Post on 18-Apr-2015
.....Towards the
NATIONAL MISSION FORCREATIVE AND CULTURAL INDUSTRIES
THE TASKFORCE FOR CREATIVE AND CULTURAL INDUSTRIES
The future of India’s creativity
PAST FORWARD
VOL - 1,2,3
Th e Asian Heritage FoundationC-52, South Extension- II, New Delhi -110049
phone- 0091.11. 26263984-7. Fax: 0091.11.26263988mail@asianheritagefoundation.orgwww.asianheritagefoundation.org
Th e Asian HeritaC-52, South Extension- I
phone- 0091.11. 26263984-mail@asianheritagwww.asianheritag
In the transition to a knowledge based economy, the creative and cultural industries have become the most rapidly growing phenomena in
the world. Take, for example, the United Kingdom where it accounts for 7.9% of the GDP, growing by an average of 9% per annum be-
tween 1997 and 2000, compared to an average of 2.8% for the whole economy.
Following the UNESCO charter, a number of countries initiated a slew of policies, programmes, pilot projects and administrative mecha-
they all acknowledge the synergy of the cultural and creative industries and see them together as the primary drivers of their economy.
The importance of culture and creative potential is also increasingly recognised by the international community as a key to more sustainable
development models. Cultural industries are generally small, decentralized and mobilize communities for self empowerment (especially the
women and the poor) and require more grassroots participation than any other industry. Furthermore, they utilise resources that are geo-
capital than agriculture, IT or large industry. In India, Agriculture employs 37-40% of the workforce while other Industries together employ
around 17-20%; the skilled and semi-skilled people that could constitute India’s legacy, cultural and creative industries form the bulk of the
Most developed nations have already lost their traditional skills and are now attempting to nurture what is left as heritage while simultane-
ously capitalizing on the creative design-led industries where they have an edge.
India is in the enviable position of having a large variety of living, skill-based traditions and a number of highly versatile creative people
capable of carrying this unique legacy further (approx. 145-175 million skilled practitioners). We have a nascent but expanding design and
media industry that can help us reposition our traditional knowledge and thereby create original inroads into the global market.
We must exploit this edge to our best advantage…by combining the vast resources of heritage we have at our disposal and
the advances made in technology to create distinctively Indian products and services – India’s own USP that can hold its own
against the best the world has to offer. For example, our pictorial traditions of Madhubani, Warli, Saura, Pithora, Gondh, Patuas,
Patachitra, miniatures and painted textiles could extend their vocabulary through animation, an industry where the Indian share
of the global market (US $70 bn) is already about a billion dollars and is predicted to rise to $15 billion by 2009-10. Similarly,
India’s share of the global Gifts, Handicrafts and Handlooms market (over US$ 250 bn) is growing consistently at an average
of over 20% year on year mostly due to product development.
To this end, there is a pressing need to encourage planning, investment and engagement in key areas such as mapping and statis-
tical analysis, human resource development, capacity building, design innovation, creativity indices and benchmarking systems,
infrastructure development, protection of intellectual property rights and copyright regulation, support policies for developing
businesses, small and medium enterprises and targeted promotional and export measures. Simultaneously, urgent assistance
is also required to facilitate structured private/public sector cooperation, access to credit and loans, market research and the
deployment of information and communication technology to ensure cross-sectoral linkages and access to data and the global
market.
-
sion for Creativity in Cultural Industries (draft enclosed) is urgently required to delineate a cohesive strategy and to spearhead
cooperative ventures, private sector participation and civic engagement.
28
Chapter 1POSITIIONING A BIG IDEA
Chapter 2MAKING, DOING, BEING
CHAPTER LEAD-INS AS /AN OVERVIEW OF THE REPORT
Chapter 3GLOBAL PHENOMENON
Volume - 1
29
Chapter 4INDIAN SCENARIO
‘the same page’ Shilpsagar
Volume - 2
30
Several authors have decided to go beyond describing the state of affairs
The authors have sometimes chosen to elaborate on one aspect and not
Bifurcation of the articles and collation of the material into different
Chapter 5INDIA’S EDGE
India’s Edge
Rajeev Sethi
Nina Sabnani and Nitin Donde.
Hitesh Rawat, Rta Kapur Chisti and Rahul Jain
Sanjay Prakash
Dr. Pushpa Bhargava
Geeta ChandranChandralekha
Dr. Vandana Shiva
31
melaSudarshan Khanna.
Veenapani Chawla gurukulsBhaskar Ghose and Shubha Mudgal
well.
Chapter 6THE WHEEL MOVE
The Wheel Moves
Chapter 7THE WAY AHEAD
The Way Ahead
Volume - 3
32
Policy and Planning Services indigenousmapping systems
in use as creative indices Dr Darshan Shankar.
transmission of tradition versus child labour Smt. Renuka Chaudhary, MahatmaGandhi Buniyadi Siksha
a Ministry for artisanal manufacturing Rajeeva Ratan Shah
In Financial and Credit services Vijay Mahajan and Divya Thangadorai
grameen-banks
international pilots
Capacity building
Educational modelsDarly Koshy, MP Ranjan, Kavita Singh and Nalini Thakur
Cultural Management and administration
Technological innovations and interventions Ranjit Makkuni, Anil Gupta, RK Pachauri and Johny ML
Jugaad Design without designersAnand Sarabhai and Aditya Dev Sood
Regional Service Centres SunilMunjal, Tinoo Joshi and RK Shrivastava Civic and private partnerships Nina Ranjan.
Legal Servicescopyright, community indicators and ownership,
geographical indicators and intellectual property rights and usage protection.
Pravin Anand Swathi Sukumar and Sudhir Krishnaswamy Kritika DN
Achille Forler Indiancopyright laws in the international context.
Marketing and Promotion, In revenue models
Rajeev SethiFaith Singh and William Bissel urban/domestic
street vendors’ organisationMadhu Kishwar
Manish Arora Internationalnational revenue models
Aman Nath and Nina Rao tangibleheritage
intangible heritageSandeep Dikshit
Shaguna Gahilote
33
Ninasam
culinary tourismLotus Bazaar
Exhibitions
Dr Kiran SethAwareness Campaign
.
