Analysis of Creative Industries Activities in Europеan Union Countries

Dronyuk, Ivanna; Moiseienko, Iryna; ml., Jan Gregus

doi:10.1016/j.procs.2019.11.061

Cited by 29 publications

(23 citation statements)

References 2 publications

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“…Some emphasize new ideas and knowledge in the industrial process, while others interpret cultural or artistic approaches. It is the same as several studies that debate the meaning of the creative industry [8]; [6]; [7]. Some of Indonesia's creative industries are still on the micro and medium scale or often referred to as SMEs.…”

Section: Introductionmentioning

confidence: 79%

“…For example, China has succeeded in developing creative industry clusters in Shanghai [4] and nationally [5]. Furthermore, in the State of Queensland, Australia [3], 28 countries in the European Union creative industry continue to experience an increase [6]. Meanwhile, in South Korea, the creative industry has become the Government's central discourse [7].…”

Section: Introductionmentioning

confidence: 99%

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Will Creative Industries Survive in Industrial Revolution 4.0? An Experience from Batik Tulis Lasem, Indonesia

Roziqin¹,

Fajrina²

2021

Proceedings of the 1st International Conference on Law and Human Rights 2020 (ICLHR 2020)

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The development of industrial revolution 4.0 impacted all aspects of human life. One of the aspects that predicted the future is the use of the internet, which will be increasingly significant in the industrial world. Indeed, this condition impacts the development of Small and Medium Enterprises (SMEs) in Indonesia, including Batik Tulis Lasem industries. Currently, batik entrepreneurs are not only faced with internal problems but also external ones as a result of industry 4.0. The purpose of this article is to explore how local stakeholders develop Batik Tulis Lasem in facing the 4.0 industrial revolution. This article uses descriptive qualitative methods to explain the research phenomenon. The primary data were obtained from observations, focus group discussions, and interviews, while secondary data from official government reports and previous research. The result is to respond to the internet's role in changing business models, and batik industry entrepreneurs take various steps depending on their capacity and management. In terms of governance, the local government issued a legal formal regulating Batik Tulis Lasem as hand-written batik instead of printed or stamped batik and provides facilitation to promote its product. Meanwhile, higher education institutions support the development of Batik Tulis Lasem in terms of management, online marketing training, capital and supporting tools, and patent assistance, such as the Intellectual Property Right (IPR).

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Section: Introductionmentioning

confidence: 79%

Section: Introductionmentioning

confidence: 99%

Will Creative Industries Survive in Industrial Revolution 4.0? An Experience from Batik Tulis Lasem, Indonesia

Roziqin¹,

Fajrina²

2021

Proceedings of the 1st International Conference on Law and Human Rights 2020 (ICLHR 2020)

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“…Although this represents a long journey, policy continues to offer positive directions in some contexts (see for example European Commission, 2017 ). Equally the contribution of the creative industries to GDP is increasingly understood, calculated in the EU to be in the region of 4.5% of GDP and with a growth rate of 10% annually (Dronyuk et al, 2019 ). Changing forms of production and consumption have driven new music business models for the creative sector, and indeed dramatic shifts in the recording industry have made the field less centred on major labels (Negus, 2019 ) and have contributed significantly to diversifying markers of professional success.…”

Section: Shifting Ground For Higher Music Educationmentioning

confidence: 99%

Musicians as “Makers in Society”: A Conceptual Foundation for Contemporary Professional Higher Music Education

et al. 2021

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This paper considers the purpose, values and principles underpinning higher music education (HME) as one of the performing arts in a context of turbulent global change. Recognising complex challenges and opportunities in this field, HME is addressed from dual perspectives: educating the next generations of professional musicians, and higher music institutions’ (HMEIs) engagement in society. The paper has a particular focus on the sector within HME that is dedicated to intensive practical craft training for performers, composers, programmers, producers, managers, and teachers. We argue that there is an urgent need for fresh orientating frameworks through which to navigate HME’s development. We examine concepts such as artistic citizenship, social responsibility and civic mission increasingly perceived to be relevant to the sector, and we explore their connexions to concepts of artistic excellence, imagination and creativity, and musical heritage. We identify apparent dichotomies of value within contemporary HME, including between intrinsic and instrumental purpose in the arts, cultural heritage, and new work, artistic imagination and entrepreneurship, and we argue that creative tensions between what have hitherto easily been perceived as opposing concepts or competing priorities need to be embraced. To support our argument we draw on the particular ethnomusicological concept of “musicking,” and we look toward a partnering of artistic and social values in order to enable HME to respond dynamically to societal need, and to continue to engage with the depth and integrity of established musical traditions and their craft. Based on this discussion we propose a conceptual foundation: the “musician as a maker in society,” in which developing vision as a musician in society, underpinned on the one hand by immersion in musical artistry and on the other hand sustained practical experience of connecting and engaging with communities, offers invaluable preparation for and transition into professional life. We propose that this idea, connecting societal and artistic vision and practise, is equally essential for HMEIs as it is for musicians, and sits at the heart of the roles they evolve within their local communities and wider society.

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“…Creative clusters emerge in specific urban frameworks and central areas [8]. Dronyuk et al [9] point out that in creative clusters, an open and creative environment for communication and cooperation emerges, and as a result, new forms of interaction occur as an alternative to social capital. Such clusters help to carry out urban regeneration.…”

Section: Creative Clusters and The Built Environmentmentioning

confidence: 99%

Interaction Between Creative Clusters and the Built Environment: Digital Technologies Versus Urban Buzz

Aktan

2021

WIT Transactions on Ecology and the Environment

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Creative class supports the local urban development process with their social, cultural, and physical acts in the built environment while promoting the urban buzz. Because of the ongoing COVID-19 pandemic, the involvement of digital technologies in creative industries is inevitable. The study compares the conventional working model and online working process to clarify how digital turn affects the interaction between creative clusters and the built environment in consideration of social sustainability. Firstly, this paper looks at the social interactions in creative clusters, and investigates how creative class engages with the physical environment in the office environment. It also takes a step further and focuses on how digital turn takes place in this pattern by applying a case study through online surveys in İzmir, Turkey. It contains Architecture and Interior Design firms as a significant part of creative industries located in İzmir. The online survey was applied in order to get information about the space preferences of the creative clusters, and figure out the major differences between conventional working model and online working model in terms of social sustainability. The findings of this study provide insight about impacts of digitalization on creative clusters in the urban environments. It is seen that environmental behaviors of the creative class have direct effects on the process of the local urban development. Using digital technologies for communication has eliminated the surprise factor and damaged the use of urban-buzz areas where creative class meet their social and cultural needs. This study suggests that, during this adaptation period to the changing model, precautions should be taken in the earlier stages for the city development. Finding alternative ways to cooperate with creative class should be developed to keep the urban buzz alive in terms of social and cultural activities.

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Analysis of Creative Industries Activities in Europеan Union Countries

Cited by 29 publications

References 2 publications

Will Creative Industries Survive in Industrial Revolution 4.0? An Experience from Batik Tulis Lasem, Indonesia

Will Creative Industries Survive in Industrial Revolution 4.0? An Experience from Batik Tulis Lasem, Indonesia

Musicians as “Makers in Society”: A Conceptual Foundation for Contemporary Professional Higher Music Education

Interaction Between Creative Clusters and the Built Environment: Digital Technologies Versus Urban Buzz

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