The Creative Economy: How People Make Money from Ideas
Abstract
Standard text on the creative economy. First published 2001. Revised 2007. Second Edition 2013.
... Dentro da temática que envolve a economia criativa, destaca-se a obra de John Howkins (2001), intitulada "Creative Economy: how people make Money from ideas". No texto, o autor destaca a relação entre a criatividade e a economia, marcando o surgimento do termo economia criativa. ...
... No texto, o autor destaca a relação entre a criatividade e a economia, marcando o surgimento do termo economia criativa. Para o autor, "a criatividade não é uma coisa nova e nem a economia o é, mas o que é nova é a natureza e a extensão da relação entre elas e a forma como combinam para criar extraordinário valor e riqueza" (HOWKINS, 2001). O autor defende a ideia de que produtos que surgem a partir de ideias inovadoras podem agregar valor de acordo com o seu grau de novidade e de desenvolvimento científico. ...
... O autor defende a ideia de que produtos que surgem a partir de ideias inovadoras podem agregar valor de acordo com o seu grau de novidade e de desenvolvimento científico. Sendo assim, a economia criativa está focada na dinâmica dos setores econômicos com potencial de gerar rendimentos a partir da propriedade intelectual do indivíduo (HOWKINS, 2001). ...
Home offices são espaços de trabalho estruturados nos lares de vários profissionais que, segundo uma concepção preestabelecida no imaginário popular, configura-se basicamente por uma mesa, uma cadeira e um computador, onde o profissional pode desenvolver suas atividades laborais. Com outro olhar, este estudo vem promover a desconstrução desse pensamento, buscando um novo conceito de home office para os profissionais da indústria criativa. Utiliza-se, como método de pesquisa, os procedimentos de Massimo Canevacci descritos no estudo A Cidade Polifônica, na qual se desenvolve três etapas: a primeira concentra-se no mapeamento de profissionais que trabalham em home office; a segunda consiste na observação de contextos selecionados, com análise e interpretação dos dados; e, por fim, a terceira etapa caracteriza-se pela proposição de diretrizes projetuais. Para complementar, realizou-se uma fase de experimentação projetual em que se busca aplicar os conhecimentos gerados na concepção de um novo conceito de home office, que vem a ser o de lar-ateliê. A partir dessa construção, desenvolve-se uma representação visual de modelos de ambientes para dez segmentos profissionais. As constatações alcançadas possibilitaram a verificação de diversas variáveis e configurações possíveis de espaços residenciais-laborais.
... Creative entrepreneurship refers to the establishment of a business or the pursuit of self-employment within the realm of creative industries (Howkins 2001). According to Howkins (2001), individuals engaged in creative systems leverage their creativity to access and realise the inherent wealth within themselves. ...
... Creative entrepreneurship refers to the establishment of a business or the pursuit of self-employment within the realm of creative industries (Howkins 2001). According to Howkins (2001), individuals engaged in creative systems leverage their creativity to access and realise the inherent wealth within themselves. Like true capitalists, they believe that creative wealth, if managed right, will engender more wealth creation. ...
Background: Studies showed that epistemological ways of knowing in artworks has continued in two-fold dimensions between the global north and global south. Despite centuries of local artworks, scholarly works in the field are predominantly Euro-American, with only a few works on Africa. This phenomenon constitutes both knowledge and theory gaps that this article seeks to bridge.Objectives: This article joined the wider conversation on creative art scholarship questioning the predominance of Euro-American authorship, and examining the phenomena of minimal creative art scholarship in the Global South, Ghana specifically. The discussion of creative arts scholarship on Global South perspectives is not only a contribution to strengthen objectives of this journal but also resonates well with the journal’s readership.Method: In working towards achieving the aim of the study, a desk review was done, and extant literature was reviewed using various databases and search engines to maximise information.Results: Results point at minimal art scholarship in Ghana, which is in line with trends across Africa. Reasons include creative art curricula and implementation challenges, the lack of Ghanaian scholars’ interest in creative art scholarship in Ghana and minimal local participation in creative arts discourse. Also, art scholarship is awash with epistemological perceptions which project the proponents of Western creative art as the compelling archetype of ‘global’ creativity.Conclusion: The study seeks a creative art epistemic change through the creation of more creative art-based local platforms for the practice and promotion of the industry. Also, the article seeks constant creative artistic engagement among academia and creative art practitioners for balance. For promotion, the organisation of annual creative art conferences could lead to special issues on art.Contribution: The study is of high scientific and art scholarship interest and frame them theoretically. These theoretical models on artistic scholarship, constitute a useful tool for practitioners.
... Ekonomi kreatif didefinisikan sebagai aktivitas ekonomi berbasis pengetahuan yang mengutamakan kreativitas sebagai sumber daya utama (United Nations, 2010). Sektor ini telah terbukti memberikan kontribusi signifikan terhadap penciptaan lapangan kerja dan peningkatan kesejahteraan masyarakat, sekaligus menjadi instrumen penting dalam mendukung pertumbuhan ekonomi berkelanjutan (Howkins, 2002 Desa Blang Cut, yang terletak di Kecamatan Meurah Mulia, Kabupaten Aceh Utara, memiliki potensi sumber daya alam yang melimpah, khususnya kelapa. Sayangnya, potensi ini belum dimanfaatkan secara optimal. ...
... Setelah pelatihan, peserta memahami pentingnya menambahkan nilai ekonomi melalui pengolahan kreatif. Hal ini mencerminkan konsep ekonomi kreatif yang didefinisikan oleh Howkins (2002), di mana kreativitas menjadi elemen utama dalam menghasilkan nilai tambah produk. Dengan kemampuan baru ini, masyarakat dapat mengakses pasar lokal dengan harga lebih kompetitif, meningkatkan potensi pendapatan hingga tiga kali lipat dari sebelumnya. ...
This service-based research aims to empower the community of Blang Cut Village, Meurah Mulia District, North Aceh Regency, through training in coconut processing into coconut chips. A Participatory Action Research (PAR) approach was applied to actively involve the community in all stages of the activity, which included observation, planning, experimentation, implementation, and evaluation and reflection. The research was conducted in November 2023, with a method involving cycles of planning, action, observation, and reflection according to the action research framework. Data collection techniques included semi-structured interviews, participatory observation, and participant satisfaction surveys, which were analyzed using qualitative, quantitative, and SWOT approaches. The results showed an increase in participants' skills and confidence in processing coconut independently, with 85% of participants feeling capable of producing coconut chips after the training. The satisfaction survey noted that 90% of participants were satisfied with the learning-by-doing method applied. From an economic perspective, there was an increase in community awareness of the potential added value of the product, which was previously only sold as raw coconut at Rp3,000 per grain, to coconut chips at Rp10,000 per pack. Social impacts include the formation of joint business groups and increased community solidarity. The implications of this research include strengthening the local resource-based creative economy, particularly in the development of Micro, Small, and Medium Enterprises (MSMEs). The program encourages village economic sustainability through collaboration with the government and local MSMEs, as well as the potential for developing other innovative products. With follow-up in the form of continuous assistance, Blang Cut Village can become the center of the coconut-based creative economy in the region.
... Regardless, the United Nations have recognized the growing importance of creative industries for Sustainable Development Goals (SDG) Funds. The SDF Funds has started a series of initiative to bring creative industries at the forefront of sustainable development (Howkins 2001;Florida 2003Florida , 2004; Nalkamura 2018; United Nations 2019. Cite in Fazlagic & Skikiewicz 2019). ...
... The concept of creativity and its impact on sustainable development is relatively new. The above view is corroborated by Howkins (2001) who states, developed the concept to describe economic systems where value is based on novel imaginative qualities rather than the traditional resources of land's labour and capital compared to creative industries, which are limited to specific sectors. ...
The creative ecosystem has been inundated with idea generation and execution of ideas. Idea generation requires knowledge, skills and creative medium of communication. Advertising and public relations organization produces contents of all kinds like any other industry but the creative economy has come to depend on them to promote and drive the economic growth and prosperity. Hence, the media has become indispensable industry actively involved in the production and distribution process to enhance consumerism. This study will therefore adopt the secondary research methods. The purpose of the study is to investigate and help find gaps in the current literature in the field and highlight future directions. This study, therefore recommends that, the creative economy is a key driver to economic diversifications’, innovative in problem-solving that facilitates unique solution to challenges with emphasis on the quality of life and well-being, creation of jobs, as pragmatic outcome of a targeted economic process. The study concludes that advertising and public relations are creative strategic communication targets for the knowledge economy, whether it is for profit or humanitarian benefits. Advertising have a permanent place in everyday life as well as public relations which creates favorable image, goodwill and reputation to its target audience
... A criatividade não é necessariamente uma atividade econômica, mas se torna quando produz uma ideia com implicações econômicas ou um produto comercializável. Assim, os bens e serviços com valor econômico resultantes da criatividade são produtos criativos e as transações contidas nesses produtos consistem na economia criativa (Howkins, 2013). Na visão de Cavalcante (2021), a criatividade econômica, sendo um componente do capital humano, se torna um ativo específico das firmas, decorrente dos processos de aprendizado tácitos (learning-by-doing). ...
