
9,540
2.36
2.74
3.02
900,321
1,100,123
2.23
2.32
2.25
9,138
13,557
2.95
3.90
4.48
2,444,776
2,658,040
6.06
5.60
0.93
21,574
26,209
6.97
7.54
2.19
40,321,130
47,437,968
100.00
100.
00
1.82
309,637
347,773
100.00
100.00
1.30
Source: Authors’ elaboration based on data ENOE. Second quarter of each year.
In contrast to the national data, in the city of Querétaro the participation of creative
activities has greater participation and it grows at a faster rate than the observed with total
employment, which is less than the national employment rate.
The calculation of the index of economic specialization, using the information in the
ENOE (see Figure 6), also ranks the city of Queretaro in the first places, although from
2005 to 2014 it has decreased in its relative position with respect to other cities.
16
Figure 6. Bump chart index of economic specialization in the Creative Industries
across cities in Mexico between 2005 and 2014
Source: Authors’ elaboration based on data ENOE. Third quarter 2005 y 2014.
Regarding the structure of creative employment, ENOE allows to identify fifteen
creative groups of employed population (see table 7). At national level, there is a higher
percentage of "artisans" (31%) in contrast with Queretaro in where this group has a smaller
participation (12.4%); but Queretaro highlights with a bigger percentage in "Software,
Informatics and Consultancy" (24%) than at national level (14%)
Table 7. Structure of the creative employment, National and Queretaro City 2014
National
Queretaro
Advertising and Marketing
9.50
10.97
Architecture
5.08
12.07
Design and Visual Arts
6.33
7.89
Artisans
30.91
12.40
Managers Craftsmen
0.52
0.74
Cinema, Video and Photography
4.14
1.40
Television and Radio
0.58
0.38
Executives Tv and Radio
0.23
0.00
Music and Performing Arts
4.28
2.09
Managers Artistic Activities
1.00
0.37
17
1.31
0.83
14.27
24.02
Managers Software…
1.70
4.43
R&D
16.07
18.56
Managers R&D
4.09
3.84
100.00
100.00
Publications
Software,
Computing
and
Consult
Total Creative use
Source: Authors’ elaboration based on data ENOE. Third quarter 2005 y 2014.
As observed in the information that we described above, both the creative industries
and the creative occupations in the MAQRO have been both consolidated with the
economic and population growth of the sate. Now, in the next section we will analyze the
creative agents involved through qualitative research done during fieldwork in the
MAQRO.
III. Identification of factors and creative resources
For the identification of creative agents, it was necessary the location of companies (micro,
small, medium and large) making use of the elaborated database of creative industries,
taking into account the North American Industry Classification System (NAICS) and
Directorio Estadístico Nacional de Unidades Económicas --National Statistical Directory
of Economic Units-- (INEGI). A list was made by selecting nine companies that were
within the classification made, especially the ones representing part of these industries and
creative occupations. The methodology followed in this study, was framed by the
qualitative (participant observation, semi-structured interviews, group discussion and tours
of the site). According to Silvia Bolos
[…] its fundamental contribution [of a qualitative method] is that you can collect
information about perceptions, motivations and self-analysis that people perform on
their own experiences [...] the qualitative techniques are used to discover the nature
and structure of attitudes and motivations rather than frequency and distribution
(1999).
18
The field work6 in the Metropolitan Area of Queretaro (MAQRO) was carried out through
the application of semi-structured interviews for which a script was prepared and divided
into two subjects with their corresponding questions. The first focused on the issue of the
company (history, emergence, factors of location, etc.) and the relationship of the person
being interviewed / actor creative talent/actor (position, place of origin, etc.) with it.
The second part considered the evaluation of the city from the perspective of
creative actor/talent/agent and the company (urban infrastructure; services supplies;
amenities; culture; economic and social transformations etc.). A total of 10 interviews were
conducted (academic, business, aviation sector and cultural sector), aimed to entrepreneurs
and self-employed workers whose economic or cultural activity within the classification of
creative activities of UNCTAD (United Nations Trade and Development Conference). On
the other hand, a discussion7 group was also conducted with the cultural sector, which was
in charge of other colleagues who kindly shared part of their remarks, which were used for
the subsequent treatment of the data. These research techniques helped for the
systematization, analysis and interpretation of information obtained from the field work.
For the treatment and the systematization of the information obtained, the interviews were
transcribed, which were incorporated into the NVivo software, to create, from the
narratives of the "actors talent", the categorizations and the subsequent significance that
was built on creativity.
