ship: Ba
CAED 214: CREATIVE INSDUSTRIES AS CULTURE & ARTS PRACTICE
WEEK 1: Creative Industries
2nd Semester I S.Y. 2022-2023
Instructor: Mr. Arjay Servantes Targa
According to UNESCO:
The definitions adopted on a national
level depend largely on the needs and
The concept of cultural industries - the
scope defined within local policy
creation, industrial reproduction, and
evaluations and development initiatives.
mass distribution of cultural works - is not
new. In 1948, Theodore Adorno and Max
Horkheimer coined the term. Half a
century
has
passed
since
they
developed the concept and during this
time the ways of creating, producing,
and distributing cultural products has
changed
dramatically.
Cultural
industries have incorporated, in addition
to adapting to technological advances
and the evolving place of media in
society,
sophisticated
production
processes and large-scale distribution
methods to reach global markets. In the
UNESCO encourages
1990s, in Australia and the United
the use of UNESCO’s
Kingdom, the concept further evolved
Framework
for
towards the creative economy. The
Cultural
Statistics
creative economy places an emphasis
developed by the
on creativity and presenting it as the
Institute for Statistics as
engine of innovation, technological
a starting point (see
change
and
as
a
comparative
above illustration). The
advantage in business development. This
proposed definition is
led to the introduction and use of the
broad. The cultural
terms “creative industries” in policy
and
creative
development circles. These industries
industries
are:
were defined in the United Kingdom as
Those
sectors
of
“those industries which have their origin in
organized
activity
individual creativity, skill and talent which
that have as their
have a potential for job and wealth
main objective the
creation through the generation and
production
or
exploitation of intellectual property"
reproduction,
the
('Creative
Industries
Mapping
Document', DCMS, 2001). In recent years promotion, distribution or commercialization
concepts such as content industries and of goods, services and activities of content
copyright industries have also been derived from cultural, artistic or heritage
introduced including slightly different origins.
definitions and disciplines. All these This approach places the emphasis on
concepts and approaches share the goods, services, and activities of a cultural/
common theme of creativity. Human artistic and or heritage nature, whose origin
creativity is the source of cultural and lies in human creativity, whether past or
creative industries goods and services. present. It also underscores the necessary
They also share the common links of functions of each aspect of the cultural
culture, trade, and intellectual property value chain that allows goods, services, and
rights,
particularly
copyright.
The activities to reach a public and market.
differences in the definitions adopted on Therefore, this definition is not limited to only
a national level depend largely on the the output of human creativity and industrial
needs and scope defined within local reproduction but includes other activities
policy evaluations and development that contribute to the creation and
distribution of cultural and creative products.
initiatives.
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WEEK 1: “Creative Industries”
SOURCE:https://en.unesco.org/creativity/sites/creativ
ity/files/digitallibrary/What%20Do%20We%20Mean%20b
y%20CCI.PDF
Integrated Industry Development for Creative
Industries
This program is prepared and crafted to
provide a strategic direction for the
development of the Philippine Creative
Industries, which will lead to improved
competitiveness,
enhanced
capability,
increased productivity, export promotion
and development, and compliance to
global standards for greater market access.
Components of creative Industries covered
in this project include live entertainment and
performing arts; audio visual sector
specifically
film;
animation;
game
development; marketing services; creative
process
outsourcing;
and
creative
freelancers.
It is aligned with the Philippines’ New
Industrial Strategy –
i3s: Inclusive Innovation Industrial Strategy
aimed to:
(1) build innovation and entrepreneurship
ecosystem – upgrade and develop new
industries.
(2) remove obstacles to growth; and
(3) strengthen domestic supply chains &
deepen participation in global/regional
value chains.
The scope of the Development of the
Philippine Creative Industries Project is
composed of five (5) sub-projects aimed to
develop various creative sectors:
1. Development of Creative Industry
Roadmap
2. Filipino Performers and Entertainers
Accelerator – Capacity Building
Program for the Workers in Film, Live
Events and Performing Arts
3. Development of Shared Digital
Services Facility
4. Development of Creative Services
Special Zone
5. Professionalize
Filipino
Online
Creative Freelancers.
