The ‘Creative Economy’ – or economic activity at the intersection of creativity, commerce and copyright – is edging ever closer to recognised stature in the realm of traditional economics [(Newbigin, 2014); & (Nesta, 2018)]. It is connected with the sub-field of ‘Cultural Economics’, which has been in existence for some time, although it is regarded as a less important sub-field of micro-economic application. Cultural Economics has a code in the Journal of Economics Literature (JEL) classification under “Z” (along with sport and tourism) (American Economic Association, 2018), an important sign of recognition. This recognition is hard won. While the economic canonisation of the creative economy is a long way away, the arguments on its pure economic, spinoff and other social and intangible benefits are gaining strength. The growing support for the creative economy, and scholarship on it, is in particularly sharp focus as new economies at the juncture of technology, digital and business are underpinned by creative content, thinking, and problem-solving.

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