The interviews allowed us to understand how each creative agent identifies his/her
everyday work or specialized labor within a creative economy and how these activities
could impact on the dynamic growth of the MAQRO.
The interviewees (or creative agents) 9 men and one woman range from 25 to 70
years of age. Of the total (10), only 3 are from Queretaro and the 7 remaining from Mexico
City, Sonora, Ecuador and Belgium. There are four academics, two from the Universidad
Autónoma de Querétaro (UAQ); one from the Universidad Aeronáutica en Querétaro
(UNAQ) and one more from the Instituto Tecnólogico de Estudios Superiores Monterrey
(ITESM). A Bachelor in Business and International Trade; two architects (building industry
6
7
20 to 25 October 2015.
Six people of different artistic areas.
19
and development of models); an MBA (General Director of a Company); an engineer
working Digital Marketing and Networking, and finally, an artist (painter) (see table 8).
Figure 8. Creative Agents
Number of
Interview
1
Profession
Employment
Place Interview
Academic
Academic
2
Graduate
Business and
International
Trade
Academic
Executive
Commercial
FCPYS Universidad
Autónoma de
Querétaro
ADD Intelligence in
Aviation/ Corporativo
Fontana
Graduate
Business
Administration
Architect
Director
6
Mechanical
Engineer
Director
CEDIA/ITESM
7
Aeronautic
Engineer
Planning and Linking
8
Systems Engineer
Director
9
Architect
Owner
10
Painter/Artist
Owner
3
4
5
Academic
Owner
Date
application
20 october
2015
21 october
2015
Universidad
Autónoma de
Querétaro/ Plaza de
Armas Café Kaluna
Medina Consultores
21 october
2015
El Mundo de las
Maquetas (domicilio
del entrevistado)
Centro para el
Desarrollo de la
Industria
Aeronáutica/ITESM
Universidad
Aeronáutica en
Querétaro UNAQ
BNI
México/Marketing
digital/Empresas.
Cafetería costado
UAQ
Arquitectura, diseño
y planificación.
Centro
comercial/Cafetería
Museo Fundación
Carbonell
22 october
2015
21 october
2015
22 october
2015
22 october
2015
23 october
2015
23 october
2015
22 october
2015
Source: Authors’ elaboration.
The information obtained was organized and analyzed in the NVivo, we highlight the
meticulous and rigorous reading of each of the interviews, in order to further enrich the
results generated by the software. In the next section an interpretation on how the creative
20
agents are recognized within a creative process was made, in addition to the significance
that they performed on the creative and the creativity.
IV. Significance of creativity in the "talented agents"
It is complicated to build various meanings attributed to what the creative represents, when
it is done from the social actors, especially when processing the theory with what it is seen
in reality that as a social construction refers firstly to the place of everyday life and the
experience of those who prepared a speech to the rhythm of the questions delivered by the
researcher, who in their eagerness to understand what happens tries to attach to a specific
context (Bourdieu et al, 2002; 1999).
In such context, the researcher discovers that it is necessary to trace the specificities
of each geographical space and sociohistorical context, since William Roseberry (2002) and
David Harvey (2003) warned that it is essential to take these elements into account when
deepening into a social process. Every space is different and each meaning given to a
reality will be different, therefore we will understand what is creative and creativity from
which the creative agent generated as narrative. Hence the importance of building bridges
for development, emphasizing that while it is true that there are the creative industries and
the aeronautical industry in the area, they do not remain far apart as part of the creative
process, involving and affecting the entrepreneurs and independent workers related to any
economic or cultural activity (see section 3).
Furthermore, we recognize that the creative class subject and what it entails
(creative industries, creative occupations, cultural economy, etc.) has been little studied in
Mexico and that, fortunately proposals and projects from different areas (economics, urban
planning, architecture, sociology, anthropology, etc.) have started to being developed which
reflect the importance of this issue within the universe in which it contributes and alters
(Mercado 2015; Gortari 2013; Piedras 2008).
It is no coincidence that Richard Florida (2011) delved into the potential that the
creative class triggers through the creation of new ideas, new technologies and new creative
content. We have found these three elements - in greater or lesser extent - during this field
work, as well as the contradictions or effects (Scott, 2007) originated when a creative
21
process8 begins to expand. With the help of cluster analysis (see Figure 7), six products
where identified where the question of creativity is expressed: 1) Work; (2) Industrial
sector; (3); Aeronautical sector; (4) city; 5) Culture and 6) Education. This analysis aims to
show how the creative agents in their narrative, articulate words around to a topic in
specific and how these words form a meaning, to relate them.
