INCREASING
ROLE OF CULTURAL AND CREATIVE INDUSTRIES
According to Hendrick Van der Pol this era of
extraordinary change and globalization, many acknowledge that creativity and
innovation are now driving the new economy. Organizations and even economic
regions that embrace creativity generate significantly higher revenue and
provide greater stability into the future.
Based on ideas rather than physical capital, the creative economy
straddles economic, political, social, cultural and technological issues and is
at the crossroads of the arts, business and technology. It is unique in that it
relies on an unlimited global resource: human creativity. Many stakeholders are
involved in this process: the public sector which includes cultural
institutions, e.g. museums, public service broadcasting organizations, etc.;
the private sector which covers a wide range of commercial operations in all fields
of cultural production and distribution; the non-profit sector including many
theatre and dance companies, festivals, orchestras, which may receive
government subsidies; and non-governmental organizations such as advocacy
agencies, actors and musicians’ unions.
Culture is increasingly
finding a route to the market, which is leading to radical transformations in
the way people create, consume and enjoy cultural products. Globalization and
the convergence of multimedia and telecommunications technologies has
transformed consumers from passive recipients of cultural messages into active correlators
of creative content. The digital
distribution of music is but one aspect of much larger economic phenomena, as
will be discussed in this paper. Yet it is important to note that culture and
creativity also have a tremendous impact on social cohesion and development. The
role of culture in development shows that ‘the arts enrich the social
environment with stimulating or pleasing public amenities and artistic activity,
by stimulating creativity and innovation.
Culture should not only
be considered as a means or a barrier to achieve economic growth but also as a
factor of social cohesion and human development. Before exploring the social and economic
importance of culture any further, certain conceptual differences should be
discussed. One choice of orientation, already highlighted in the very title of
this session, is to differentiate between ‘cultural’ industries and ‘creative’
industries. Another approach, adopting the term ‘copyright’ industries, is
considered briefly below while other categorizations, such as design
industries, lie beyond the scope of this paper. Cultural industries relate to
the creation, production and commercialization of the products of human
creativity, which are copied and reproduced by industrial processes and
worldwide mass distribution. They are often protected by national and
international copyright laws. They usually cover printing, publishing and
multimedia, audiovisual, phonographic and cinematographic productions, crafts
and design. Creative industries encompass a broader range of activities than
cultural industries including architecture, advertising, visual and performing
arts.
In
a nutshell; Culture, Media and Sport placed its
definition of creative industries at the heart of its policy-making agenda in
the late 1990s and defined creative industries as those requiring creativity,
skill and talent, with the potential for wealth and job creation through
exploitation of their intellectual property.
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