... O capital instrumental intangível se relaciona ao capital intelectual, visto como fonte da economia criativa de acordo com Howkins (2013). Assim, os indicadores relativos à educação representam em parte um ativo e em parte um passivo para o desenvolvimento da economia criativa na cidade. ...
As contradições e restrições estruturais, causadas pela economia tradicional, têm aberto espaço para iniciativas com práticas e mentalidades econômicas alternativas. Neste sentido, uma estratégia de desenvolvimento econômico sustentável é a economia criativa, que utiliza como fatores de produção elementos intangíveis e de valor simbólico. Como métrica da estrutura de valores de uma cidade, o sistema de capitais foi pela primeira vez utilizado no Brasil em 2013, na cidade de Bento Gonçalves/RS. Assim, por meio de uma abordagem de métodos mistos, este estudo apresenta um framework para o desenvolvimento da economia criativa de Pelotas, baseado na análise comparativa do sistema de capitais de Bento Gonçalves. Como resultados, o capital financeiro foi identificado como principal passivo da cidade de Pelotas, acompanhado dos capitais identidade e instrumental intangível. Considerando o contexto social de Pelotas, que é fortemente ancorado na tradição cultural, o empreendedorismo e o turismo foram considerados alavancas para o fortalecimento da economia criativa na cidade. Por fim, o framework proposto contribui para a pesquisa sobre desenvolvimento baseado no conhecimento e tem implicações práticas para políticas públicas, promovendo o desenvolvimento da economia criativa em Pelotas ao identificar e disponibilizar informações sobre os indicadores de sistema de capitais relacionados à economia criativa.
... Estos relatos muestran cómo han enfrentado desafíos y capitalizado oportunidades. Industrias culturales y creativas Según Howkins (2001), existen sectores económicos que se fundamentan en la creatividad, la elaboración de contenidos culturales y artísticos, así como en su comercialización tanto a nivel local como global. Innovación ...
El emprendimiento cultural en las comunidades universitarias es un fenómeno social que se manifiesta a través de habilidades artísticas. Comprender los modelos y técnicas utilizados en las universidades iberoamericanas para la gestión cultural del talento humano contribuye a preservar la memoria colectiva, mantener los valores universitarios y generar legitimidad social. Este estudio, basado en una revisión teórica desde la investigación cualitativa, responde: ¿Cuáles son las condiciones culturales necesarias para que el emprendimiento cultural sea reconocido como un campo de actividad legítimo según los criterios evaluativos de las universidades iberoamericanas?; ¿Cómo se pueden explorar nuevos formatos de financiamiento a través de la microfinanciación cultural y creativa en el entorno digital en beneficio de los universitarios?; ¿Por qué el emprendimiento cultural se presenta como una alternativa para el artista universitario actual? A través de la revisión de materiales audiovisuales, revistas y publicaciones científicas, se lleva a cabo un estudio deductivo que se basa en 33 dimensiones para identificar un modelo teórico. Se identifican procesos de gestión educativa, opciones de financiamiento y oportunidades para la creación de productos educativos que contribuyan a legitimar el valor público de las industrias culturales y creativas en el ámbito internacional, beneficiando a las comunidades artísticas y culturales.
... The creative economy is a concept in which elements such as knowledge, art, design, and media, unlike traditional forms of production, are active in economic processes and are becoming increasingly important in today's knowledge economy (Florida, 2002;Howkins, 2002;Potts & Cunningham, 2008). Firms and projects operating in the creative industries need more flexible and innovative sources of financing compared to traditional financing models due to high uncertainty and the financing of intangible assets (Bakhshi & McVittie, 2009;Throsby, 2010;UNCTAD, 2018). ...
This chapter investigates the impact of sukuk—Islamic financial certificates representing proportional ownership in underlying assets or projects—on macroeconomic growth and innovation ecosystems within Islamic finance markets. Islamic finance, characterized by risk-sharing and ethical investment principles, has increasingly emerged as a significant alternative in global financial markets, especially post-2008 financial crisis. Sukuk, as a critical instrument within Islamic finance, contributes to economic stability, financial inclusion, and sustainable development by providing funding channels that align with Shariah-compliant ethical and risk-sharing principles. However, despite its expanding global significance, the connection between sukuk volume, economic growth (GDP), and innovation indices remains relatively unexplored. Using panel data from nine countries (Bahrain, Indonesia, Malaysia, Oman, Pakistan, Qatar, Saudi Arabia, Turkey, and the United States) covering the period 2011-2022, this study applies advanced econometric methods, specifically the Interactive Fixed Effect (IFE) model and the Panel Fourier Toda-Yamamoto causality test. The analysis examines how sukuk influences economic growth and its potential role in fostering innovation, including business sophistication, knowledge and technology outputs, and creative industries, as measured by the Global Innovation Index (GII). Findings indicate that sukuk issuance positively impacts GDP growth, particularly by providing significant financing for infrastructure and strategic development projects, and demonstrates varied influences on innovation indicators depending on national contexts and institutional structures. The results highlight that sukuk can effectively stimulate innovation-oriented investments and enhance financial market diversity, offering essential insights for policymakers and researchers interested in the intersections of Islamic finance, economic development, and innovation.
... The 21st-century business environment is often called the "creative economy," in which innovation has replaced efficiency in volume as the primary driver of economic growth [24,25]. As a result, cultural industries have attracted increasing attention from various disciplines [4,[26][27][28][29][30][31]. ...
This study empirically analyzes the evolution of cultural products based on theoretical cultural discourse and evolutionary processes. We use data from 116 survival auditions aired in Korea between 2006 and 2017 to examine the cultural memes that shape the continued appeal of survival audition programs. Specifically, we discuss the influence of “memes” in cultural codes, namely, audience empowerment, experts’ involvement, fair rewards, and career opportunities. The results of probit regression analysis with survival audition program reproduction as the dependent variable show that audience empowerment, experts’ involvement, fair rewards, and career opportunities in survival audition programs influence the reproduction of cultural goods. The findings confirm all four hypotheses. The findings of this study have theoretical and practical implications. First, it enriches the theoretical discourse on the evolution of cultural goods by offering a meme-based explanation for their reproduction. Second, it has implications for industry practitioners involved in planning and producing cultural goods by identifying normative cultural codes that affect the longevity of these products.
... Bangkalan Regency will become one of the National Tourism Development Areas and National Economic Development. In addition, Bangkalan Regency will The current condition in Bangkalan Regency is that creative economy products are still found that have great potential to develop but do not yet have brand protection (Howkins, 2007;O.E.C.D., 2014). The obstacles faced by creative economy business actors in Bangkalan range from lack of knowledge and insight into the importance of brand protection, brand registration procedures that are relatively difficult and require a relatively long time, and the high cost of brand registration are considerations for business actors to use their funds for business development (Bangkalan, 2021). ...
Intellectual property rights provide exclusive protection as in brand protection. By registering a brand, a creative economy product will receive repressive legal protection, obstacles in brand registration are experienced by some creative economy actors in Bangkalan Regency. Until now, there has been no regional legal product regarding intellectual property protection, especially convenience through the concept of co-branding as the identity of creative economy products for business actors. Therefore, this study was conducted to determine the concept of using a brand as co-branding in Law Number 20 of 2016 concerning Brands and Geographical Indications and the views of stakeholders in Bangkalan Regency regarding the implementation of co-branding regulations in the future. The research method used is empirical juridical. The approaches used in this study are factual approaches and statutory approaches. The results of this study indicate that the use of brands as co-branding is closer to the concept of collective brands. Regional legal products in Bangkalan Regency regarding brand protection have not yet had a discourse on the creation and regarding the concept of using brands as co-branding related to creative economy products.