Figure 7. Items associated withcreativity
WORK
INDUSTRIAL
SECTOR
AERONAUTICAL
SECTOR
CITY/MAQRO
CULTURAL SECTOR
EDUCATION
Source: Authors’ elaboration.
8
For the purposes of this analysis, we understand creative process as that point in which the
creative agent (Businessman or professional related to any economic activity or cultural) expresses
from its horizon of understanding, which means creativity and how integrated this into his labor
work and everyday life. I.e. how interacts creative agent in a context optimized for creativity and
the creative industries.
22
Each of the items above has in turn a series of words that defines them; here it is important
to mention that the count carried out by means of the repetition of words 9 , is how we
managed to build the understanding of the meaning given to the creativity and the creative,
finding some similarities and/or differences in the narrative. The foregoing also was
confirmed at the moment of making the reading to detail of each interview. It stresses the
following points:
In terms of the conception that you have about the city, everyone involved pointed
out that the city of Querétaro is a place that offers tranquility and security to live, as well as
a series of satisfiers in terms of quality of life and infrastructure. However, the growth of
the construction of housing, parks and industrial zones, which detonated the population
increase in the MAQRO (Icazuriaga, 1994), this still retains that attraction factor. In the
Interview 1, it was indicated that the migratory process experienced in the area (1980-2000)
responds to the various factors of attraction that the city of Queretaro offers.
This safety factor, together with the climate; the closeness to CDMX; spaces
generated to do new things or ideas; amenities; the distances from one point to another
within the city; the strategic location; the labor supply created by companies, as well as the
cost of housing, were some of the items that detonated the population increase, the growth
of the industrial sector, economic and urban development, in addition to the emerging
creative class, its industry and economy.
On the other hand, there is also a negative perception regarding how you live and
experience the MAQRO, finding that the unresolved issue of public transport is a constant,
as well as public works carried out in the historic center of the City to strengthen tourism in
the area. However, the consequences for those who inhabit this space are evident. The
historic center begins gradually to present an emergent gentrification; however the cultural
life is established here, which not only implies replacing a population over another
(Hiernaux and González-Gómez, 2014). It means to move out by dispossession (Harvey,
2003) and limit the traditional spaces. Transform them and make them not livable
9
With the repetition of words analyzed and the various relationships created between the nodes with
the NVivo software, it was possible to find the key points by which have characterized the creative
environment.
23
[…] the Delegate of the historic center, the Historic Center is a Delegation, has said
and repeated... said to a very dynamic neighbor of the Center, who has her business
at the Center: Margarita, the Center is made for tourism not to live in, you better go
and live somewhere else (Interview 1, 20 October 2015).
The vision that people have on the spaces of the Historical Center and in general, is
evaluated as it is essential to regulate the actions of the government and to be considered as
inhabitants "strive because the inhabitants are first and then the tourism" (Interview 3, 21
October 2015). It should be noted that even with a critical view on the MAQRO, the
atmosphere of tension resulting from the patterns of urban growth (socio-spatial
segregation, insecurity, outsourcing of the economy, the cost of services, among others) and
how expensive it is to live in the city, it is still very attractive.
The level of tolerance has an interesting opening and according to those
interviewed, it has been achieved thanks to the fact that different multicultural sectors
interact and converge, the process of industrialization and migration were set as part of this
transformation in terms of acceptance of minorities. The “queretanidad” was overwhelmed
by those who came from elsewhere "I think that it has already exceeded the proportion of
the native population by the outcomers. Therefore, the tolerance level is obviously right
now a very good one" (Interview 9, 23 October 2015). That same “queretanidad,” which is
being questioned even by the same people from Queretaro, but which has been able to
adapt to the social and generational changes. Broadly speaking, creativity is understood in
the city/MAQRO from the factors of attraction so far considered as primary to choose this
area, in addition to the specialization of creative frameworks and labor. The Director of
Planning and Linking at the UNAQ, mentions that one of the reasons why many
aeronautical companies (Bombardier, Safran, ITR, etc.) settled in a cluster as well as the
factors of attraction or privileges for installation, it was for the training of staff.
Bombardier said: I can install in Asia, Mexico and once in Mexico in Chihuahua,
Nuevo León or Querétaro and then they also play the role of who offers me more or
where are there more competitive advantages and then this University is a
competitive advantage of the cluster and Querétaro, several companies have
declared it ' I was in Querétaro at the University [...] Can I form this type of staff
here? Yes. Then I stayed in Querétaro (Interview 7, 22 October 2015).