Chapter 8BRAND INDIA
BrandIndia
Urban renewal and heritage rejuvenation Pilot projects Heritage
conservation Nalini Thakur
Global Arts’ Square AHF in Jaipur Skilled artisanal neighbourhoods
Anadgram, Nehru Kala Kunj and Kala Neri K Jayakumar
Regional centres of excellence Zonal Cultural Centres
Events, Fairs and Festivals
city festivals Sanjeev Bhargava Rajeev Sethi
AHF. Brand India products
Khadi, Craftmark , Ayurveda by
and the Golden Eye
Flagship project
International interventions Regular programmes linkups with national missions businessincubation models –
34
Chapter 9PURNA KUMBHA
Purna Kumbha
Chapter 10SHAJAR-E-HAYAT
Shajar-e-hayat- the tree of life
MESSAGES
President of India
UPA Chairperson
Former Prime Ministers of India
,d
nks
rhu
VOLUME I
CONTENTS
By Shri Manmohan Singh, Honourable Prime Minister of IndiaOn the need for out- of- the- box solutions for nurturing India’s heritageand the importance of creativity in a global Market place
1 POSITIONING THE BIG IDEA CREATIVE AND CULTURAL INDUSTRIES AS A LEAD SECTOR IN INDIA By Dr Montek Singh Ahluwalia, Executive Head of the Planning Process, Government of India
2 MAKING, DOING, BEING : A TIME FOR JOINED-UP THINKING By Rajeev Sethi, Chairman and Founder Trustee of the Asian Heritage Foundation, Advisor to the Ministry of Panchayati Raj and Vice-Chairperson of the Taskforce on Cultural and Creative Industries, Planning Commission
3 A GLOBAL PHENOMENON : EVOLUTION OF THEORY, POLICY & PRACTICE
Cross cultural milestones
Shift from Manufacturing to Services to Knowledge
An overview of multilateral global mechanisms in place Case studies of Nine Countries : Forward Group -UK, Singapore/Hongkong & China, Canada/USA; Peer Group - Philippines, South Africa, Brazil/Columbia
Shri Montek Singh Ahluwalia took a pioneering step by setting up the Taskforce for
Creative and Cultural Industries within the Planning Commission. In his introduc-
tion he outlines why positioning this sector in the lead is a big idea.
Overview
Positioning The B
ig Idea
5
Positioning The Big Idea
Creative and CulturalIndustriesas a Lead Sector
By Dr Montek Singh Ahluwalia
Executive Head Of The Planning Process,government Of India
Buying a papier-mache box from a Kashmere crafts person while walking around the Silk Route
Festival in Washington with my wife, provided a brief but talismanic experience of global trade
artistic sensibilities through import and export have united a large part of the world in its pursuit
to look for contemporary ways of transforming ‘unorganized’ economic talent and aspirations with
of agro industries; this entrepreneurial energy must now reach the threshold and transform our
6
intellectual property to produce products and services with social and cultural meaning,
more, the innovative action and positioning of facilities with a blue print for this sector,
will not only help us save scarce resources, do more with less, but also involve the largest
number of economically vulnerable people all over the country, in the efforts to make
recommendations they have suggested a more tentative ‘mission’ mode composed and
activities, addressing the needs of a vast and varied multitude- yet, with the parameters
clearly enunciated and understood, there is a chance that this sector may actually prove
“Culture springs from the roots
and seeping through to all the shoots
From cell to cell, like green blood,
Is released by rain showers,
But culture that is poured on men
From up above, congeals there
Like damp sugar, so they become
Like sugar-dolls, and when some
Life-Giving shower wets them through
They disappear and melt into
A sticky mess”.
Hassan Fathy, Egyptian Architect
Positioning The B
ig Idea
7
task of exhaustive mapping as a start to the recommended actions, be completed in the
implementation of projects and programmes suggested by them are assessed, raised and
important sector that has suffered enough with sentimental subsidy, little coordination,
‘dressing’
government reports, will help take it beyond the shelf, to a broader public and kick start a
“Culture blooms as naturally as mother earth.
In one earth grow many trees— mangoes and guavas,
If it takes the crutch of a wall it dies.
It has to be below the sky, rooted to the earth.
Roots lie in darkness.
When nourished they shoot up and gain luminosity.
A seed should not be shy of germination.
drops it becomes a plant, then a tree.
Cultur’e like a seed has an organic growth.
Sanskriti ek shehed ki nadi hai jo chup chaap behti hai.
Water makes sound not honey.
Mun ki pehchaan jis se hai woh hi sanskriti hai.
BABA AMTE, Anandwan, Nagpui
To be a painter one must know sculptureTo be an architect one must know dance
Dance is possible only through musicAnd poetry therefore is essential
(Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)
11
Making, D
oing, Being...
Making... Doing... Being...
Occasionally rebuked since childhood as a ‘jack of all trades’ I was mostly at a loss in describing what I did in life.
With the overarching umbrella offered by the new nomenclature of “cultural and creative industries”, I now have rea-
son to feel comfortable. Being labeled “designer”, “theatre scenographers”, “artist”, “activist”, even “policy planner”
or “impresario”, I know that making things happen in today’s world requires more muscle than one’s core-competency.
Being a designer itself places one on the larger canvas of what a mentor in youth, Romesh Thapar called, ‘Design for
Life’. Charles Earns used to say, “Everything Connects”. My Gurus, Smt. Kamala Devi Chattopadhyay and
Smt. Pupul Jayakar held a seed and sourced the sap, Gira Sarabhai offered talismanic views, while charismatic lead-
This publication is also a tribute to the indomitable courage of India’s extraordinarily gifted people who’s ‘never-say-
die’, tenacious identities, coupled with their skills to make or to do, allows them to be special. We marvel at India’s
legacy of cultural industries seamlessly infusing tradition with new vitality. We bow to India’s vision of remaining still
and centered, while surging ahead …. to the strength of our roots that go deeper even as our spirits continue to sour.
12
PART I
dialogue with related governmental initiatives running in parallel and sometimes opposite directions
share our concern for the future of our traditional and contemporary knowledge systems, creative
unnot take stock of its scale and strength as a selfhas the capacity to go a mile! On the other hand, the far more visible large industry and high-tech
service sectors grab all the goodies, adding negligibly to the pool of gainful employment that remains
-
With the inevitability of our future being so heavily informed and shaped by the forces of globalisa-
-
der plant evoking sakthi, the chance discovery of which marks the begin-
13
Making, D
oing, Being...
