We are delighted to announce that Creative Clusters 2008, which takes place for the first time in Scotland, will be looking at the creative economy from the point of view of the world's smaller nations and regions.

In the 'winner takes all' world of the creative economy, it is increasingly apparent that issues facing the creative industries in smaller nations are substantially different from those in larger ones. Experience from nations that have been vigorously pursing creative economy policies, such as Singapore, New Zealand, Ireland, Sweden, Austria and Scotland, has thrown up some key challenges:

Against competition from global media giants, just getting started in the creative economy is a daunting task for small nations. In a crowded media world, how can small nations develop a credible and distinctive creative voice? What is the relationship between the national culture and the national creative economy? Should small nations regard their national broadcaster, their publishing, music and film industries, as essential elements of the cultural infrastructure alongside their national theatres and museums? Indeed, can these arts institutions prosper without embedding themselves in the creative economy? As globalisation brings ever-increasing levels of economic inter-dependence, what level of creative independence does a nation need? How much foreign direct investment in the creative economy is desirable? Does the presence of strong foreign firms encourage or crowd out national creative talent? In larger nations, which can afford separate policy structures for cities and rural areas, creative industries are very much an urban phenomenon. But smaller nations need a more holistic approach, which takes into account the closer relationship between cities and rural areas. How can they turn this to advantage? Is there a special role for the creative industries in building national self-confidence and international reputation? How can government, the tourist industry, traditional culture and creative business best work together? Is a strong place-based identity good for business? Some small nations emphasise their distinctive national brands, while others seek to position themselves as players in a supra-national global culture. Can small nations get the best of both strategies?

For some small nations, the number of people claiming a cultural affiliation who live abroad exceeds the population at home. Do these diasporas represent a special opportunity for the creative economy - and not just because of their wealth? For small nations, what strategies, and what practical policy measures, will help identify and develop a competitive advantage? How does a small nation turn globalisation into an opportunity rather than a threat?

What makes a 'Creative Nation'?

The conference agenda also includes:

Industry Focus: public service broadcasting and the creative economy

Make it Live: grabbing the world's attention with festivals and live events

Strategic leadership in the creative economy

Focus on Glasgow: the long story of Glasgow's regeneration

Go to the Creative Clusters website for more on our themes and agenda.