... Regardless of the name, this class of Economy congregates the Cultural Economy, the creative and conventional cultural industries, and other sectors that foster creativity [71]. Among these industries, it is worth clear the denominated creative industry that refers to those businesses in which economic activity is addressed toward the creation and profit of cultural symbolic or information products and services in several sectors such as advertisement, marketing, design, architecture, software, television, music, hospitality, videogames, among others [72,73,67]. An industry of this type, which encompasses several sectors, goes into complex detail in determining the efforts in which it operates [74]. ...
This article introduces the topic of the Colour Economy as a set of new economic paradigms that seek to respond to global challenges such as sustainability, technological transformation and social inclusion. It is a first comprehensive study that analyses eight colour economies, namely blue, yellow, orange, red, green, silver, purple, and grey with a focus on innovation and entrepreneurship. The researchers started from a bibliographic search that yielded varied results in terms of the volume of literature produced on the colour palette and opted for an exploratory and critical study of the concepts and relationships with innovation and entrepreneurship. We found that each colour economy addresses specific issues but converges on themes such as sustainability, technological transformation and social equity. Our review revealed that colour economies are not mere theoretical constructs but practical frameworks that focus on the sustainable use of marine resources, in the case of the Blue Economy, the Yellow Economy emphasizes technological efficiency, while the Orange Economy emphasizes creative and cultural industries, the Red Economy, on the other hand, comes from the evolution of consumption towards sustainable practices, and in the Green Economy, the priority is on environmental sustainability, while the Silver Economy focuses on the challenges of an aging population, as opposed to the Purple Economy, which promotes cultural and social diversity, and the Grey economy is embedded in the informal sector. In terms of their relationship to innovation and entrepreneurship, each colour economy presents unique paths to innovation and entrepreneurship opportunities. In all economies of colour, cross-sector collaboration between government, business and academia is key to driving innovation. Our study presents a novel framework for analysing economic transformation through the lens of the colour economy where the colour family does not compete for theoretical or practical supremacy but rather opts for a complementary effect to address the enormous global challenges we face. Thus, the framework developed offers important and valuable insights for policy makers, businessmen and entrepreneurs as well as scholars to develop a holistic and integrated approach to economic development.
... Certaines administrations nationales comme l'Australian Bureau of Statistics ou son pendant britannique, l'Office for Na� tional Statistics sont souvent cités en exemple à cet égard. Ces initiatives publiques et institutionnelles se font de concert avec les travaux théoriques de circonscription [10] des industries créatives (Throsby, 2001 ;Howkins, 2001). C'est le sens dans lequel il faut comprendre les nombreux efforts consentis pour la mise au point d'indices sta� tistiques « composites » pour légitimer les initiatives en faveur des industries créatives puisque leur contribution à la croissance économique aura été démontrée. ...
The topic of creativity emerged on the contemporary scene in the nineteen nineties, and has since imposed itself in organisational and institutional contexts and in the field of social discourse. Its origins lie in the particular political context of Blair-era Britain, and it has become an ever-present feature of the world of culture, the urban economy, historical heritage matters, the arts, entrepreneurism, design, etc. This article addresses the relationships between creativity and innovation and analyses the articulation between territories and universities based on innovation. In these times of creative cities and creative environments the article reflects on the role assigned to creativity and innovation in the world of the discourses and initiatives of public and private actors, with territorial marketing as one of the main vectors of its analysis.
... According to the Act Green 2023 Benchmark Report, published on September 2023 (Indigo-Ltd 2023), "77% of cultural audiences think cultural organizations have a responsibility to influence society, to make radical change in response to the climate emergency". As innovation leaders, the CCIs could guide the way towards sustainable development (Howkins 2013), while their synergies with other industries and businesses could enhance transformative sustainability (Harper 2021). Examples of good sustainability practices in the CCIs include the reduction of travelling for cultural staff and equipment (or travel with mass transportation, fuel-efficient, electric or very few vehicles), the use of renewable energy resources during a film production, reuse and recycle mechanisms in all the stages of cultural production, LED lighting in performances, the replacement of paper with digital media, the implementation of sustainable design on set, the minimization of the use of plastic, etc. ...
... Por otra parte, se define a las Industrias culturales y creativas como sectores que tienen como objeto principal la creatividad, la producción o reproducción, la promoción, la difusión y la comercialización de bienes, servicios y actividades de contenido cultural, artístico o patrimonial (UNESCO, 2010). La economía naranja cobra popularidad a partir del año 2000 donde se realiza un análisis sobre las industrias creativas es decir se plantea que las personas generan ideas y como estas agregan valor al incluir la creatividad como pieza principal para la creación de un modelo económico sustentable, inclusivo y humano (Howkins, 2001). Ahora, la importancia de salvaguardar la herencia cultural y al mismo tiempo promocionarla a través de la economía naranja para salvaguardar el conocimiento ancestral en el tiempo los conocimientos y tradiciones de generación en generación, es definir qué se entiende por cultura de acuerdo a la UNESCO en la declaración de 1982 define este concepto como todo lo complejo que incluye el conocimiento, las creencias, el arte, la moral, el derecho, las costumbres y cualesquiera otros hábitos y capacidades adquiridas por la sociedad. ...
Cada país cuenta con una diversidad cultural donde se destacan las actividades que forman parte de ese patrimonio y herencia que se ha dejado desde hace varias generaciones atrás y que se han preservado hasta el momento, por otro lado, la economía naranja siendo un modelo de negocio sustentable ha impulsado a que tanto personas y países enteros exploten su creatividad para llevar a cabo las diversas actividades que forman parte de este sector. Es por eso que este trabajo tiene como objetivo explorar las actividades económicas en el municipio de Tepeji del Río, Hidalgo, como artesanías, música local, gastronomía con la finalidad de establecer elementos de referencia que permitan identificar características que potencien futuros emprendimientos orientados a preservar y promover el patrimonio cultural del municipio. El estudio tiene enfoque cualitativo, donde se aplicó análisis comparativo, procedimiento utilizado en ciencias sociales para la generalización empírica con base en etapas, el principal hallazgo es que es posible proyectar iniciativas coordinadas por el equipo municipal y la población el tránsito de una economía industrial actual a una economía naranja que permita generar y consolidar en el mediano plazo organizaciones sostenibles, creativas e inclusivas.
... Innovations such as biogas and organic enzymes businesses show that this pesantren can adapt to environmental demands and optimally use local resources. In addition, with collaboration in animation and the creative industry, this pesantren has also begun to enter the digital economy sector, which is relevant to the Creative Economy theory initiated by (Howkins 2013). ...
This study aims to conduct an in-depth analysis of business development strategies carried out in various business units in the Pesantren Nurul Iman Parung Bogor in the era of digital disruption. This study uses qualitative descriptive research methods, with data collection methods through observation, interviews, and document collection related to the focus of the research. Data analysis includes data reduction, display, and conclusion drawing/verification. The business development strategy of Pesantren Nurul Iman Parung Bogor follows four key steps aligned with their entrepreneurial practices. First, focus on business idea development by recycling waste to create new opportunities and generate revenue. Second, expand business scale by increasing machine capacity, workforce, and investment capital, as shown by the establishment of 26 business units. Third, expand business scope by opening new locations and developing different types of businesses, such as the Active Carbon and Nurul Iman Animation ventures. Lastly, they pursue expansion through partnerships, collaborating with PT. Asj Indonesia and the Ministry of Industry to create new business units. These strategies form the foundation of their business growth, emphasizing capacity building and diversification to ensure economic sustainability. This research highlights the potential of pesantren-based business models in encouraging economic sustainability by integrating entrepreneurial practices into pesantren operations. This research is also a reference to promote the development of policies supporting entrepreneurship education integration in faith-based educational institutions. This Pesantren is a concrete example of how collaboration between academic institutions, the industrial sector, and the government can create an educational ecosystem oriented toward economic sustainability.
... Ao mesmo tempo, recursos intangíveis, como a criatividade, podem aumentar a competitividade de organizações que souberem utilizá-los de maneira eficiente, pois geram benefícios futuros para seus proprietários ou controladores (FINGERL; GARCEZ, 2002). Além disso, atividades criativas são responsáveis por parte significativa da geração de renda e emprego de um país (HOWKINS, 2007). No caso do Brasil, a produção audiovisual emprega mais de 40 mil trabalhadores, respondendo por aproximadamente 2,6% do PIB total do país, movimentando em 2017 um acumulado de R$ 171,5 bilhões (FIRJAN, 2019). ...