The industrial sector began to emerge in the 1990s and opened the path to the creation of an
aeronautical cluster. Large companies began to settle in the region, in both the strategic
24
location (see section 1). Also, the first aeronautical cluster in the country begins to grow
and to have the characteristics that define what an industrial cluster should be considered
for due to its operation. According to Salinas-Garcia "A cluster must comply a perfectly
ordered everything. Not only must local companies be chained to sourcing activities of
inputs, but also to share and develop knowledge through joint activities of I D and the
inclusion of educational institutions to its network of support" (2012:6). In the specific case
of the MAQRO conditions are met (conglomerate formed by Industry, Research Centers
and Institutions of Higher Education).
There is synergy and transparency among Academic Institutions 10 and Research
Centers11 with which they share research projects, in addition to serving as incubators for
technology for the transfer of knowledge (FCCT, 2014). It is no coincidence that within
the Índice Nacional de Ciencia, Tecnología e Innovación 2015 (National Index of Science,
Technology and Innovation), the State of Queretaro occupies the third position overall level
regarding to science, technology and innovation in the Mexican Republic. For the creative
agents interviewed, the human resources in terms of education is very well prepared,
especially in the areas of engineering, information and technologies
Something that I love about the city is: the level of the universities is very good […]
it is very clear for me that you could not only find a four leaf clover but, because
there are people who are very bright that are doing startups (Interview 8, 23 October
2015).
Similarly, the cultural segment - Art, Music, Literature, Theatre - from the MAQRO
understood from the perspective of creative agents interviewed, has had significant growth
accompanying demographic growth. Despite the efforts made by the Government --Federal,
State and municipal– these are not sufficient to boost the sector, this appears to be separated
from the sectors present in the study area
Really, what we all have realized is that it is not only governments, both private and
public universities are not interested in the arts; they are interested in the money,
generate business, real estate speculation, generate industry, bringing investment
10
11
UAQ, UNAQ, UNAM, ITESM, ITSQ, Universidad Anáhuac y el CONALEP.
CINVESTAV, CICATA, CIATEQ, CIDATEQ, among others.
25
and that is what they want. They are not really interested if we as artists do things
(Interview 10, 22 October 2015).
In this bond, it is easy to notice a lack of synergy between those who are part of this
category, in addition to what they experience as a segment socially and economically set
aside. While it is true that there is a negative interpretation from the cultural part, there is
also one that recognizes their development and potential for cultural dynamics developed
not only in the historic center as a point of reference, but in the MAQRO and the State
"Queretaro is a cultural city, the Center is full of cultural events (Interview 4, October 21,
2015). The efforts that are made to link the cultural sector with the industrial and
aeronautical sector should be aimed to position MAQRO as a creative destination.
In Mexico12, support from local governments begin to occur, for creative activities cultural economy, creative industry, creative employment- to be strengthened, and
contribute to the economic growth and development. The specific case of Queretaro and its
ZMQRO, reflects (see section 2) that the creative industries and the creative employment
have responded favorably to the extraordinary growth that the metropolis has experienced.
Therefore, the way in which the creative actors interviewed signified the creativity, was
from what they do and how they do it; i.e. participating in the creative process, each one in
their narrative showed what they conceived as creative within their area or specialization
(see table 9 and Figure 8).
Table 9. Significance of creativity in the Interviewed
Profession
Company/workplace
Academic
FCPYS Universidad Autónoma de
Querétaro
Graduate Business
and International
Trade
ADD Intelligence in Aviation/
Corporativo Fontana
Creativity expressed in
Tourism
amenities,
Generation
of
Companies and the Culture.
Development
of
Software
for
the
digitization of Aeronautical Records. Did
not exist and the Company created it.
Academic
Graduate Business
Administration
12
Universidad Autónoma de Querétaro/
Plaza de Armas Café Universidad
Autónoma de Querétaro
Medina Consultores
Culture and the Arts, Historic Center and
Linking R&D
Diversification
of
Services,
Talent,
Amenities and Wages.
CDMX, Jalisco, Puebla, are some of the States where the item Creative Class, Creative Industries
and Cultural Economy begins to be considered in national development plans.
26
Architect
Mechanical Engineer
Aeronautic Engineer
El Mundo de las Maquetas (domicilio
del entrevistado)
Centro para el Desarrollo de la
Industria Aeronáutica/ITESM
Design, Craft work and Culture.
Universidad Aeronáutica en Querétaro
UNAQ
Innovation,
Painter/Artist
Custumización
processes, Knowledge, Capacity.