14
Now look at these specimens found in
Made much later in the pe-
known as the ‘Fustat’ fragments these
are composed largely of printed cottons
Used probably as tomb cover-
used in barter between Egypt and
also a part of this intercontinen-
tal trade that was a precursor to
15
Making, D
oing, Being...
The Silk Route at Smithsonian,Washington produced in deferent
part of the world by an entirely Indian team
16
17
Making, D
oing, Being...
“negating the linear movement of history; the
tradition develops like a spiral that re-coils and un-coils.
Within this movement, nothing is totally rejected.”
consistency, immutable across space and time; the other reed plays the tune of immediate time and space. One then is repetitive but stable; the other changing. The two
together create the music that sounds different at different times.’’
In an era when tradition and modernity are seen as two polar realms, devoid of any mutual interaction, we have much to learn from these two wise women.
18
MODERN INDIA
• Identity, memory ..• Heritage = Commerce
• Boats, bullock-cartrr s, bridges• Transportation = ships, highways, aircraftff
• Kunds, Kollams, Cheras, Baolis, Vaavs,
Acqueducts
• Irrigation=Big Dams, Canals
• Cottage Industries & household manufg• Large Industry = IT Telecom
• Pilgrimages, dhdd ararr msalall s ..• Travel = Tourism, hotels, resortrr s
• Vernacular dialects ..Gurukuls, Madarsas ..
• Craftff s
• Education = English, IITs, IIMs etc.
Fine Arts
• Live & itinerant performance
• Popular theatre, dance, music ..
• Media = Electronic broadcast, cinema
• Indigenous Systems of health & healing• Health = Allopathic Medicine
• Organic farming, indigenous seeds,
fertrr ilizers..
• Agriculture = Green Revolution
• Water mills, manual labour• Energy = Nuclear, hydel power
• Handlooms & Khadi …• Textiles = Techno mechanized multi-fiber
• Culture• Science
TRADITIONAL INDIA
While staggering statistics are being widely acknowledged in the developed
-
vancement has not occurred in developing countries which draw more on tra-
however, that this imbalance is due to the fact that most developed nations that
have put in place mechanisms for cultural industries are bereft of traditional
traditions and a number of highly versatile creative people capable of carry-
How is this sector perceived in India today? Let’s open up the Big devide
19
Making, D
oing, Being...
-
-
sources as a tenacious symbol of enterprise which needs ground level support, similar
-
ucts and services – our heritage and the advances made in technology – our own origi-
• Rate of Employment is 45% of population and 35% of the population is
un-employable (i.e.under 18 years/over 65 years/physically handicapped). There is a
potential to gainfully employ 20% of the 110 Cr. population i.e. 22 Crores (mainly in
rural areas - 10Cr. Literates & 12 Crore illiterates)
• Surveys prove that there is an excess capacity of 20-22% in the population employed
by agriculture which tranlates into 5 Crores of people unemployed/underemployed in
this sector. (2 Cr. Literates & 3 Cr. Illiterates)
• The Agriculture sector growing at approx 2-3% p.a. cannot absorb this potential
workforce.
• Organised manufacturing, mining & services can absorb a maximum of 2 Crores
(~20% of their present employment potential i.e. 11 cr) especially in urban and sub-
urban areas. This still leaves a large employable workforce of 13 crores literate and
15 Crores illiterates)
• Creative, cultural and Traditional/legacy industries is the only key to gainfully
employ this potential work force especially in the rural areas which attract very little
industrial investment/interest. This workforce (at least the literate population) can be
absorbed in the industry if an enabling environment is created within next 6 to 8
years.
• Additional contribution to GDP created by the potential employment in this sector
even at one–half the per-capita income (Rs.18,000 pa) is to the tune of Rs. 216,000
Crores (6% of GDP at current prices)
• Rate of Employment is 45% of population and 35% of the population is
un-employable (i.e.under 18 years/over 65 years/physically handicapped). There is a
potential to gainfully employ 20% of the 110 Cr. population i.e. 22 Crores (mainly in
rural areas - 10Cr. Literates & 12 Crore illiterates)
• Surveys prove that there is an excess capacity of 20-22% in the population employed
by agriculture which tranlates into 5 Crores of people unemployed/underemployed in
this sector. (2 Cr. Literates & 3 Cr. Illiterates)
• The Agriculture sector growing at approx 2-3% p.a. cannot absorb this potential
workforce.
• Organised manufacturing, mining & services can absorb a maximum of 2 Crores
(~20% of their present employment potential i.e. 11 cr) especially in urban and sub-
urban areas. This still leaves a large employable workforce of 13 crores literate and
15 Crores illiterates)
• Creative, cultural and Traditional/legacy industries is the only key to gainfully
employ this potential work force especially in the rural areas which attract very little
industrial investment/interest. This workforce (at least the literate population) can be
absorbed in the industry if an enabling environment is created within next 6 to 8
years.
• Additional contribution to GDP created by the potential employment in this sector
even at one–half the per-capita income (Rs.18,000 pa) is to the tune of Rs. 216,000
Crores (6% of GDP at current prices)
Why do cultural and creative industries spell the future of work?
Employment Scenario% of No. of % share Amt. (Rs.) Growth
Workforce people in GDP GDP Rate %
Population of India (2005 E) 110 Crores
Employed (Workforce) 50 Crores
Agriculture (Cultivators & Agri Labour) 48% 24 Crores 20% 6,00,000 Cr. 2-3%
Organised Industry & Services 22% 11 Crores 66% 20,00,000 Cr. 10-12%
“Self-organised”/ Household /Artesenal/
Legacy Industries 30% 15 Crores 14% 4,00,000 Cr. 12-15%
Cultural
Industries,
14%
Creative
Iinds, 20%
Agriculture
20%
Other
Industries,
46%
Org.
