The Dilemmas of the Creative Industries: Developing a Checklist of the Challenges Faced by Arts-Related Creative Enterprises (original) (raw)
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Creative Industries – Art and Commerce; Entrepreneurship and Creativity
Abstract: Recent research in cultural studies and the sociology of culture depicts an interest related to the different roles of culture in contemporary societies. Such views convey an important criticism on media policy, the changes in cultural production and its consumption in the current metropolis. O’Connor (O’Connor and Wynne 1996) indicates the resistance to cultural industries due to the undermining of the autonomy of art (especially in cities built on cultural tourism or based on institutions of high culture). Regarding aesthetics, a new hierarchy is created: a certain opposition to traditional aesthetics and, at the same time, a pluralization. Thus, T. Jowell (2004) speaks of a “complex culture”. The creative cultural industries were not visible in traditional cultural policies based on arts and heritage (Romania falling into this category in 1998, while attempting a strategy for culture that emphasized the patrimony, but at the expense of other cultural sectors – an attempt that was criticized by the Council of Europe in 1999). The need for self-financing cultural institutions highlighted the relevance of the creative industries. This paper will depict different views on this phenomenon in Romania, even regarding the definition and development of the creative industries. As a case study, I will investigate the Paintbrush Factory from Romania – a creative model of arts management, a cultural brand, and a unique organization form of arts management: a federation. My research aims to apply the four research categories introduced by Taylor and Hansen in 2005 for organizational aesthetics (intellectual analysis, instrumental issues, artistic form, and aesthetic aspects) as a methodological model for this case study. Keywords: creative industries, entrepreneurship, Paintbrush Factory, Romania.
Characterization Of Creative Industries: Challenges And Opportunities
International Journal of Scientific & Technology Research, 2019
The creative industry is a very potential industrial sector, especially in today's technological developments that require people to use existing technology to hone and enhance their creativity. Creative agents themselves are activities that begin with the use of creativity, skills, and talents to create prosperity and employment through the creation and utilization of existing resources. The purpose of this study is to map the characterization of the creative industries in Jember Regency and their potential based on the functional management functions of the Industry creative is an activity that focuses on creation and innovation. The creative industry in this region has considerable potential, can be seen through the many creative industries that exist in the Regency of Indonesia. Optimizing the potential of creative industries in this region still requires various efforts so that existing creative industry products can become go glocal. It is suggested that the development of...
The dillemas of startups in the creative industries - tension between artistic and market goals
The creative industries include companies that create, produce and sell creative products and services, such as arts and cultural goods. Although their importance for European economies is widely acknowledged, their contribution to GNP, as well as the stage of development varies across the EU countries. In Poland their contribution to GNP is relatively low, comprising merely 1%. The
Developing the creative industries within a European Framework: too complex to deal with?
In this article I attempt to give a comprehensive summary on creativity, on the connection between creativity and society, and on the economic value of creativity, i.e. on the creative industries according to the different literature, European policies and studies on that topic. It will be shown, that creativity can be understood differently and so can be the creative industries defined in very different ways, too. I stress the importance of the social context, the role of the environment, which is crucial for the creative idea, whether we speak about artistic or practical creativity.
Reflections on a Governance Model for Creative Industries
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We are witnessing the industrialization of culture on a global scale -entering a time when the creative arts skills will be right at the centre of wealth creation, and thus of business, and thus of governance. Simon Evans, speech delivered at the Creative Clusters Conference 2007 1 A INTRODUCTION: THE CREATIVE ECONOMY
Introduction to A Research Agenda for Creative Industries
A Research Agenda for Creative Industries, 2019
How much should a research agenda for creative industries be shaped by a policy and industry orientation? Academic disciplinary knowledge is typically generated by the successive refining of methods of enquiry and the stabilisation of, and consensus around, objects of enquiry. Developing research agendas for creative industries could not be further from this kind of activity. Looking back at the 'birth' of creative industries, John Newbigin, in Chapter 1, reminds us of the politically experimental, contingent nature of the 'uncharted territory' of 'raising the profile of an eclectic jumble of generally IP-based, culturally-rooted businesses that governments and banks had conspicuously failed to understand or take seriously as part of the economy'. Lutz and Karra (2009, p. 117) argued that DCMS' definition 'does not provide any systematic, persuasive or logical explanation of what precisely its clump of thirteen subsectors (advertising, architecture, art and antiques, crafts, design, designer fashion, software, film and video, music, performing arts, publishing, television and radio) share'. Emphasising these contingent beginnings is by no means to say that rigorous disciplinary knowledge cannot, or should not, be brought to bear in creative industries research. Indeed, much of this book is dedicated to the challenges creative industries pose for knowledge generation in a wide variety of disciplines. It also does not mean that there are not recurrences, consistencies and even constants that researchers can identify as distinctly constituting the field of creative industries research. These fundamental points will arise throughout this book.
Creative industries have definitely claimed a stake within the contemporary economic sphere that is now more driven by knowledge and innovation. Apart from the resultant massive development and the creation of employment, creative industries have also been credited with the emergence of cultural ingenuity and diversity. The tide of change has arguably gained momentum and is here to stay. New writings from economists show the development of a “post-Fordist” capitalist economy that is driven by information, ingenuity in the use of knowledge, and ownership
Business Performance of the Creative Economy: Its Driving Factors and Challenges
JOURNAL OF INTERNATIONAL BUSINESS AND ECONOMICS
The purpose of this article is to measure the role of the factors that activate or trigger the creative economy in the business performance of creative industries in 94 cities in Indonesia. The measurement method uses loglinear regression with cross-section data from the results of a creative industry survey in 2016. The research findings show that the activating factor of creative economic business income performance is the strength of the local culture; use of ecommerce in the form of online sales; and the role of urban locations in Java as center for the development of creative economy businesses, while the share of inspiring entrepreneurs is still relatively small. The role of the government has not provided a positive impetus for the development of creative economic ventures. The limitations of the development of the creative economy are that most are micro and small companies, and the use of technology has not been prominent in both the business scale and the length of time the business is. Therefore, the government needs to provide space for stakeholder participation in collaborating and adopting creative economic forces at the local level.
Technovation, 2010