Audiovisual production employs more than 40,000 workers in content development, broadcasting, and programming companies in Brazil. At the same time, digital distribution platforms are causing profound changes in the Brazilian market. When thinking about the scenario of competition with digital media, television companies review their strategies and the management of their resources, including the professionals who compose them. This article has two objectives: to study the audiovisual production industry through the analysis of a television network, while identifying recent changes; and to identify the skills needed by professionals who manage creative processes. The authors adopted a qualitative approach with data collection through in-depth interviews with five managers in the areas of journalism and entertainment from a television network. The results show that, with the democratization of content production, relationship skills become more relevant in the professional’s success than artistic and technical skills, evidencing the importance of behavioral skills. Furthermore, the authors also identified the importance of a professional trajectory with practical experience in the technical and artistic functions of executives who manage creative teams, allowing them to move between content production and marketing activities.
... Nessa linha, as forças mobilizadoras desse movimento são os talentos criativos, ao que Florida (2011) denominou de classe criativa, que atua, em diferentes áreas e setores das empresas, mas destaca-se, especialmente, nas indústrias criativas. Essas, integram a economia criativa (Howkins, 2001), que está transformando o modo de produção de diversos bens e serviços e alterando o nível de competitividade das localidades. ...
No contexto contemporâneo em que mais da metade da população é urbana, as cidades assumem o protagonismo e são desafiadas a (re)descobrirem novos recursos a fim de atender as diferentes demandas da sociedade. Nesse contexto, a oferta cultural e criativa passa a ser entendida como recurso estratégico no âmbito econômico e, por meio das indústrias culturais e criativas e do turismo criativo, gera externalidades positivas promotoras de desenvolvimento sustentável local. Assim, evidencia-se a necessidade de identificar e valorizar as práticas que utilizam a cultura e a criatividade para agregar valor à cidade e que contribuam para a sua sustentabilidade. A partir desse entendimento, este estudo tem por objetivo elaborar um método a fim de compreender as potencialidades de uma localidade para a oferta de atividades culturais e criativas (ACCs), incluindo bens e serviços, com destaque ao turismo criativo. Para tanto, o estudo está assentado no método compreensivo weberiano, que propõe a construção de um modelo Tipo Ideal congregando todas as particularidades encontradas em fenômenos de mesma natureza, obtendo-se, portanto, um modelo abstrato e utópico, cujo principal objetivo é estabelecer um confronto com a realidade observada empiricamente. Dessa forma, a pesquisa de abordagem qualitativa, de tipo exploratório, adotou como procedimento metodológico a revisão teórica seguida da análise de conteúdo de 16 estudos aplicados que permitiram elencar os aspectos-chave necessários à construção do instrumento. Como resultado, obteve-se o Modelo Prático-Teórico (MPT) constituído por seis Dimensões (Humana, Econômica, Social, Cultural, Governança e Instrumental); 16 categorias de análise (Talento, Produção, Educação, Identidade e Pertencimento, Cultura, História e Memória, Resiliência, Relacional, Inteligência Coletiva e Gestão Pública, Meio Ambiente, Tecnologias, Infraestrutura e Recursos, Economia Digital, Emprego e Renda e Desenvolvimento), a partir das quais se elencou os indicadores e variáveis para a avaliação da localidade quanto as ACCs e sua relação com o turismo.
... 2. Referensi Teori: Menggunakan teori-teori relevan seperti soft power oleh Nye (2004) dan ekonomi kreatif oleh Howkins (2001). ...
... Istilah "ekonomi kreatif" pertama kali diperkenalkan oleh John Howkins dalam bukunya yang berjudul "The Creative Economy: How People Make Money from Ideas" pada tahun 2001. (Howkins, J, 2002). ...
Buku “Ekonomi Kreatif Menuju Kemajuan Ekonomi Indonesia” membahas peran penting sektor ekonomi kreatif dalam pembangunan nasional. Sektor ini bukan hanya tren, tetapi juga menjadi pendorong utama kemajuan dan daya saing bangsa di tengah persaingan global. Pembaca akan menemukan potensi besar ekonomi kreatif di Indonesia, yang kaya akan budaya dan sumber daya manusia. Dengan contoh nyata, strategi, dan kebijakan, buku ini menunjukkan bagaimana kolaborasi antara pemerintah, pelaku industri, dan masyarakat dapat mendorong pertumbuhan ekonomi yang inklusif dan berkelanjutan.
Penulis juga menggarisbawahi tantangan yang dihadapi, seperti akses permodalan dan teknologi, serta solusi untuk mengatasinya. Buku ini mengajak pembaca untuk aktif memperkuat ekosistem ekonomi kreatif dan menghargai kreativitas sebagai aset berharga. “Ekonomi Kreatif Menuju Kemajuan Ekonomi Indonesia” adalah bacaan wajib bagi pemangku kepentingan, akademisi, dan siapa pun yang ingin memahami peran strategis sektor ini dalam membangun masa depan Indonesia yang lebih baik.
... The creative industries are an industry originates from the use of knowledge, skills, talents, and advantages of creativity artisan groups to create prosperity and expand employment opportunities. This benefits invention is reflected in manufacturing products that produce innovative designs as capital in generating profits, winning a business competition, and increasing welfare (Howkins, 2001). ...
This paper aims to determine the extent to which the potential for developing craft industries based on Javanese ethnic culture can improve local economic development and help empower the local community. A qualitative method with case study research approach. Meanwhile, to measure the potential for growing craft industries based on Javanese ethnic culture, the SWOT (strengths, weaknesses, opportunities, threats) analysis–analytic hierarchy process is used by collecting primary data through group discussions while secondary data with questionnaires. Developing craft industries based on Javanese ethnic culture can contribute to local economic development by utilizing abundant human resources, adding concrete employment opportunities, facilitating licensing, maximizing the potential an open art market, and anticipating goods cheaper competition from foreign as well as the entry threatened free trade that would replace the existence of craft products based on Javanese ethnic culture. Efforts are carried out by business actors, manufacturing industry, and arts community to helping facilitate various promotional business opportunities. In addition, the government has made a policy direction for local economic development by balancing foreign and local players to deal with technological innovations and the rapidly changing character of the market.
... Owing to the immense contribution of the creative industries to the Gross Domestic Product (GDP), several countries have developed strategies to bolster their grow. Howkins (2001) contends that creativity is using an idea to generate another idea, and that it is an endless cognitional and emotional process of creation, exploration and innovation. Caves (2000), examines the economics of arts, focusing specifically on how arts come to the market and how artists get renumerated for their work. ...
Consumption of Video on Demand (VoD) content in Kenya has been on the rise for the past few years fuelled mainly by good internet connectivity and availability of hand-held mediated communication devices. Consumption of this kind of content spiked during Covid-19 Pandemic due to containment measures which restricted movement of people. The study looked, in details, at the role played by the Kenya Film Classification Board (KFCB) in this new frontier of media regulation. The study focused on aspects of regulation such as strategies employed or that are still at the formulation stage to regulate the sector, the current regulatory frameworks that Kenya is implementing in reference to the sector and various VoD platforms operating in the country, both local and foreign and their monetization models. The researcher adopted a mixed method, combining survey and in-depth interview to generate both quantitative and qualitative data. For the Survey, a sample size formula calculator was used to achieve a sample of 357 film producers from a target population of 5,000. A management representative from respondent for KFCB was selected using purposive sampling to be interviewed for insights on the research topic. The research engaged a two-way ANOVA technique and the results summarized and analysed in terms of types of regulations, policy and strategy frameworks engaged and monetization models. Being a study on media regulation, the Authoritarian Theory of mass media was used. The findings of this research will be significant in informing policy, not only in Kenya, but also within the African continent where such audio-visual regulatory challenges are a commonplace. The harmonization of content regulation in Africa debate is running concurrently with the narrative of creating a borderless Africa under the aegis of the African Continental Free Trade Area (AfCFTA). In view of this, this research will help Kenya, the region’s economic hub, to craft a strong memorandum to table at AfCFTA and argue its case on why harmonized content regulation is important in the wake of the envisaged borderless and digitized continent. Monetization models highlighted will help operating VoD platforms and aspiring start-ups in Kenya to ascertain the best monetization model to adapt in order to reap maximum commercial benefits from the business. To scholars, this research will help in unearthing new knowledge in the world of audio-visual content regulation in the era of internet. The study recommends an urgent need for review of the existing VoD regulatory policies to be in tandem with the changing regulatory environment fuelled by the internet and a robust engagement with key stakeholders that KFCB regulates. The study also recommends further research on the interconnectedness of consumption of VoD content by young people and cultural imperialism. The research concludes by highlighting legislative gaps in the current laws on film regulation in Kenya to match the changes brought by VoD consumption.
