El debate de la creatividad y la economía en las ciudades actuales y el papel de los diferentes actores: algunas evidencias a partir del caso de estudio de Madrid1

Since alternative funding ways (cooperatives, crowdfunding, etc.) they opened new activities, aiming for a new trade in closeness well in line with the character of the neighborhood. The purpose was not to displace the traditional trade but to integrate it into the same project. The space has also become a new leisure and meeting point because the project includes other recreational and cultural offerings. In this case, as Margulies (2013) notes creativity has spread to other, traditional sectors which has added an extra creativity to boost activities in principle fall outside the statistics released by traditional studies. From the case study of Market San Fernando, it can be said that although the “official” discourse on the creative economy can provide some insights on the distribution and the weight of these sectors and their impact on other economic activities, the emergence of certain theoretical and methodological concerns and their inability to show a much more complex reality require its combination with other approaches and other analysis techniques, especially when it descends to more specific territorial levels, which tend to emphasize the richest range of possibilities and broader definitions offered by the concept of creativity.