The aim of this study is to explore dimensions of creativity in hostels managerial practices taking the example of St. Petersburg. Within the study 72 semi-structured interviews were conducted with owners and employees of hostels during October–November 2012. The findings of the study identify four main managerial activities as key elements of creativity in hostels. They are: targeted recruitment, segmentation of customers, organization of space, and organization of communications both with internal and external stakeholders.
The aim of the study is to examine the various forms of interaction between cultural heritage and creative industries to support the development of various types of cultural clusters in St. Petersburg. The study was based on a model, which provides several types of partnership cultural heritage (CH) could have with the creative industries (CI): CH as a “decoration” for the CI, as “content”, as a “brand”, as the creator of the needs. Authors’ classification of cultural clusters in St. Petersburg is described, including clusters of cultural heritage, ethnic cultural clusters, the mass-cultural (consumer-oriented) cultural clusters, art - incubators. One of the main findings is the low willingness of many public cultural institutions to have any form of interaction with the creative industries. The second group of findings concerned the ability to attract creative industries to provide services for residents of St. Petersburg in cooperation with public institutions of culture.
It became an academic convention to refer to ephemerality and temporality of graffiti and street-art. However studying some places as shaped by and known for these urban visuals, it is possible to consider them as constant and ever-present element of a city. A case under analysis is the Tsoi Wall, people’s memorial appeared in Moscow in 1990. The paper discusses how this city site gains its right to exist in multitude of cultural practices, interactions, and meanings assigned. The article reveals the role of creative sites for Soviet and Post-Soviet cities and explores who and why has been maintaining and protecting the Tsoi Wall for almost two decades.
Tsoi Wall or thousands inscriptions and drawings on the city wall appeared in Moscow in 1990 as a spontaneous reaction of the city dwellers on a tragic death of Victor Tsoy, a founder and frontman of rock group “Kino”. Today the Wall exists in multiple modes and due to the contribution of many: unnoticed in a daily routine authors and the “keepers” of the Wall, curious passers by and tourists that purposely include the Wall into their city exploration routes. Multiplicity and openness of the Wall allow to include it into different contexts and time series, to reveal it in front of completely different audience and make it attractive for actual and virtual visitors, and, for sure, for curious passing-by theoreticians, like we are. Paper examines why Tsoi became the cultural hero and who are the other ones remembered by the various audiences? what is the role of urban public space in this long-term commemoration? how this place is used now?