... This study also utilizes the creative economy theory, which recognizes the creative sector as a major driver of innovation and economic growth. The creative economy theory, as popularized by John Howkins and Richard Florida, emphasizes the importance of creativity, innovation, and intellectual capital in creating economic value (Florida, 2011;Howkins, 2002). This theory provides a basis for understanding why the creative economy sector needs appropriate philanthropic support to thrive. ...
This study examines the role of philanthropy in the creative economy sector, focusing on the challenges and opportunities faced through a literature review. The creative economy plays a vital role in economic growth and cultural development, while philanthropy provides critical resources to support creative initiatives. However, the integration of philanthropy in this sector faces several challenges, including alignment between philanthropic goals and the needs of the creative industry, equitable distribution of funds, and evaluation of the impact of philanthropic contributions. The literature suggests that philanthropy can enhance innovation and cultural diversity, but there is a gap in understanding and communication between philanthropists and creative professionals. The effectiveness of philanthropic efforts is often hampered by bureaucracy and a lack of strategic alignment. Opportunities to enhance the role of philanthropy include strengthening collaboration between philanthropic organizations and creative actors, leveraging technology for more efficient fund distribution, and developing metrics to measure the impact of philanthropic investments. This study suggests that a more strategic, inclusive, and transparent approach to philanthropy in the creative economy sector could unlock substantial benefits, promoting innovation, cultural enrichment, and economic resilience. This study provides important insights for developing best practices in philanthropic engagement in the creative economy sector, ensuring that the needs of diverse creative communities are met and sustained.
... Por sua vez, as indústrias criativas, segundo o autor, consistem em todas as indústrias que criam propriedade intelectual a partir de seus produtos primários. Ademais, podem ser agrupadas em quinze diferentes setores, de acordo com seu tamanho de mercado e com seus rendimentos, sendo eles Propaganda, Arquitetura, Arte, Trabalhos Manuais, Design, Moda, Cinema, Música, Artes Performáticas (teatro, ópera, dança, ballet), Publicações, P&D, Software, Brinquedos e Jogos, Televisão e Rádio, e Jogos Eletrônicos (Howkins, 2002). ...
RESUMO O conceito de economia criativa vem sendo cada vez mais discutido ao longo dos últimos anos, principalmente por sua capacidade de gerar empregos e atenuar desigualdades sociais. No Brasil, a economia criativa passou a ser tratada como foco a partir da criação da Secretaria da Economia Criativa (SEC), que teve como objetivo desenvolver esse tipo de atividade em território nacional. Dessa forma, no âmbito regional, o objetivo do presente artigo foi analisar o efeito da participação dos profissionais da indústria criativa, nas mesorregiões do Brasil, no período de 2010 a 2015. Ademais, o estudo realiza uma análise exploratória e descritiva sobre a evolução do emprego em setores associados à Economia Criativa, com base em um método de decomposição, por meio da análise shift-share. Assim, foi possível caracterizar o desempenho dos empregos dos setores criativos de todas as mesorregiões brasileiras. Os resultados também apontaram um crescimento sobre a dinâmica regional no período sob estudo, principalmente em mesorregiões afastadas do eixo Sul-Sudeste, com um histórico de baixos investimentos. PALAVRAS-CHAVE Economia criativa, Análise shift-share, Emprego The effects of the creative economy on Brazilian mesoregions: A shift-share analysis (2010 and 2015) ABSTRACT The concept of creative economy has been increasingly discussed over recent years, mainly due to its ability to generate jobs and alleviate social inequalities. In Brazil, the creative economy began to be treated as a focus after the creation of the Secretariat for the Creative Economy (SEC), which aimed to develop this type of activity across the country. Thus, at a regional level, the objective of the article was to analyze the effect of the participation of professionals in the creative industry, in the mesoregions of Brazil, between 2010 and 2015. Furthermore, the study carries out an exploratory and descriptive analysis on the evolution of employment in sectors associated with the Creative Economy, based on a decomposition method, through shift-share analysis. Thus, it was possible to characterize the performance of jobs in the creative sectors in all Brazilian mesoregions. The results also showed an increase in regional dynamics in the period under study, mainly in mesoregions far from the South-Southeast axis, with a history of low investments.
... Ekonomi kreatif merupakan perpaduan antara kreativitas dengan ekonomi. Undang-Undang Republik Indonesia Nomor 24 Tahun 2019 tentang Ekonomi Kreatif menyatakan bahwa ekonomi kreatif merupakan perwujudan nilai tambah dari kekayaan intelektual yang bersumber dari kreativitas manusia yang berbasis warisan budaya, ilmu pengetahuan, dan/atau teknologi (Howkins, 2001),. Dari definisi tersebut, ekonomi kreatif dapat dikatakan sebagai sektor ekonomi yang bersumber dari ide-ide kreativitas manusia yang menciptakan nilai tambah dari kekayaan intelektual berbasis keterampilan, budaya, pengetahuan dan teknologi. ...
Kegiatan pengabdian masyarakat ini dilatarbelakangi adanya perkembangan pelaku usaha muda yang berbasis kreativitas, inovasi, dan teknologi di lingkungan sekolah. Eksplorasi penggunaan teknologi informasi dan komunikasi dalam kegiatan ekonomi kreatif pelajar sangat penting dilakukan karena sangat berpotensi menambah pengetahuan pelajar tentang manfaat TI dalam dunia ekonomi kreatif dan menambah pendapatan dari aspek ekonomi pelajar serta menambah pengetahuan siswa tentang cara berjualan secara daring. Target peserta kegiatan pengabdian masyarakat ini adalah pelajar di SMAN 1 Alalak Kabupaten Barito Kuala. Kegiatan ini dilakukan dengan melakukan edukasi melalui pemberian materi dari narasumber, baik dari dosen maupun mahasiswa Politeknik Negeri Banjarmasin yang terlibat. Selebihnya, dengan adanya pelatihan pemanfaatan teknologi informasi dan komunikasi membantu pelajar dalam mengasah kreativitas kegiatan ekonomi kreatif. Sehingga nantinya kegiatan ini akan menjadi modal utama bagi pelajar untuk menjalankan perannya dalam kegiatan ekonomi kreatif di lingkungan masyarakat dan adanya ide kreatif serta strategi pengembangan usaha yang dituangkan ke dalam sebuah tulisan ataupun sebuah akun yang dapat memulai pelajar berjualan di media sosial.
... The term of creative economy does not have a single definition (Howkins 2001;2013). According to the United Nations Conference on Trade and Development (UNCTAD), the creative economy is a concept that develops on the interaction between human creativity and ideas and intellectual property, knowledge and technology (Petry, et al., 2020). ...
The majority of regional economic development for cities is a top-down approach where the government designs programs and runs programs for the community. This has the consequence of policies that are not on target, thus an alternative path with a bottom-up approach is needed. As part of the United Nations Educational, Scientific and Cultural Organization (UNESCO) Creative Cities Network, Bandung City continues to nurture the economic growth of the creative sector. In fact, creative industry has been the backbone of the city's economy for many years. Bandung is also a multicultural city inhabited by many young Muslims, this city is a potential place for the movement of the halal economy. The halal lifestyle in the last few years has shown an increasing trend in among young people in Bandung. This study wants to explore the factors of regional economic development through the creative economy and halal lifestyle using the Exploratory Factor Analysis (EFA) method. This study involved 113 entrepreneurs related to the creative and halal industries. Based on the results of this study, there are four main factors that can increase regional economic development in Bandung through the creative industry and halal lifestyle: (Factor 1) Economic growth support system; (Factor 2) Intellectual support system; (Factor 3) Marketing support system; (Factor 4) Collaborative culture support system. These factors are alternative paths with a bottom-up approach as the foundation for regional economic development in Bandung. And based on the results of this study, there is a novelty in the form of a bottom-up approach for public policy related to regional economic development, especially urban regional economic development based on creative and halal industries.
... Research has focused on the contributions of the industry to both regional and societal development [36][37][38][39][40] as well as the economic and financial sustainability of these sectors [41][42][43][44]. The cultural and creative industries have long been regarded as potential tools for economic development [45]. Their innovation and creativity are viewed as powerful means for enterprises to achieve sustainable growth and obtain a competitive advantage [46]. ...