Industry,
22%
Agriculture
48%Cultural
Industries,
30%
EMPLOYMENT SHARE IN GDP
20
Finally, the most important issue we must raise is the state of the skilled person behind these legacy industries. What are they thinking? How are they relating to the tremendous
developments taking place…many of which have a direct impact on them? What are their aspirations for their children and themselves? Working out ways of addressing the
concerns of skilled craftspeople is meaningless if their own voices are not articulated. We bandy them about the world as the repository of our heritage, but never recognize their
needs as people, when we bring them back to dump them in inhospitable slums. Do we know what miserable conditions many of our artisans and artists live and work in today?
Do we feel for the gloom they face and indeed, the doom that India will face, if we allow them to disappear? Let me give you an example…
Gopal, well versed in the art of weaving, sells balloons and his mother
21
Making, D
oing, Being...
Nathilal
Who has the time today to pause and think-could this man pulling a rickshaw, selling balloons
of powerloom,
So, who in this scenario where few survive, is going to bother about the hundreds of thousands displaced
22
-
chitects have never learnt to use traditional skills as a relevant part of our building activities around the
Who then can employ the incredible science and art known to the communities of the Sthapthies, Ma-
-
The late Zameer Khan, equally starred, stayed with
his family in a house nearby.
here with her family of eight, three members, 3 cats and a fat goat.
Making, D
oing, Being...
My generation must ask… as have those before us, “Do we leave our country as a better place or do we accept this tag as an also ran, in a
race seething with borrowed synthetic aspirations?”
If all services were automated and available at the press of a button – the interpersonal language of sharing will be lost and if all the modern
methods of production points only to the machine, then the honourable skills of the hand will survive only as in gene banks…. For the few,
by the few, of the few.
The once solid and expansive base of the pyramid where culture seeks to measure itself would erode and its peak will be entombed in the
silent graveyard of museums.
You will remember the beginning, the inter-play of madder --- evoking shakti – the force of life and repository of memory …. An indigo
resonant with Rasayana and the eternal chemistry of change.
Where did it all go wrong?
At one micro level let’s take the case of Ramaswami .. a master dyer living in a small village, near
Salem in Tamil Nadu – amongst the few crafts people who know the process of making natural
die. The colonial invention of Alizarin and substitute for indigo changed the natural scale of our
vocabulary and pallette forests forbid him entry to get the raw material he needs and few, includ-
ing Ramaswami, are aware of the economic value of natural dies or the buzz around it in world
markets.
To conclude, let me go back to textiles, may I translate a muhavara…..
It is said that colour is the king, the fabric the subject and the motif the maid:
Let us for a moment, see the colour Neel and Aal, as a metaphor for India’s balanced spirit,
…. the tenacious fabric, as the indomitable skill of its people,
…..the unique design or motif as the unbridled imagination of our culture,
… At another level, making, doing and being become one…
…. There is Creativity in culture, their is future for skilled work and the ethos of our nation is
24
If there is to be a roadmap including a knowledge base, positioning as
in the 20th century the Planning Commission, an august body seeking
to bolster our economy, would have to lay the path that charters an un-
precedented journey.
doverHello, HandoverHello, HandoverHello, Handover
Dangers of Corporate Involvement:
Culture and industry? While romantics have always lived by the notion that the two don’t
go together, that to be “industrious” is to be non-creative and that creative people need only
fresh air and water for survival, the reality is different. Vibrant cultures are those that
guarantee a full stomach, a roof, however leaky, and a reasonable future to the children of
every cultural worker. This, besides of course, teaching them to be industrious. The most
committed Chhau performer can be forgiven if he would rather watch his son pedal a cycle
rickshaw on the streets of Ranchi than starve as an unemployed dancer. And were data
to be compiled on the number of hereditary performers of music and dance who have
had to take to blue collar and even menial jobs or become petty traders in post-Independent
India in order to just survive, it would shock the chattering classes.
Shanta Serbjeet Singh, Dec 18, 2005, The Hindu
25
Of culture, Mao
THE ECONOMIC TIMES 28th October, 1990 Artscape
SOLILOQOY RAJEEV SETHI
Alas! The word ‘Sanskriti’ — like ‘Paryavaran’ — is only pronounced with priest like perfection, or in an-glicized accents, in and around the India International Centre. Either way, it makes little sense to the man on the street. I don’t believe we have the vaguest idea of what a cultural policy really means.
On the one hand you have those son-of-the-soil types who dismiss it as merely a leisure time activity. The song-and dance routine on the other hand is relegated to the con-fines of hot houses – under the guise of documentation and preservation.
Then, we have many who talk of poverty and expect culture to take a back seat. True, large manifesta-tions is how the concept translated in the 1980s and that perhaps can be only a small part of what we ought to be doing, but to say that the coun-try is poor, and culture must unfor-tunately be treated as a luxury is like requesting someone to stop breathing because the air is pollut-ed. I, for one, have no doubt that the nations much prioritized economic programme is intrinsically depend-ent on the cultural awakening and pride of its people.
Culture as a word has lost its medi-eval connotation - to do with mere agricultural productivity. Our equiv-alent - ‘Sanskriti’, suggests the ac-
tion of doing and creating. Gandhi (the Mahatma) preferred the word ‘Sabhyatha’ - civilization instead of ‘Sanskriti’. The word expresses how we produce and use what we need and what we don’t...it reflects on what constitutes our habitat and t he shape, size and materials of our shelter...It shows how we grow, cook, serve, eat, amid drink…. how we adorn and dress and even un-dress It explains the way we speak, think and act... the manner in which we gesticulate, connect, greet or abuse...the way we cure and heal.., the manner in which we control rebel and organize and much, much more.
Lately, much is being made of an exercise that will place a holistic cultural policy on the anvil. The Haksar Committee Report they say has provided the main salvo. De-spite the dust it has raised I believe that like all the earlier policy re-ports before, the dust will soon set-tle on it! Despite all the fizz and the shoulds, it is going to end up being
just another olive in the cocktail. The report was primarily concerned with the reports of the Akademies. Amid anyone who thinks that a na-tional culture policy can be equated to the functioning of the Akademies is plain ignorant.
On the other hand, Mao thought it of his great revolution as cultural. And look where it got him! In my next column I will outline why culture needs more teeth and how it should set about acquiring real influence.
2
Making, D
oing, Being...