SOURCE:https://innovate.dti.gov.ph/programs/c
reative-industries-development/
Creative Industries definitions
Here are some Creative Industries
definitions.
The creative industries sector is also referred
to as the ‘creative and cultural industries‘ or
the ‘creative and digital industries or the
‘creative industry’ within the ‘creative
economy‘. Most recently they have been
called the ‘Orange Economy ‘(La Economía
Naranja) in Latin America and the
Caribbean.
The terminology can be confusing!
Broadly
speaking,
the
term ‘creative
industries’ refers to a range of economic
activities that are concerned with the
generation and commercialization of
creativity,
ideas,
knowledge,
and
information.
The term ‘creative industries’ describes
businesses with creativity at their heart – for
example
design,
music,
publishing,
architecture, film and video, crafts, visual
arts, fashion, TV and radio, advertising,
literature,
computer
games and
the
performing arts.
Further information…
The creative industries definition from the UK
Government’s Department for Culture,
Media and Sport (DCMS) is: ‘Those industries
which have their origin in individual
creativity, skill and talent and which have a
potential for wealth and job creation through
the
generation
and
exploitation
of
intellectual property.’
There are thirteen sub-sectors under the
term ‘creative industries’ and these are:
advertising; architecture; the art and
antiques market; crafts; design; designer
fashion; film and video; interactive leisure
software; music; the performing arts;
publishing; software and computer games;
and television and radio.
The term ‘cultural industries’ is also used by
some agencies, though this term relates to a
more specific range of industries and can be
regarded as a subset of the creative
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WEEK 1: “Creative Industries”
industries. The cultural industries are defined
by UNESCO as ‘industries that combine the
creation, production and commercialization
of contents which are intangible and cultural
in nature; these contents are typically
protected by copyright and they can take
the form of a good or a service.’
Increasingly, the term ‘Creative and Digital
Industries’ is used in the UK because of the
importance of digital content and online
services within the creative sector of the
economy.
According
to Wikipedia,
a Creative
Economy is based on people’s use of their
creative imagination to increase an idea’s
value. John Howkins developed the concept
in 2001 to describe economic systems where
value is based on novel imaginative qualities
rather than the traditional resources of land,
labor and capital. Compared to creative
industries, which are limited to specific
sectors, the term is used to describe
creativity throughout a whole economy.
Some observers take the view that creativity
is the defining characteristic of developed
21st
century
economies,
just
as
manufacturing typified 19th and early 20th
centuries.
The Orange Economy (Economia Naranja) is
a term coined by Felipe Buitrago Restrepo
and Iván Duque, authors of “The Orange
Economy, an infinite opportunity.” They
explain that orange, a pigment used in
ancient Egypt to adorn the tombs of the
pharaohs, is the dominant color for
culture, creativity and identity.
UNESCO. The United Nations Educational,
Scientific and Cultural Organization works
through its Global Alliance for Cultural
Diversity and Creative Cities Network to
strengthen cultural industries internationally
by
encouraging
knowledge-sharing,
capacity building, good practice and
mentoring between its members. The Global
Alliance promotes cultural diversity by
strengthening the capacity of cultural
industries to produce and distribute goods
and services and help them gain access to
national and international markets.
UNCTAD. The United Nations Conference on
Trade and Development has introduced the
topic of the “creative economy” in the world
economic and development agenda. The
creative economy is an emerging concept
dealing with the interface between
creativity,
culture,
economics,
and
technology in a contemporary world
dominated by images, sounds, texts and
symbols. Today, the creative industries are
among the most dynamic sectors in the
world economy providing new opportunities
for developing countries to leapfrog into
emerging high-growth areas of the world
economy. In implementing its mandate,
UNCTAD has been proactive in promoting
international action in the area of the
creative industries, and hence, the creative
economy, emphasizing their development
dimension. The creative industries are at the
crossroads of the arts, culture, business, and
technology. All these activities are intensive
in creative skills and can generate income
through trade and intellectual property
rights.