As a novel development concept and model, the cultural and creative industries have become an important sector of the global economy owing to their diverse development pathways. In particular, the animation industry surpasses traditional sectors in scale. This industry demonstrated unprecedented resilience during the COVID-19 pandemic, highlighting its critical significance in the global economy. In this study, the SWOT (strength, weakness, opportunity, and threat)-PEST (political, economic, social, and technological factor) analytical model was employed to systematically assess various properties of the animation industry in China. Through an in-depth analysis of both internal and external factors affecting the industry and in consideration of conditions in the post-pandemic era, industrial development strategies across macro, meso, and micro levels were proposed to improve the existing development system. It was found that policy guidance at the macro level, improving the industry chain, integrating technologies at the meso level, and expanding target markets and financial channels at the micro level are key strategies for the continued development of the industry. This study offers new insights and directions for the sustainable development of the animation industry in China.
Straipsnyje analizuojami neformalaus mokymosi ir atvirų inovacijų ypatumai, taikymo aspektai, įvairūs požiūriai aptariamu klausimu. Remiantis Vilniaus Gedimino technikos universiteto bendruomenės suburtu atvirų inovacijų forumu ir atliktu tyrimu, aptariami forumo ypatumai bei poveikis kasdienos, studijų, profesiniame kontekste, neformalus mokymasis grindžiamas kaip atvirų inovacijų ir verslumo skatinimo būdas. Kūrybingumo, verslumo skatinimo tema ir konkretaus atvejo pavyzdys turėtų būti aktualus studijų programų rengėjams, į studijų kokybės gerinimą orientuotiems universitetų padaliniams bei visiems, palaikantiems mokslo, orientuoto į taikymą ir laimėjimus, idėją.
Pilsētas var izmantot dažādas radošo pilsētu iedzīvināšanas stratēģijas, izvirzot atbilstošus mērķus un prioritātes, kas saistāms gan ar centieniem attīstīt radošo ekonomiku un tūrismu (Hawkins, 2001), gan piesaistīt radošās šķiras pārstāvjus (Florida, 2005), gan stiprināt vietējo kultūras un radošo ekosistēmu (Holden, 2015) vai arī veicināt kolektīvas radošas pieejas vietējo un globālo izaicinājumu pārvarēšanai urbānā vidē (Landry, 2008).
Tomēr praksē pilsētu attīstības plānu ieviešana un radošu pilsētu mērķu īstenošana var būt sarežģīta dažādu iemeslu dēļ. Pieredze rāda, ka šādos apstākļos ārējie faktori var nospēlēt būtisku lomu. Kā katalizators radošas pilsētas resursu koncentrācijā un piesaistē mērķtiecīgai un neatliekamai darbībai var kalpot dažādi starptautiski konkursi, kuros pilsētas ir ieinteresētas piedalīties sava zīmola stiprināšanai un starptautiskas atpazīstamības iegūšanai. Šajā rakstā tuvāk apskatītas priekšrocības, kas izriet no Eiropas kultūras galvaspilsētas titula piešķiršanas, analizējot, kā konkurss var palīdzēt pilsētām mērķtiecīgāk un ātrāk īstenot savas radošās ambīcijas un kā šo iespēju ir izmantojošas Latvijas pilsētas.
Raksts publicēts monogrāfijā "Radošās pilsētas: procesi un cilvēki". Redaktori - Tjarve, B., Kunda, I., Zemīte, I. Izdevējs - Latvijas Kultūras akadēmija, Rīga, 2024. (152.-167.lpp.)
Monogrāfija pilnībā publicēta projekta "Pārskatot radošo pilsētu konceptu: tīkli, starpnieki un attīstības virzieni/ RePrint" (Nr. lzp-2021/1-0588) mājas lapā https://www.reprint.lv/rezultati (projekts īstenots Fundamentālo un lietišķo pētījumu (FLPP) programmā, finansētājs - Latvijas Zinātnes padome).
The research entitled "Identification of Creative Economy Sectors as Means to Support the Development of a Tourism Village in Beng Village, Gianyar Subdistrict, Gianyar Regency" is a qualitative descriptive study that utilized one informant as the data source. The aim of this research is to identify the creative economy sectors that play a role in supporting the development of a Tourism Village in Beng Village, Gianyar Subdistrict, Gianyar Regency. Beng Village has been designated as a Tourism Village by the local government, and the creative economy has significant potential to enhance the village's economy and sustainability. The research employed survey and interview methods with craftsmen, artists, and business owners in the village. The findings indicate that the dominant creative economy sectors in Beng Village are the production of Barong Clothes, Weaving, and the culinary industry of Babi Guling (Roast Suckling Pig). These three sectors contribute significantly to job creation, income improvement, and the promotion of tourism in the village. However, challenges faced in the development of the creative economy in Beng Village include price competition, product quality enhancement, and effective marketing. Therefore, collaboration among creative economy stakeholders, government support, and skills development are necessary to strengthen the creative economy sector in Beng Village. This research provides a better understanding of the potential and challenges in the development of the creative economy in a tourism village. Keywords: Creative Economy, Tourism Village, Culinary, Fashion.
Pemberdayaan ekonomi kreatif berbasis budaya Nusantara merupakan upaya untuk memanfaatkan kekayaan budaya lokal sebagai sumber inovasi dan pengembangan ekonomi. Indonesia memiliki warisan budaya yang kaya dan beragam, yang mencakup seni, kerajinan tangan, kuliner, dan tradisi lain yang dapat dioptimalkan dalam ekonomi kreatif. Melalui pendekatan berbasis budaya, masyarakat dapat didorong untuk mengembangkan produk-produk kreatif yang memiliki nilai tambah dan daya saing di pasar global. Sinergi antara pelaku ekonomi kreatif, pemerintah, dan masyarakat dalam mendukung pelestarian budaya sekaligus meningkatkan kesejahteraan ekonomi adalah sangat penting. Beberapa strategi yang dapat dilakukan meliputi pelatihan keterampilan, penyediaan akses ke pasar, pemanfaatan teknologi digital, serta perlindungan hak kekayaan intelektual. Dengan memberdayakan ekonomi kreatif berbasis budaya, diharapkan dapat meningkatkan apresiasi terhadap budaya lokal, menciptakan peluang kerja, serta menggerakkan ekonomi di tingkat daerah maupun nasional Meski demikian, tantangan seperti minimnya akses ke teknologi, kurangnya ketrampilan manajerial, dan perlindungan terhadap hak kekayaan intelektual masih menjadi hambatan yang perlu diatasi.
El presente artículo explora la relación entre la economía creativa y los estudios culturales desde una perspectiva interdisciplinaria. Su argumento se basa en la necesidad de utilizar métodos interdisciplinarios para abordar problemas complejos en la sociedad actual, donde la cultura emerge de diversas prácticas humanas como el arte, la política y la religión. Se subraya la importancia de la antropología cultural para entender la vinculación entre la economía creativa y la cultura, destacando cómo la multi, inter y transdisciplinariedad mejora la comprensión de la dinámica del sector cultural y fomenta el diálogo entre disciplinas que normalmente no interactúan. El artículo se enfoca en cómo la creatividad y la innovación en la economía creativa contribuyen al valor económico y cultural, promoviendo un desarrollo económico sostenible, considerando aspectos territoriales y sociales, y cómo este sector puede ser un puente hacia la equidad y la superación de desigualdades. Concluye enfatizando el potencial de la economía creativa y los estudios culturales para enriquecer el diálogo académico y contribuir al entendimiento del impacto cultural y económico de la creatividad y la innovación. Además, se destaca la relevancia de este enfoque interdisciplinario para el desarrollo de políticas públicas que fortalezcan la colaboración entre comunidades locales, el sector académico y los sectores público y privado, promoviendo un desarrollo integral y sostenible.
UNESCO declared The Cosmological Axis of Yogyakarta as one of the world heritage sites of Indonesia on 18 September 2023. The establishment by UNESCO has consequences on the importance of Destination Branding The Cosmological Axis of Yogyakarta by stakeholders, in particular the local government, in supporting the preservation of sustainable culture and tourism. The purpose of the research is to learn the strategy of developing destination branding on the Yogyakarta Philosophy Axis to support the local government's preservation of cultural heritage. This research method is through in-depth interviews, observations, and Focus Group Discussion (FGD) with the Department of Culture (Dinas Kebudayaan/Kundha Kabudayan) in the Special Region of Yogyakarta, which is involved in the development of the philosophical axis area. The results of this research show that the government, especially the Department of Culture, has played an essential role in developing the destination branding strategy of The Cosmological Axis to improve the public's understanding of the values and efforts of preservation of cultural heritage. As a UNESCO World Heritage site, the Philosophy Axis has opportunities to increase tourist attractiveness based on cultural heritage. However, there are challenges, such as public awareness in preserving such cultural heritage, sustainable tourism, disaster mitigation, and the socio-cultural existence of communities around The Cosmological Axis of Yogyakarta.
