Creative Industry: Fact or Fiction?

In the late 1990's there was a growing realisation that for many 'post industrial' economies and especially the UK, not only had they become dominated by traditional 'service' businesses (banking, finance, retail, logistics, law and other professional service firms) but that the most rapidly growing group of these 'knowledge based' firms were in an ill defined sector that depended on creativity for their source of competitive advantage such as fashion, design, architecture, advertising and PR, books, music, film and TV production, theatre, online communities, video games, museum and gallery exhibitions and other print and screen based media. Many of these firms were young and rapidly growing, there were some large scale businesses in media and advertising but the majority stayed small and had a high attrition rate. In the UK they represented about 8% of GDP but crucially were growing at twice the rate of the economy as a whole. From a policy point of view they attracted a lot of interest - was this the holy grail of the future 'knowledge economy'? Now nearly 10 years on from the UK's declaration of 'cool Britannia' under Tony Blair's New Labour project, it is worth reflecting on what we really know about the 'Creative Industries and Creative Business'. Are they fact or fiction? and what might be the implications for education in the arts and management

Digital Society Ecosystem Impact on Creative Industry

Industry 4.0 phenomenon has emerged since many technological breakthroughs developed in the past decades. Human well-being behavior are basically influenced by the digital technology. The current customers incline the need for customized products. This situation drive the production paradigm shift from the mass production to the individual production. This paradigm shift force companies to own more resources. Companies’ collaboration is a way to win the competition. Industrial revolution era bring the fact that dominant economic activity is coming from a strong business ecosystem. The major impact of digitalization is faced by the creative industries, an industry priority and a \u27laboratory\u27 for studying economic transformation and modern society. This paper will review the digitalization in industry 4.0 era, business ecosystem and society shift, and the digitalization impact on creative industry. Keywords Industry 4.0; business ecosystem; society shift; creative industr

Creative methodologies for understanding a creative industry

The chapter presents a conceptual framework for the identification and analysis of value creating and value capture systems within creative industry contexts based on theoretical and empirical studies. It provides a ‘digital economy’ perspective of the creative industries as a micro-level example of a wider analytical problem, which is how society changes itself. The increasing level of innovation and creativity produces greater levels of instability in social structures (habits, norms etc.) Completely new industries can arise (and ‘creatively’ destroy old ones) as new stabilised patterns form, particularly where entry costs are tumbling, such as digital milieu. Observations of workshops over several days with creative groups, interviews with creative enterprises, literature reviews on creative industries, business models and value systems have informed the analysis and conceptualisation. As a result we present a conceptual framework that we suggest can capture how novelty arises as emergent order over time. We have extended previous work that investigates the significance of emergence in theorising entrepreneurship into an exploration of how to articulate the creation and flow of value and effective ontology in a creative landscape. In the digital economy, the creative industries revolve around dynamic, innovative and often unorthodox collaborations, whereby numerous large, small and micro-businesses come together for the duration of a project, then disband and form new partnerships for the next project. Research designs must therefore address multiple contexts and levels presenting an analytical challenge to researchers. Methodologically, we suggest that the framework has analytical potential to support the collection of data: ordering and categorising empirical observations concerning how different phenomena emerge over time across multiple levels of analysis and contexts. Conceptually, the work broadens the notions of ‘business model’ to consider value creating systems and particular states reached by those systems in their evolution. The work contributes new concepts for researchers in this field and a wider framework for practitioners and policy makers

A Planning Model for Creative Industry Zone-producer of Clothes Used as Cultural Tourism Product Case Study in the Area of Tuan Kentang 15 Ulu Palembang

Creative industry has a significant contibution in increasing economy because it can create positive atmosphere in tourism sector. The area of Tuan Kentang 15 Ulu - Palembang is one of creative industry zones from fashion subsector which produces Jumputan and Tajung clothes which are known by many people. As one of tourism products based on creative industry, the area of Tuan Kentang has possessed five charateristics of creative tourism, i.e, tourists become part of the tourism progress, the existence of participative learning, interactive, informal, limited products, and has something to do with the local people. However, there were so many constraints, such as lack of planning and facilities needed for tourism development in this area. This influences the number of visitors coming to this area. By doing this research, there will be model of planning for creative industry zone which produces a number of clothes as an effort to improve the quality of the area and culture in Palembang. This research used descriptive qualitative and quantitative as a method in analyzing. The products of tourism by using scoring range for the products through participative place making approach. There were some stages in analyzing the data, that is by using likert scale and SWOT analysis. The result of this research composed factors and facilities that used to be created in a creative industry area, which could determine and develop the planning for tourism area based on creative industry in Indonesia