According to Connect Americas, here are
some definitions from institutions and
organizations that have focused their
attention on these industries.
• United Nations Education Science
and Culture Organization (UNESCO):
The cultural and creative industries
are those that combine the creation,
production and commercialization
of creative contents that are
intangible and of a cultural nature.
These contents are usually protected
by Copyright and can take the form
of a good or a service. Besides all
artistic and cultural production, they
include architecture and advertising.
• United Nations Conference on Trade
and Development (UNCTAD): The
creative industries are at the core of
the creative economy, and are
defined as cycles of production of
goods and services that use
creativity and intellectual capital as
their main input. They are classified
by their role as heritage, art, media,
and functional creations.
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WEEK 1: “Creative Industries”
•
World
Intellectual
Property
Organization (WIPO): The Copyrightbased industries are those that are
dedicated, interdependent, or that
are directly or indirectly related with
the
creation,
production,
representation,
exhibition,
communication, distribution or retail
of Copyright protected material.
• Department of Culture, Media and
Sports of the United Kingdom
(DCMS): The creative industries are
those activities based on creativity,
individual talent and skill, and that
have the potential to create jobs and
wealth through the generation and
exploitation of intellectual property.
• Economic Commission for Latin
America
and
the
Caribbean
(ECLAC): The content industries are
publishing,
film,
TV,
radio,
phonographic, mobile contents,
independent audiovisual production,
web contents,
• electronic games, and content
produced for digital convergence
(cross-media).
In Indonesia, BEKRAF describes the Creative
Economy as
follows:
“The creative economy is creating added
value based on creativity that is protected by
copyright, and originated from cultural
heritage, knowledge and technology.”
SOURCE:https://www.davidparrish.com/creativeindustries-definitions/
What are Creative Industries?
Creative industries refer to a range of
economic activities that generate or exploit
knowledge and information.
BAGUIO AS UNESCO CREATIVE CITY
Launched in 2004, the United Nations
Educational,
Scientific
and
Cultural
Organization (UNESCO) Creative Cities
Network (UCCN) aims to make creativity an
essential driver for sustainable urban renewal
and development.
On October 31, 2017, Baguio City, the first
City in the Philippines to be designated City
of Crafts and Folk Art, joined the 180 member
cities from 72 countries.
GLOBAL ALLIANCE FOR CULTURAL DIVERSITY
UNESCO works through its Global Alliance for
Cultural Diversity and Creative Cities
Network to strengthen cultural industries
internationally by encouraging knowledgesharing, capacity building, good practice,
and mentoring between its members. The
Global Alliance promotes cultural diversity
by strengthening the capacity of cultural
industries to produce and distribute goods
and services and helping them gain access
to national and international markets.
INVEST IN FILIPINO CREATIVITY TO PROMOTE
CULTURE, AND HELP BOOST ECONOMY
The National Commission on Culture and Arts
is currently developing two cultural hubs in
the country, particularly the Maestranza, in
Intramuros, Manila, and another one in
Bohol. These creative hubs will help in
developing the country's pool of creative
talents and create opportunities for them.
On the local level, local government units
currently have a dedicated budget on
culture through the Department and Budget
Management's Local Budget Memorandum
no. 78, s. 2019 and that will allow Local
Culture and Arts Councils in LGUS to be
established in the next three years.
The creative economy comprises music,
performing arts, including dance and
theatre, handicrafts, architecture, visual arts,
graphic arts, cartoon animation, literature,
fashion, furniture and interior design, film,
digital inventions including computer
games, television production, publishing,
and advertising.