Zusammenfassung
Kreativität, Stars, Motivation, Identifikation, Qualifikation
In a world abundant with challenges of economic competition, and the acceleration of social, economic, secure, and technical life, a set of difficulties may emerge to impose, even on the major nations, new conditions and circumstances that sometimes leave systems and plans unable to manage. This necessitates concerted official and popular efforts to confront all these difficulties, which may hinder the good performance of the economy. However, the question that arises here is how is this possible? In this kind of situations, the national genius of nations can be tested, as it can originate abilities that can innovate and develop new and different methods, regardless of their undeclared backgrounds, that can bring with it unexpected economic and political profits and gains.
This is the case with the Korean experience, which started from scratch, and in less than one generation, rose to the ranks of the major economies in the world, deciding to transfer part of its profits to support underdeveloped countries. However, at a later stage, it discovered that what it was offering was an opportunity that could be beneficial to the country itself. Thus, a plan was adopted to send volunteers, who today serve as ambassadors for the Korean brand in the targeted countries, which in reality looks like as promising markets for the Korean economy. Therefore, how did volunteer work become a support for official efforts and a geostrategic option to achieve growth and national benefit?
Мақалада Қазақстандағы креативті экономиканы дамытудың бүгіні мен болашағы туралы маңызды мәселе зерттеледі, оның ел имиджін қалыптастыру және оның қоғамдық өмірдің әртүрлі аспектілеріне әсері контекстіндегі маңыздылығы талданған. Осы саладағы бизнес субъектілерінің санын талдауға сүйене отырып, мақалада оны дамыту үшін стратегиялық шешімдердің де қажет екендігі айтылған. Сонымен қатар мақала креативті экономиканың даму бағытын зерттеп, оны жетілдіруге қатысты ұсыныстар топтамасын қамтиды, соның ішінде Қазақстандағы креативті экономиканы дамытудың өзекті аспектілерін көрсетеді. Зерттеу бизнес субъектілерінің санын талдауды, зияткерлік еңбектің рөлін, сондай-ақ креативті экономиканың ғылыми және инновациялық процестерге әсерін қамтиды. Мақалада халықаралық ынтымақтастықтың маңыздылығына назар аудара отырып, творчествалық еркіндікті ынталандыру, кәсіпкерлікті қолдау және қолайлы инновациялық орта құру сияқты ұсыныстар ұсынылады. Сондай-ақ мақала нақты шараларды ұсына отырып және алға қойылған мақсаттарға жету үшін маңызды қадамдарды қарастырған және Қазақстандағы креативті экономиканың даму перспективаларына кешенді көзқарас ұсынады. Қорытындылай келе, мақалада Қазақстандағы креативті индустрияларды дамытудың 2025 жылға дейінгі жоспарлары талқыланады және ЖІӨ-ге салымның ұлғаюы, жұмыспен қамтудың өсуі және осы саладағы кәсіпкерліктің дамуы сияқты негізгі көрсеткіштерге талдау жасалған.
Розглянуто зміни в розвитку креативних індустрій України з початку російсько-української війни. Виявлено певні особливості диджиталізованих аудіовізуальних проєктів, які становлять майбутнє креативних індустрій нашої країни в умовах руйнування агресором об’єктів інфраструктури. Підкреслено необхідність диверсифікації економічних моделей формування аудіовізуальних проєктів у креативних індустріях України в умовах підвищеної турбулентності. Надано характеристику основних економічних моделей, завдяки яким можлива реалізація проєктів в аудіовізуальній сфері України нині. Доведено, що ролі аудіовізуальних проєктів у креативних індустріях України потребують додаткового наукового осмислення.
**Preprint Title:**
*Exploring the Intrinsic and Instrumental Values of the Creative Economy: A Comparative Study of France and Britain in the Post-COVID Context*
**Abstract:**
In the aftermath of the COVID-19 pandemic, Europe's cultural and creative sectors have faced unprecedented challenges, including severe funding cuts and policy instability (IDEA Consult et al., 2021). These sectors, long recognized for their economic and social importance, now face the dual challenge of rebuilding and reshaping policy frameworks to ensure a sustainable, inclusive, and creatively vibrant future. This paper examines the evolving role of the intrinsic and instrumental values within the creative economies of France and Britain, exploring how these values shape funding mechanisms, policy decisions, and the resilience of cultural and creative industries in both countries.
Drawing on a comparative analysis, the study delves into how the intrinsic cultural value of creativity—often tied to identity, diversity, and societal well-being—intersects with the instrumental value that emphasizes economic growth, innovation, and job creation. The paper interrogates whether a renewed focus on the intrinsic value of the cultural and creative sectors can drive more robust, equitable policy reform and provide a sustainable foundation for these industries post-pandemic.
By exploring the interplay between these values and the ongoing policy debates in France and Britain, this paper offers insights into how creative economies can adapt to shifting priorities in funding and governance. It also proposes pathways toward more inclusive and creative futures for Europe's cultural and creative sectors, where both the economic and societal contributions of the arts are fully recognized and supported.
**Keywords:** Creative Economy, Cultural Policy, Intrinsic Value, Instrumental Value, Post-COVID Recovery, Europe, France, Britain, Sustainable Futures, Cultural and Creative Industries, Policy Reform
The article is devoted to the study of the ecological component of the world economy competitiveness. The influence of ecologization on the competitive position of the country on the world market is substantiated. The importance and necessity of taking into account the ecological component in the formation of competitive advantages of the world countries community is proved.
The article is dedicated to exploring the prerequisites and identifying the development potential of the creative sector in Kazakhstan. The main objective of the work is to determine the key factors contributing to the sustainable growth of creative industries through a comparative analysis of Kazakhstan’s "Concept for the Development of Creative Industries for 2021–2025" and the British "Creative Industries Sector Deal." The study employs methods of systematic literature review, comparative, and critical analysis to assess factors such as government support, investment activity, infrastructure projects, and workforce training. The scientific significance of the research lies in the systematization and evaluation of the impact of economic, social, and institutional factors on the growth of the creative sector in Kazakhstan. The practical significance of the work is associated with the potential use of the findings to develop strategies aimed at advancing the creative sector, which will enhance its contribution to the economy and improve Kazakhstan's international competitiveness. The results of the study may be used to prepare a new section for the course on innovative economics and hold certain value for experts in the field of creative economy
The article explores the role of cultural and artistic education in shaping creative human capital in the context of modern challenges. It examines the significance of cultural and artistic education as an important factor in developing innovative skills, social cohesion and economic growth. The need to develop creative human capital is highlighted not only in international but also in national strategies. It is demonstrated that cultural and artistic education contributes to the preparation of specialists for cultural and creative industries, which play a key role in the global economy. The analysis focuses on the expenditures from the consolidated budget of Ukraine for culture and arts for the years 2018-2023. It also examines the allocation of planned expenditures for culture and the arts in the 2023 budget, the training of specialists in professional pre-higher and higher education institutions in the field of;Culture and Arts; in the academic years 2020-2024, as well as the distribution of funds from the state budget of Ukraine for the training of personnel in the cultural and artistic sphere by these institutions in 2021 and 2023. Based on the conducted analysis, conclusions are drawn regarding the reduction of funding for cultural and artistic education, the issue of acquiring relevant business competencies among education seekers in this field, the outflow of creative specialists, the destruction of cultural infrastructure, and other war-related challenges. Recommendations are proposed for developing policies that will facilitate the recovery of creative human capital, specifically through the implementation of such areas as: state policy in the field of culture and art; ensuring the quality of cultural and artistic education; increasing funding; inclusiveness and accessibility of education; expanding international partnerships; funding through cultural projects; support programmes for young talents; integration of innovative technologies; and the development of interdisciplinary programmes. The study concludes that systemic changes in cultural and artistic education are essential to ensure sustainable development and the country’s post-war recovery.
