We protect the rights and promote the interests of creators worldwide. With member societies in countries, CISAC represents four million creators from all geographic areas and artistic repertoires. It is governed by the General Conference and the Executive Board. The Secretariat, headed by the Director-General, implements the decisions of these two bodies.
John Newbigin What is the creative economy? But no government had attempted to measure their overall economic contribution or think strategically about their importance except, perhaps, the US government which, for almost a hundred years, had protected and fostered its film industry, not just because of its value to the US economy but because it projected US culture and influence around the world.
The first attempt to measure the value of the creative industries Ina newly elected Labour government in the UK decided to attempt a definition and assess their direct impact on the British economy.
Critics argued that the study was creating false distinctions and that individual creativity and talent were at the heart of many other areas of activity, from bio-sciences to engineering. Of course, that is true but the study had deliberately chosen not to include the creative work of scientists and engineers that is built on systematic analysis and enquiry, and to focus instead on the more random drivers of creativity in the social and cultural spheres.
Despite these and other criticisms the study attracted considerable interest, particularly when a follow-up analysis in revealed that this arbitrarily defined creative sector was generating jobs at twice the underlying rate of the UK economy as a whole.
In some countries the definitions revolve closely around the arts and culture. Other countries have broader definitions that include, for example, food and gastronomy on the basis that food and cuisine have both economic and cultural significance.
The more policy analysts and statisticians around the world thought about how to assess the true impact of the creative industries the more it became apparent that much more fundamental rethinking was necessary.
This had the perverse effect of making important new areas of skill and wealth generation effectively invisible to governments and made international comparisons almost impossible.
How could one begin to measure their impact? Moreover, the massive impact of digital technology was transforming every industry, creative or not, while the internet was opening up an ever-changing variety of platforms for new creative expression which, in turn, was generating all kinds of new and very obviously creative businesses.
For example, within a decade and a half of its birth the videogames industry had surpassed the hundred year old film industry in value. The more policymakers thought about the creative industries the more it became apparent that it made no sense to focus on their economic value in isolation from their social and cultural value.
This is what the emerging creative economy has begun to do. This, in turn, opens up a whole new arena for discussion.
It seems that these industries, especially the thousands of small and micro-businesses that are at the cutting edge of creativity, may not only be of growing economic significance but, in some sense, are a harbinger of a whole new economic order, providing a new paradigm for the way in which businesses are organised, education is understood and provided, value is measured, the working lives and career prospects of millions of people are likely to develop and how the cities they live in will be planned and built.
It is sometimes said that where oil was the primary fuel of the 20th century economy, creativity is the fuel of the 21st century. In the same way that energy policy and access to energy was a determinant of geopolitics throughout the 20th century, it may be that policies to promote and protect creativity will be the crucial determinants of success in the 21st.
If that is true then we will have to rethink the way governments are organised, the way cities are planned, the way education is delivered, and the way citizens interact with their communities.
So, thinking about what we mean by creativity and the creative economy could not be more important! He has also worked as a journalist and as an illustrator.Cultural and Creative Industries Urging for New Approaches Li-Min Lin Peking University, Beijing, China Andy C.
Pratt to explain the organization of the CIs. In this model, the first stage is creation, which ENCATC JoUrNAL oF CULTUrAL MANAGEMENT ANd PoLICY // Volume 4, Issue 1 60 or models.
The third stage is actually a series of. Nov 28, · Read "Cultural Policy in East Asia Contemporary Issues and Trends" by with Rakuten Kobo.
This book provides an introduction to the contemporary issues that are occurring in cultural policy in East Asia today. Andy Pratt, City, University of London, Cultural Policy and Management Department, Faculty Member.
Studies Cultural Studies, Cultural Policy, and Cities.
by Andy Pratt. and regions; second, we highlight the corresponding shifts occurring in the organisation of the cultural and creative industries, and the field of cultural policy; third.
Description of the book "The Creative Industries: Culture and Policy": "Moving from age-old warnings about the influence of the cultural industry to a tentative embrace of a global creative society, Terry Flew's new book provides an excellent overview of this exciting field.
The cultural economy forms a leading trajectory of urban development, and has emerged as a key facet of globalizing cities. Cultural industries include new media, digital arts, music and film, and the design industries and professions, as well as allied.
This article analyses and contextualises a variety of relationships between the cultural industries and cultural policy. A principal aim is to examine policies which are explicitly formulated as cultural (or creative) industries policies.