Specialization,
Component
design, Culture.
BNI México/Marketing
digital/Empresas. UAQ
Design of the Digital Media, use of
Arquitectura, diseño y planificación.
Centro comercial/Cafetería
Museo Fundación Carbonell
Technology, Aesthetics and Functionality.
Systems Engineer
Architect
Technology/Technical,
Technology, Methodology of Work.
Education, Linking with Sectors, Culture
to
young
people,
production
and
consumption.
Source: Authors’ elaboration.
Figure 8. Cloud of Words for significance creativity
Source: Authors’ elaboration.
Final remarks
The emergence and extraordinary growth of the Creative and Cultural Industries (CCI) in
the MAQRO cannot be explained without the prior existence of an important industrial
base in the state of Queretaro, which started rapidly to specialize in top manufacturing
sectors as the aerospace industry, the automotive parts and electrical appliances - among
27
others. This prior location of firms triggered an intense mobility of workers toward the
region (based mainly on internal migration) that started altering not only the sociodemographic and cultural dynamics, but also the structure of demand and supply of
amenities and services in the region. The latter began to play an increasingly important role
in attracting qualified people that the dynamics of economic growth in the State of
Queretaro began increasingly to demand. It is in this phase where the CCI, we suggest,
begin to become a significant factor in the virtuous circle of region’s economic growth.
This narrative is aligned with what has been discussed by authors such as Storper (2015)
and others who argue that the concentration of talented people (in creative cities) and
services offered to them cannot be explained without the precondition of a significant
industrial base. Apparently, the MAQRO is a typical case in this direction.
This work documented that in the MAQRO, the CCI exhibit particularly strong
specialization in programming activities, consultancy in software and computing,
architecture and other professional activities (see section 2). The specialization in these
creative sectors is linked to the most dynamic sectors of the state of Queretaro, but they are
specialized because those dynamic sectors are relevant links in the productive chain of the
creative sectors and not because they are important suppliers (or clients) of the dynamic
sectors (Quintana, 2016)13.
Furthermore, Creative Industries specialized in the MAQRO show an interesting
indirect link with the dynamic manufacturing sectors in Queretaro from the employment
service agencies - which are an important part of the value chain of the dynamic sectors
themselves-, and which was also corroborated in the qualitative work done in this research see table 8, interviews 4 and 8-.
One of the purposes of the qualitative work in this paper was to evaluate whether
the notion of creativity of the creative actors was linked to the industry in the region and in
particular to its dynamic and specialized sectors. The findings in this regard were the
following: 1) the Actors interviewed have a narrative of creativity associated with the
industrial activity of the area, and they even recognize themselves as part of the "value
chain" - although the majority of these respondents did not have a direct link with it. 2) the
13
We know from national data - not of Querétaro - that all the creative sectors do not reach the 1.5
of the backward in each one of the sectors of tip of the State of Queretaro which are the aerospace,
automotive parts and appliances (Quintana, 2016).
28
recruiters of qualified people (see Interview 4) or promoters of Networking business (see
Interview 8) seem to play a relevant role of linkage between the creative actors and the
industrial sector, in particular, the interaction between the "employment agencies" and the
universities of the MAQRO is seen as one of the mechanisms that is linking the creative
agents available in the region with the industrial sector. 3) The interviewees associated with
the cultural sector (interview 10) and/or social dimension (interview 3) while recognizing
the "brand" of the MAQRO industrial showed the higher rejection and untying with the
dynamic manufacturing in the region. 4) Actors linked to the aerospace sector (Interviews 6
and 7) clearly indicated that the creativity in this industry is strongly associated with the
design, phase in which the aerospace industry has not reached yet because its activity in
the sector is essentially assembling. However, respondents suggest that the region has the
required talent or in process to acquire it, in order that the aerospace sector moves toward
the stage of design; in addition, aeronautical sector is one that is managed in the long term
due to the issue of certifications granted by aeronautical authorities.
The creative resource is present in the MAQRO and the existence on an emerging
"creative class" shows us that it is possible to link economic development and the industrial
growth of the past decades with the emergence of this sector and the potential of its
industry in this area. Under this context, the specialized sectors of the region are
consolidated, while the cultural sector is opening spaces not without difficulties to be linked
to industrial growth dynamics. It is important to strengthen the cultural sector which
should help to consolidate and reinforce the creative resources in the region. It is necessary
for future research,
to continue deepening in the creative process identified in the
MAQRO, analyzing furthermore its particularities and potentialities for the economic
growth of the region.
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