The activities of a wide range of business entities are related to the development and implementation of innovative products at enterprises that require staff to acquire new knowledge, skills, as well as methodological approaches that can be used to solve organizational issues in the field of innovation creation. The implementation of such tasks involves encouraging non-standard, creative approaches to solving complex functional situations that arise in the process of enterprise management; implementation of professional and qualification reorientation of personnel in accordance with innovative transformations; the use of creativity as one of the key factors of self-development, self-realization, self-improvement of employees and ensuring the innovative development of the enterprise. At the same time, despite numerous experimental and theoretical studies by domestic and foreign scientists, the problematic nature of the study of creativity requires additional research aimed at improving and developing new theoretical and methodological provisions. The implementation of innovative programs by the personnel of enterprises for decision-making requires a non-standard approach, which assumes sufficient freedom of action for participants in the innovation process and the creation of positive motives for their activities. The aim of the research is to expand and deepen the theoretical foundations and methodological support for the innovative development of creative economy enterprises based on management improvement. The methodological and theoretical basis of the study included the fundamental provisions of economic theory, scientific works of leading domestic and foreign scientists in the field of ensuring the innovative development of creative economy enterprises based on management. In the course of the research, general scientific methods of cognition were used: theoretical generalization (to study the theoretical foundations and features of the application of creativity management by enterprise personnel in the process of creating innovative products, producing creative ideas, making managerial decisions); grouping and classification (to determine the structure of the components of an employee’s intellectual and creative resources); comparison (to identify systemic obstacles in the process of improving management). The research results in the philosophical reflection of creativity as a factor of managerial changes in the creative management system, the object of which is the personal and collective creative development of employees who are the main participants in creative ideas aimed at improving the formation of the organization as a whole.
This dissertation investigates the policies and practices of preserving and promoting traditional crafts in Portugal, as well as the innovations within this subsector, as a means of ensuring its sustainable development and cultural relevance within the context of the Creative Industries. The research adopted an interdisciplinary and transdisciplinary approach, combining concepts from Communication and Information Sciences, Heritage Studies, History, Cultural Politics and Economics, Anthropology, and Management. The study focuses on the challenges faced by certified crafts, often perceived as static and limited by strict quality standards, and analyses how innovation strategies can be integrated to revitalise the entire subsector, preserving its integrity while adapting it to contemporary market demands. Qualitative methods, such as interviews and participant observation, were employed to understand artisans' perceptions of various aspects, including innovation, the market, challenges associated with certification, and the implications of different public policies. The findings indicate that the preservation of traditional crafts also relies on innovations and reinterpretations that continuously reintegrate them into the community. Furthermore, the research shows that public policies in Portugal have prioritised institutionalised cultural capital, sometimes to the detriment of embodied cultural capital, which may limit innovation in crafts. As a practical outcome of this research, the platform “OCRI – Olhares Criativos (Creative Gazes)” was developed, a collaborative and mediating infocommunication instrument/space through technological support, which aims to promote artisans, their artefacts, and their stories, while simultaneously fostering the reinterpretation of traditional crafts in the light of the Creative Industries. The conclusion is that balancing innovation with the preservation of traditions is essential for the sustainable development of crafts within the context of the Creative Industries. This study contributes to the field by providing both a theoretical and practical framework that can guide future research and public policies, emphasising the importance of considering cultural heritage as a living and continuously reinterpreted process.
Keywords: Traditional Craftsmanship, Creative Industries Management, Innovation, Cultural Heritage, Digital Platform
У статті актуалізовано методологічні стратегії дослідження українського соціокультурного простору як основи національної ідентичності та базового елемента конструювання консолідаційних символів і цінностей, що є потужною рушійною силою історичного поступу. Розглянуто вплив просторових чинників на формування ідентифікаційного коду та хронотопу української нації, специфіка яких зумовлена численними територіальними змінами, колонізаційними й міграційними процесами, геополітичними практиками метрополій в ареалі українських етнічних земель. У контексті використання концептуальних парадигм просторової історії репрезентовано стратегічний потенціал нового просторового мислення, підґрунтям якого є фіксація геополітичних ризиків історичного досвіду й можливість вчасного реагування на них. Сучасні територіальні конфлікти створюють безпекові виклики для держав, результативність відповідей на які великою мірою залежить від спільних та зважених дій політиків і науковців. Проблема ідентифікаційного дистанціювання соціокультурного простору, своєчасне виявлення загроз національній безпеці та запобігання їм, посилення захисту національних інтересів, прогнозування тенденцій розвитку повоєнного безпекового середовища мають бути стратегічними пріоритетами державної політики України.
Introducción. A pesar de que las actividades culturales y creativas han formado parte de la economía, este ha propiciado un creciente auge y dinamismo dentro de esta. Objetivo. El objetivo del presente fue determinar las actividades de emprendimiento que se asocian a la industria creativa y cultural, que fomentan el empleo en las mujeres en el mercado laboral de las localidades rurales de Yucatán. Metodología. El enfoque de investigación fue cuantitativo, considerando un 91% de confianza para una muestra de 83 personas en 5 municipios de la entidad yucateca. Resultados. Los resultados indican que se emprende por la mujer para contribuir con el gasto familiar, pero que, en asociación con las actividades creativas y culturales, esta no siempre obtiene una constante en los ingresos y su eventualidad es presente y baja, durante la Covid-19 en Yucatán. De igual manera, se obtuvo que, más del 70 % utiliza procedimientos sin incluir tecnología en la elaboración de los productos y servicios, así como, el 95 % tiene fines lucrativos, por otra parte, se detectó que es una actividad de la cual se depende económicamente en más del 60 % de los casos y se posee una antigüedad en promedio de 5.5 años en el mercado laboral. Conclusiones. La especialización y facultamiento de las mujeres emprendedoras se vuelve crucial para la continuidad de los negocios y la generación de nuevos panoramas de integración e innovación en esta industria, como un panorama principal en la industria creativa y cultural
This study aims to investigate the level of digital skills among creative labours and to examine the differences in digital skills within this group. The research adopts a cross-sectional quantitative design. The sample consists of 2,923 creative labours employed in the creative industries, derived from individual secondary data from the 2020 Household Survey on Information Technology and Communication Usage conducted by the National Statistical Office. The data was collected using quantitative interviews and analyzed using descriptive statistics, including cross-tabulations and the One-way ANOVA test to assess differences in digital skills. The
findings reveal that the average overall digital skill level among creative labours is 31.33%. The highest average percentage is observed in communication and collaboration skills, at 44.40%. In contrast, one-quarter of creative labours have the lowest average percentages in problem-solving and digital content creation skills, at 25.67% and 25.33%, respectively. When considering digital skill levels across different creative professions, it is found that labours in product design professions exhibit the highest level of digital skills, accounting for 22.0%. On the other hand, those in architecture and handicrafts show the lowest levels, with 37.7% and 33.9%, respectively. The study also reveals significant differences in digital skills across different creative professions. Labours in information technology, print media, advertising and marketing, film and media, museums, galleries, and libraries, music,
performing arts, visual arts, and product design have significantly higher average digital skills compared to those in architecture and handicrafts, with statistical significance at the 0.05 level.
This research aimed to develop naturally dyed fabric products to create added value and enhance the product line of the tie-dyeing profession. The sample consisted of 25 members of the tie-dyeing profession, selected through purposive sampling. The research was conducted through participatory action research focusing on product design, techniques, and materials used in production. The research findings revealed that the development of naturally dyed fabric products from leaves and flowers resulted in various colors. For instance, turmeric leaves produced yellow, Teak leaves produced purple-pink, soapberry leaves produced yellow-green, marigold flowers produced orange, and Coral vine flowers produced orange. The arrangement of leaves and flowers gave the fabric a unique identity. Moreover, the design and development of four new products were achieved, including shirts, shawls, bags, and pillowcases, which aligned with consumer preferences and benefited the community in a new format. Furthermore, it was found that the new products could generate added value, increasing the original value by 30% and income by 60%. This serves as a guideline for increasing income within the community context.
North Khorasan region, with the coexistence of different Iranian ethnic groups, has unique characteristics compared to most regions of the country. This cultural pluralism also exists in the way of life of the people and their various artistic activities so that in the various arts, from local games to local music, from local foods to the way of covering and local clothes, it has a unique capacity and can have a positive effect on the development of this region. In different regions of North Khorasan, because of the ethnic and cultural density and the prevailing artistic expressions, holding cultural and artistic festivals can corroborate various social and economic effects by using the existing capacity and recognizing their bottlenecks. With a case study of Shirvan as a city with various cultural and artistic capacities, and with a view to the holding of the Tar Ava local music festival, this research analyzes the effects above and draws a vision of these capacities in the development of the entire region.
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