Working experiences
Seven generations of my family have been carving stone. From
my father, I came to understand the beauty that lies in cleanliness
and clarity. Just see the exquisiteness of the jali; it gives you a
feeling of air and light. I like doing complicated designs that take
a long time. They stay in my hands longer. Jobs don’t come all the
time. Work doesn’t depend on me. I depend on work.
Soni Ram
SOLILOQOY
26
Teeth for Culture
THE ECONOMIC TIMES 13th October, 1990 Artscape
SOLILOQOY RAJEEV SETHI
The word culture made Field Marshal Goering reach for his gun. Chairman Mao thought of his great revolution as cultural. Gandhiji preferred to use the word sabhyataor “civilization.” A Sufi poet is said to have described culture as the fragrance that is left behind after the incense stick of life is burnt.
There are no barriers to fragrance; boundaries created fifty years ago in a fractured South Asia cannot change the essence of shared experiences, history and geography. Evanescent, it permeates the being of the subcontinent - as much a part of its wilderness, as in its villages or cities.
Unfortunately, since culture defies a definition, it has no single face for the common man and therefore no ballot value, no official programme or policy – or appropriate budgets.
On the one hand you have those ‘sons of the soil’ types who dismiss it as merely a leisure time activity... the song and dance routine. On the other hand, it is relegated to the confines of hot houses - under the guise of documentation, preservation and silk lined museum shelves.
Then we have many philistines who talk of poverty and expect culture to take a back seat. True, official patronage, setting up academies, development boards, holding large manifestations, pumping in sentimental subsidies and stipends, is a small part of what was required but to say that the country is poor and culture must be treated as a luxury is like requesting someone to stop breathing because the air is polluted.
Conventional economic indices may rate us as poor but our wealth of heritage could make us
a forerunner in an alternative developmental paradigm. I believe sustainable economic growth is a cultural process.h is
Therefore, I see red, whenever I hear dilettante’s whisper. “Let culture be! The people will decide”. Sure! But look which people? Look around at the greed and chaos around you and see who’s winning and at what cost?
The mandarins in the finance and planning ‘mehakmas’ have to first understand what promotes productivity, what leads to intolerance and contempt, breeding new insecurities and uncontrolled pollution. What we spend on the entire department of culture is a tiny fraction of what we spend for VIP security... Could there a connection?
In this age of liberalization, I am all for the middle path with defined measures of control and a social contract with the money tigers, that can check the abuse of culture in the name of so called development. t. What we now require is parliamentary intervention and appropriate legislations that will give more teeth to the Department of Culture. I feel the Ministry of Human Resources must feel compelled to draft or seek approach-papers from all other ministries on connected issues that alter time honoured cultural perceptions and set up inter-ministerial task forces required to make culture less cosmetic.
The country went up in flames over the reservation of 80,000 jobs for backward classes. Yet many times that number of the so called OBCs was displaced by unfeeling governments that did little to ensure proper support and imaginative promotion of marginalized sectors of cottage industries handloom etc. Did anyone from culture
speak up? Today 4,000 Chenalamapatti weavers from Tamil Nadu live in the squalor of Delhi slums - some selling balloons while their wives work as housemaids. An entire tradition is being lost and a culture is being altered to a point where it loses its center. Does then a cultural statement amount to precious little textile exhibitions mounted neatly in the crafts museums and festivals of India?
The shift of production and greater automation in agriculture should mean keener concern for systems that ensure de-centralized and self-employed sectors. But no, these are further marginalized and the
lifestyles of a people are being drastically altered. Urban migration and the great shift of people from one region into another in search of work is creating its own social and cultural conflicts.
The Ministry of Health needs desperately to evolve a new strategy of unitary care for preventive and curative medicine, the alternative small stream systems have to be integrated with the mainstream to convince
us that care is not just a privilege of the rich. Visiting a hospital’s OPD for even one hour will convince anyone that we have very little of culture or civilization.
Our own indigenous systems of medicine are receiving more attention outside the country while thousands of un-translated manuscripts gather dust in forgotten libraries all over India. Some of these are rotting under the various State Departments of Culture!
When the Ministry of Steel sets up a factory in a tribal belt, does someone in tribal welfare have a greater say in the matter? Does the Industrialist give thought about its impact on
tribal aspirations and culture, their tradition and ultimately on the quality of their lives? The fact is that hundreds of thousands of tribals have been displaced involuntarily from their ancestral occupation with the arbitrary deforestation, false promises and intimidation. Has this provoked the Dept. of Culture to even sponsor a study to examine these charges or their altered conditions? The lives of the people have changed but it is necessary that a virile expression and rooted
heritage becomes a mediocre copy of a copy in the name of modernity?
Who protests when pesticides poison our foods, or preservatives debase our cooking and eating styles and who has studied how fertilizers and hybrids have changed the perception of season and our varied eco-agri-cycles. When a river is poisoned, all the When a river is poisoned, all the culture that it supports also dies.culture that it supports also dies. Shouldn’t the Dept. of Culture think about all this as being of cultural concern as much as an environmental one?
Should the Ministry of Urban Development get away without building codes that allow cities and towns to flout local climate, aesthetics, materials and skills? Does not cultural identity suffer when the built environment envelops us in a homogenized spiritless landscape? Does the Dept. of Culture challenge its own sister Department of Education when curricula for higher education to point only to the west, and when teachers would rather have us toe the line than find time for questions. And what of us, as parents, preferring that our children learn Jack and Jill and not some ‘exotic’ vernacular rhyme?
Rampant consumption breeds its own insecurities - it thrives on it. In this age, consumer is king and culture its handmaiden.
Indian TV is a medium that sought heavy public investments on the ground that it will serve rural needs. Today instead, it is mostly subservient to gross urban demands manipulated through consumer plugs by a growing, articulate and a very resourceful creed of white-collared communicators. There attitudes and official resources profoundly convert culture into an entertainment activity with programmes that take away even the little leisure in which we entertain ourselves. TV today caters to a plethora of urban neuroses. This, more than any other medium, is affecting the way people in rural areas have begun to perceive
27
and express themselves through gross imitation, intimidation and identification.
How many hours of software is commissioned for rural viewers? Has anyone put the Panchayat on TV or catered in a robust creative manner to real rural issues without talking down?