Analysis of Creative Industries Development in Indonesia

This study aims to identify the relative strengths of the creative industry subsector in Indonesia and analyze the determinants that affect the GDP of the creative industry sector in Indonesia. The analysis period from 2010 to 2016 used Klassen's typological analysis and panel data regression. The data used in this study from 2010 to 2016 (time series) and 16 sub-sectors of the creative industry sector. Based on typology Klassen creative industry sub-sector craft, fashion and culinary is a sub-sector that has a relative advantage over other subsectors, thus contributing more to the GDP of the creative industry. The panel data regression results show that the variable of the creative industry workforce, creative industry employee wages, and patents were able to increase the GDP of the creative industry. The vocational creative industry sector which is a proxy for education and creative industry sector policies can make the GDP value of Indonesia's creative industries in the future be higher. Some industrial sub-sectors such as photography, publishing, architecture, advertising, interior design, and fine arts need government support to catch up with other subsectors to make a better contribution to the GDP of creative industries. the promotion of patents and policies for small businesses must be improved, especially administrative and technical requirements to make it easier

Analisis Pertumbuhan Teknologi, Produk Domestik Bruto, Dan Ekspor Sektor Industri Kreatif Indonesia

Creative industries are seen to be important for the economic well-being, proponents suggesting that human creativity is the ultimate economic resource. This research seeks to explore the technology progress measured by total factor productivity (TFP) growth of creative industry in Indonesia, analyze how external factors influence GDP of creative industry (education, TFP growth, the number of companies, the number of labors, and government policy), and analyze the causality between GDP and export of creative industry using Granger Causality Test. This research uses panel data, representing pooled of time series data (year 2006-2013) and cross section data (14 subsectors of creative industry). The results shows that (1) TFP growth of 4 creative industry subsectors are negative: architecture, interactive games, computer programs, and research and development; (2) factors influencing the GDP of creative industry positively: education, TFP growth, the number of labors, and government policy; (3) there is two-way-causality between GDP and export of creative industry

Analisis Pertumbuhan Teknologi, Produk Domestik Bruto, Dan Ekspor Sektor Industri Kreatif Indonesia

Creative industries are seen to be important for the economic well-being, proponents suggesting that human creativity is the ultimate economic resource. This research seeks to explore the technology progress measured by total factor productivity (TFP) growth of creative industry in Indonesia, analyze how external factors influence GDP of creative industry (education, TFP growth, the number of companies, the number of labors, and government policy), and analyze the causality between GDP and export of creative industry using Granger Causality Test. This research uses panel data, representing pooled of time series data (year 2006-2013) and cross section data (14 subsectors of creative industry). The results shows that (1) TFP growth of 4 creative industry subsectors are negative: architecture, interactive games, computer programs, and research and development; (2) factors influencing the GDP of creative industry positively: education, TFP growth, the number of labors, and government policy; (3) there is two-way-causality between GDP and export of creative industry

Metode Pengembangan Industri Kreatif Komoditi Pertanian

Bambang Yudi AriadiStaf Pengajar Jurusan Agrobisnis, Fakultas Pertanian Peternakan, Universitas Muhammadiyah MalangAlamat Korespondensi : Bumiasri Sengkaling Blok N No. 26 MalangTelpon : 0341 460865, Hp: 08123317597, Email: [email protected] final objective of the research was to evaluate resources to find scientific capital of methodof developing creative industry on agricultural product. The research aimed to: 1) Describe the roleof leadership at creative industry; 2) Describe the innovation, creativity and imagine of the entrepreneurin managing creative industry; and 3) Arrange method of developing creative industry on agriculturalproduct. The research was conducted in Malang, while the subjects were entrepreneurs of creativeindustries who use agricultural product as row material. The data collected was analyzed by qualitativedescriptive method. The research result showed that: 1) The main asset of creative industry wascreativity asset or kognitive asset, namely: design, emphaty, game, and meaning.; 2) The importantindicator that determine success in conducting creative industry was the ability of the entreprreneurin adaptation in term of technical, economical and the risk or uncertainty of marketKey words: creative industry, cognitive asse

Conceptual Model to Enhance Creativity of the Batik Industry

Creative industry are defined as industry derived from the use utilization of creativity, skills and individual talents of individual to create wealth and generate employment by producing and exploiting individual creativity. Creative industry’s contribution to National GDP is equal to 7.8% at 2002-2008. Batik industry is one of the creative industry are included in the crafts sector. The purpose of this research is to develop a conceptual model to enhance creativity batik industry. This conceptual model was built based on four aspect, namely Press, Person, Process, and Product (4P). Press or creative organizational climate will stimulate the development of creative human resources (person) and creative process (process). The interaction between the creative process (process) with the creative human resources will produce a creative product(product). Creative products is the real object that can represent creativity