THE SCOPE OF THE DEVELOPMENT OF THE
PHILIPPINE CREATIVE INDUSTRIES PROJECT IS
COMPOSED OF FIVE (5) SUB-PROJECTS AIMED
TO DEVELOP VARIOUS CREATIVE SECTORS:
1. Development of a Creative Industry
Roadmap
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WEEK 1: “Creative Industries”
2. Filipino Performers and Entertainers
Accelerator - Capacity Building Program for
the Workers in Film, Live Events, and
Performing Arts
3. Development of Shared Digital Services
Facility
4. Development of Creative Services Special
Zone
5. Professionalize Filipino Online Creative
Freelancers
CREATIVE INDUSTRIES IN THE PHILIPPINES
The
Philippine
semiconductors
and
electronics industry is the largest contributor
to the country's manufacturing sector. In
2013, the industry accounted for 41% of total
exports, brought in US$ 918 million worth of
foreign and domestic investments, and
employed 2.2 million workers. The potential
for the industry remains high, as member firms
intend to move to higher value-added
manufacturing to meet global demand.
These companies plan to improve current
production capacities, expand current
research and development and design
capabilities, and to further develop the labor
force over the next several years.
The industry is working to drive up the
semiconductor
and
electronics
manufacturing index of the country by
identifying customers' needs, understanding
suppliers' baseline, developing relevant
capabilities, matching industry supply and
demand,
and
conducting
periodic
assessments of its performance. In addition,
the
industry
recommends
that
the
government continue with its scholarship
program for operators and technicians,
improving
the
country's
business
environment, conducting R&D capability
development, and aggressively promoting
local industries and SMEs through investment
missions abroad.
FUTURE FOR THE CREATIVE INDUSTRIES
The Department of Trade and Industry (DTI) is
pushing for the promotion of the economic
potential of the country's creative industries
in Southeast Asia to boost exports in services,
as the Philippines aims to be the leading
creative economy in the region in the next
decade.
DTI Secretary Ramon Lopez said industry
players have mapped out a creative
economy roadmap that intends to provide
the necessary support to creative services,
including a promotion budget.
Lopez said the country has stronger creative
services, particularly graphic design, game
development, and software development
which have been identified as "service
winners".
GAWAD SA MANLILIKHA NG BAYAN
In April 1992, the Gawad sa Manlilikha ng
Bayan, or the National Living Treasures
Award was institutionalized through Republic
Act No. 7355. Tasked with the administration
and implementation of the Award is the
National Commission for Culture and the
Arts, the highest policy-making and
coordinating body for culture and the arts of
the State. The NCCA, through the Gawad sa
Manlilikha ng Bayan Executive Council,
conducts the search for the finest traditional
artists of the land, adopts a program that will
ensure the transfer of their skills to others, and
undertakes measures to promote a genuine
appreciation of and instill pride among our
people about the genius of the Manlilikha ng
Bayan.
HISTORY
The National Living Treasures Award (Gawad
sa Manlilikha ng Bayan) was institutionalized
in 1992 through Republic Act No. 7355. The
National Commission for Culture and the
Arts, which is the highest policymaking and
coordinating body of the Philippines for
culture and the arts was tasked with the
implementation and awarding. This is in line
with UNESCO's criteria for Living National
Treasures.
GUIDELINES
To become a Manlilikha ng Bayan, an
individual or group candidate must:
1. Possess a mastery of tools and materials
needed for the traditional, folk art and be a
maker of works of extraordinary technical
quality.
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WEEK 1: “Creative Industries”
2. Have consistently produced works of
superior quality over a significant period.
3. Have engaged in a traditional and folk art
that has been in existence and documented
for at least fifty (50) years.
4. Command respect and inspire the
admiration of the country with his character
and integrity:
5. Must have transferred and/or be willing to
transfer to other members of the community
the skills in the traditional and folk arts for
which the community has become
nationally known.
6. However, a candidate who, due to age or
infirmity, has left him/her/them incapable of
teaching further his/her/their craft, may still
be recognized if he/she/they must possess
the qualifications as enumerated above.
SOURCE:https://www.slideshare.net/PennVillanue
va/creative-industries-in-arts-amp-culturepractice
“The creative industries tend to dismiss technology
as just something to buy and not understand how
hard it is and how creative it can be as well.”
-
Steve Jobs
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WEEK 2: “Introduction to Critical Reading”
Page 7 | Week 1