If all this is not meant to be the Department of Culture’s concern, I feel it will have very little left to sing or dance about! I want more teeth for culture and for it a finger in every pie.
The loss of a custom or a ritual from memory or practice has not been my enduring concern. The potter has stopped making some beautiful votive offerings. Well too bad but so what!! There is no longer a felt need to propitiate certain deities linked with fatal diseases that are now extinct. For example, the worship of Shitala Mata, the goddess of smallpox will perhaps have to change as she takes on different functions within the reality of modern medicine.
A man driving a tractor does not need the same footwear and plow as his forebears. The village shoemaker and carpenter can therefore, not expect the customary exchange of grain for their efforts. New varieties of seeds, methods of irrigation, and of factory-made fertilizers, have changed man’s perception of the season and the harvest. The balladeer, called in to invoke the blessings of the gods and to lift evil spirits that cause the illness of a patron’s camel, has now to compete with the veterinarian.
Women who sang the most telling songs on the way to the well, sharing the day’s happening with each other, have now merely to open a faucet in their homes. Good! No doubt the water pot – however superbly designed to be carried on the waist and on the head would now require to be changed. The songs, invented by the women to lessen women to lessen drudgery, will fade away. drudgery, will fade away. What should concern us more is how the need and energy
— so delicately expressed and enshrined in the communication of the women — now finds a new vehicle for expression?
1. What is replacing that which must go?
2. What do we want to preserve and how do we proceed to preserve and for whom?
3. The concern then, is to constantly and persistently ask, from here to where? Can people participate and relate creatively to the pace of development and absorb its
consequences with any sense of quality?
Lately, much is being made of an exercise Lately, much is being made of an exercise that will place a holistic cultural policy on the anvil. I don’t believe even in another 50 years we will have the vaguest idea of what a cultural policy really means. Various Committee Reports they say have provided the main salvo. Despite the dust these reports have raised, I believe that like all policy papers, the dust will soon settle onthem. Despite all the fizz and the ‘should be’s’ and ‘shouldn’t be’s’ they are like olive’s in a cocktail. Most reports concern themselves with the official programmes and the functioning of Academies. And anyone who thinks that a national culture policy can be equated to the functioning of august bodies is plain ignorant. What is needed is a pragmatic and a very common sense approach to the way cultural policy is being administered or even the fact that there was a lack of culture policy.
At 50 if I was to take stock of what hasn’t been done and what requires immediate attention, I would point out the critical lack of comprehensive schemes for the welfare of artists and artisans, the people behind all the art - the repository of our heritage - bandied about the world as our ambassadors and brought home to live in squalid slums.
We need a methodology for a census on the arts to evolve a system that helps to classify cultural expression in its varied contexts;
then we need to set up neighbourhood and voluntary infrastructures that can support and generate its own cultural programming. We need to redress the hazards in the arts, and evolve a less officious and more inspiring system of rewarding excellence, offering privileges and infusing pride amongst skilled people who feel vulnerable in this age of flux. We need to detail the composition of curricula for cultural education and administration and insure autonomy and networking between institutions.
We need better designs, wider - much wider access to documentation and a re-definition of the scale and nature of cultural dissemination not just for the sake of the few, for the few. More interdisciplinary interaction is required in the arts and the brilliantly conceived Zonal Cultural centers have to become more focused on revitalizing their devised agenda. Training in the arts has to become more realistic and market oriented and presentation format for the arts has to take on the bull TV– horn by horn,z channel by channel.
No one can have a final say in matters related to culture. Culture, like breath is to life, will always be an inseparable part of our existence, the fragrance of our civilization. The air we breathe is polluted because we have not invented new systems to check the decay. How to restore to a society its self-purifying mechanism? How to prevent our senses from shrinking further? How to celebrate innovation and decry the mediocrity of imitation? There are many questions and answers will come from those who don’t take freedom for granted.
In my future columns I will be writing about the methodology for a census for the arts, on the need for evolving a system that helps to classify cultural expression in various context, on the setting up of neighborhood and voluntary infrastructures to support cultural programming, on issues related to the hazards in the arts and the critical lack of schemes for artistic welfare, on the pros
and cons of awards and on the issue of pride and privileges.
I would like to explore the composition of a curriculum for cultural administration and offer my views on autonomy and networking between institutions, on the design and access to documentation and on the scale and nature of dissemination. Also, on inter- disciplinary interaction and innovation, on marketing and presentational formats and on the theme of continuity and training in the arts. I want more teeth for culture and for it - a finger in every pie. “But the pie is becoming smaller for the want of resources”; they say, “and culture is not a basic.”...Really? Perhaps, because the entire Dept. of Culture gets only Rs. 80 crores and Rs.200 crores a year for VVIP security becomes a necessity. Should we ‘let the people decide’?
Seeing the whole
I am a Muslim and I make Hindu, Christian and Islamic
themes. We assume each consumer respects the spirit. Yes,
we hope that people do not put an insulting object by its
side. While making it, I don’t touch it with my feet. There
is “kadar and ibadat” (respect and devotion). Then there
“karigari” (skill). Without one the other does not come.
Shaukat AliFigure cutting and joinery
Ankhen do, drishti ek, honth do, lafaz ek
Pair do, raftaar ek, Haath do, taali ek
Bhed phiryeh aisa kyoon?”
BABA AMTE, Anandwan, Nagpui
28
A NATION in which a leader can seriously ask “Do you think an artist is a special per-son?” is a nation in jeopardy.
The other day I tried to explain this in chaste Hindi to our new minister for tex-tiles. He yawned. Our delegation of master craftspersons and weavers tried telling him about specific projects related to housing, occupational diseases, product reservations and other things. His political producer was more voluble; he warned us about this nation of thieves, chastised us for our servility, and told us to take what we need with the force of a ‘danda’. We reminded him that the fate of ten million weavers and several million craftspeople was clubbed with his own min-istry and unless they took precedence, the ‘danda’ will continue to be wielded by the textile barons.
Yet, I must agree that political rhetoric has some effect. After all didn’t Shri Datta Sa-mant make a lot of noises and hasn’t the government been dishing out more than 200 crores annually to maintain the sick textile units, employing only a 100,000 workers. The silent handlooms with a hundred times that number get only a piffling fraction of that figure.
Preferential treatment based on heirarchies exists amongst government machinery as-sociated with the performing arts as well. Without going into the arts versus craft, folk versus classical debate, I would like to point out another case of faulty perspectives. s. Nine months ago the then Prime Minister magnan-imously announced registration of all slum dwellers in Delhi and the giving of ration cards. So far so good. But implementation was characteristically short sighted as targets had to be immediately achieved.
The population in Delhi slums and squatter colonies doubled overnight. The increased density and close proximity of jhuggies, improvised with waste plastics and wood crates, made them more vulnerable. To top it
all zealous legislators encouraged everyone to tap the “electric poles feeding rich mans homes” without permission. Working for the last fifteen years in one slum, housing more than six hundred puppeteers, balladeers, ac-robats etc., we were alarmed and warned the concerned authorities about the implication of such actions.
The slums in Delhi burnt last summer as never before. In the fires, along with all oth-ers, about hundred artists also lost all they
. Since we were more organised, we got had. Ssome relief from the hotels where the artists had performed on various occasions.The five star kitchens of the ‘Taj’ catered to the slum dwellers of Shadipur for 15 days
We also made the Sangeet Natak Akademni promise them that they would sponsor some programmes to help them purchase new in-struments.
The slum dwellers have never heard from them after their empty assurances, inspite of repeated requests and reminders for action.
There is a feeling that these poor folk artists only make a noise with their drums. And, yes of course we have the Utsavs and Festivals, tomtomming the nation’s pride in its cultural heritage. The artists are bandied about as the fast depleting repository of this wealth.
No doubt, while the various festivals have made people more aware of the variety of art forms, I have somewhat naively harboured the illusion that this increased exposure will help us hasten a better deal for the well-being of artists or in meeting their needs.
Since Independence, India has seen rapid in-dustrial growth and consequent urbanisation. Migration from rural India to the burgeoning metropolis has fractured ancient links and channels of interpersonal communication. The principles of philosophy of inter- depen-dence required to nurture production systems and community-life are gradually lost, being perceived as irrelevant or unscientific. This alienation has been felt more than ever be-fore and with much greater intensity in the last few decades. Unprecedented changes
Of TouristInterest Only
THE ECONOMIC TIMES October, 1990 Artscape
SOLILOQOY RAJEEV SETHI
29
have reflected on the patronage conditions and environments of traditional perform-ers and artisans, challenging the survival of their time-honoured skills. It is time that we recognised that the responsibility of society does not end with the sponsoring of a project here and a bit there, or by conferring titles and awards that offer the artist little more than a once in a lifetime stint with status.
For every known artist they are hundred today who, for want of basic amenities and support, never see the light of day. If the base of the pyramid erodes, the top will be of little consequence. Even successful artists should realise that their pursuit of excellence im-plies a shared concern and responsibility for those who are less fortunate.
I know of a few musicians who think noth-ing of charging thousands but who profess ignorance about the monthly emoluments of their accompanists.
Once an accompanist tabla player from Shahdara told me, “The emptiness of my stomach resounds with the encores. I hardly have enough for a scooter fare back home from the concert. After spending about 12 years in rigorous rehearsals, I used to get Rs. 450/- per month, which is less than the lowest of the low government scale. I am 50 now…not more than 15-20 people know me… I remain only a part of the show and after show time… with the applause, we exit ‘Raat Khatam-Bat Khatam.’
Carrying their heritage, Miras ( from which is derived the degenerated title of Mirasi) artistes move in consonance with their own rhythm and harmony. From the courts of kings and tawaifs, they today find themselves confronted with the three Ts of Time, Tech-nology and Targets on the one hand and a culture of paper weights on the other. Talent, like a soap, has to be packaged, and officially graded or it slips into a gutter. Tan Ras of Delhi Gharana in Bahadur Shah Zafar’s court was given Chandini Mahal as a ‘jagir’. To-day Chandini Mahal has scores of musician families living with many others in cramped one room tenements. Facelessness stalks ev-erywhere as the city reeks of apathy.
Thousands, of weavers, craftspersons, ‘folk’ and ‘classical’ artists who carry the rich mil-lennial heritage of our culture now live on the peripheries of urban areas under squalid and destitute conditions. There is a complete absence of National Institution or Bodies that address themselves, in any significant manner, to the artists medical, education, environment and social needs – although these are interlinked to the quality and often the probability of their performance and oc-cupation.
There is unemployment and underemploy-ment, exploitation and an age old indiffer-ence; there is self-deprecatory alienation that devalues their art; and most of all there is a debilitating sense the traditional artists feel today – that they may be of interest to tour-ists but of little use any longer to their own society.
For every known artist there are
hundreds today,who for want ofbasic amenities
and spport neversee the light of
day
On cooperative action
Our workshop has all young people. Hindus and
Muslim- where is religion in a round chapati? We
recognize each other’s skill as well as the spiritual
our workers. Yes, we don’t always agree about mon-
ey. People cut rates and try to defeat cooperative ac-
tion to control pieces. Quality suffers in the bargain
and then even the chapattis disappear.
Nur Ahmed SayyidHamanullha Khan, Siddh Rama, Sidh Dayyia
On his work
I like designs that challenge the mind to invent a treatment. To-
day‘s repetition tires the heart. It would be alright with a machine,
but with hands it is bothersome. There is not enough mind-work in
it. If we did not use our brain - food would reach our ears, or our
stomach by my own work. I cannot change my profession. I have
-
master of my time. If I stop doing work with my hands, my mind
will loose its ability to play as well.
Afzal KhanCrewel and Staple Stitch, Kashmir
30
The art is alive aslong as the artist is !
THE ECONOMIC TIMES 30th December, 1990 Artscape
SOLILOQOY RAJEEV SETHI
Artists of all calibers and in every age, have allowed their arts - once in a while to be pan-dered for commerce. This would even be ac-ceptable if they could find the time and space to return to themselves and to each other for rejuvenation and renewal.
It would now seem that the majority of artists are even more socially isolated than before and are increasingly dependent on the cu-riosities and goodwill of the ‘upper’classes and file pushing ‘connoisseurs’. The rural and ‘folk’ artists are particularly bonded to the whims of their new patrons. Even peo-ple studying their art forms or working with the artists seem to get more recognition and economic benefit than those practicing it. Deterioration of tradition comes from such economic disparity of professional pursuit. The sense of achievement influenced by ma-
terial gains becomes critical.
Today, most people on the arts bandwagon are more concerned with personal ambitions and reaping dissensions. A great part of their lives is spent in cornering key positions, and ubiquitous roles allowing for only a few to come up. Such people exist for years on a running relay of ongoing projects that guar-antee a steady flow of official resources and high level of contact. Their programmes are designed more for personal aggrandizement and less for ameliorating the suffering of the artists or celebrating their genius. Very few people are really concerned about the disap-pearance of time honoured skills as living components of our traditions.
I have had enough of grandiose official ef-forts to preserve the vestiges of our glorious
past and the mute relics of our threatened present for so called ‘posterity’. Glitzy ex-hibits silk lined show cases, leather bound documentation and bulky project reports are not even the beginning of preservation and are marginal as exercises for creating public awareness. When will these programmes and records become accessible to those who need them most as ready reference? I refer in par-ticular to those artists who belong to the oral traditions and need more than their vulner-able memory to keep their art alive.
Aren’t most artistic manifestations held to-day becoming increasingly an end in them-selves, to be celebrated as annual events on the manicured lawns of the arts academies and international centres? Is the amount be-ing spent on exposure and preservation, gen-erating some returns whereby the repository of rich traditions can get a new lease of life where ever they belong?
If you go around eastern Rajasthan you will be hardpressed to find even a few women on the roadside wearing traditional prints on their skirts or blouses. What the mills of Manchester were unable to do in a hundred years, has now been achieved by the mills of the brown sahibs in less than two decades. Yet, funds have been allocated for a forth-coming exhibition for the Festival of India in Germany, extolling the textiles of the Thar desert.
Although I am weary of seeing the same team do all the major exhibition of the Festival of India for the last 8 years what concerns me more is whether they are capable of raising even a fraction of the budget that will help make the women of Rajasthan more aware. How many know today how their traditional apparel evokes their own landscape, how it suits their climate and how it helps to keep their own village folk employed? How many of those who talk of conservation or make be nurtured and stored in weather proof mu-seums and electronic hardware or in official hot houses from 10 a.m. to 5.00 p.m. with salaried master craftspersons or media Us-tads ?
The real reason we spend such a great deal of our energy seeking to define our connec-
tions with the past – or preserving the past for what its worth, is because we are so un-sure of our future.
While change scares some of us, a climate of innovations will require a broader base of involvement from those numerous artists who’s daily struggle leaves them no space or time for creative thinking; it will require greater participation of the everyman – from the millions out there, who have skills to make things, to express themselves and to communicate with those around them.It is from this extended and humble base of crea-tive activity that any culture has to measure and sustain its growth.
Re-established mohallas of artists and art-llasists in every mohalla is what will finally determine the health of our heritage as a nation. Just before his death, Bade Gulam Ali Khan had said that if only each family could have just one member trained in music there would be an end to communal hatred. I have written, my earlier columns, about the cost society has to pay for undervaluing the importance of culture. Now to round up this piece I will highlight the problems faced by those most easily identified as culture’s chief protagonists the professional artists and arti-sans themselves.
Who is this artist in NEED ?
It could be a performer too old to work or a community of leather workers with a skin condition that deteriorates with their liveli-hood; or a metal caster or stone carver fight-ing for a whole generation inflicted with disease due to unscientific and exploitative conditions of work.
Visit Moradabad and you will find that com-munal hatred is not just about severed heads of cows or chasing pigs into some neigh-bourhood. Or breathe in th silica-laden air of Kambhat to find out the T.B. rampant in this filthy town is not just because the arti-sans have an unbalanced diet. Have the of-ficial bodies in charge of arts and crafts ever looked comprehensively into issues related to health matters, occupationed diseases, insurance and environmental degradation ? Most organizations are only concerned with the packaging of the product or arranging a performance. They feel better means of marketing will alone provide the artists the wherewithal to look after themselves; they will then be able to move out of a slum and buy a roof over their heads, find a place to work and see their children through a life furthering their skills. Really ?
31
Some of us have been going from pillar to post for the last 15 years now to get some land for the creation of a pilot habitat for the several hundred families of artists living in the slums of Delhi, Jaipur, and Bombay. We are constantly told to wait because we are in the queue and land prices are prohibitive; yet we see doctors, lawyers, journalists, of-ficers, and 700 others co-op’s of middle and upper income groups get the land they need at concessional rates. The economically vul-nerable are suspect – even if they have organ-ized themselves into cooperatives to avail the same facility.
We are told we cannot ask for a work-cum-dwelling space because the zoning laws of the city do not permit the same. Cities are made keeping commercial, industrial and residential areas as rigidly separate. Who asked traditional craftsmen whether they can travel with their families to a workshedeveryday or whether a musician can rehearse in one place and stay in another ? Jaipur’s gunijan khanas and artisans’ nas mohallas are llasan indication of how cities were planned earlier.
A catalytic environment for nurturing the skills of traditional artists and artisans is the critical need of the day. A musician’s child who rarely sees a tree living in the squalor of a tin shed cannot be taught the nuances of Raag Basant.
So, Hon. Ministers of Textiles and Culture, don’t just tell us to go to the Department of Urban Development or Ministry of Health. The artisans and artists are seen like files that never move. Instead you liaise with your col-leagues from the different departments or go back to the Planning Commission and fight hard to make them give you the appropriate allocations that will enable you to serve your constituents better.
Creative artists have also a growing need for legal advice and action. Artists, writers, scholars barely know how to draft a con tract document to protect their interests and I know many performing artists who should sue sev-eral agencies and individuals for misusing their work. The disparity of payments in the official mass media – between south-north,
men-women, dance- music; disparity ofpayments between different agencies, their dubious grading systems, the multiple us-age of programme’s through electronic ex-tensions, are all issues ready for some legal prodding.
Likewise the issue of reservations for hand-looms, stayed in the court by a vested pow-erloom lobby, has stood unchallenged and unheard in the Judiciary in the absence of public interest.
There are child artists whose skills are often abused, like in the carpet trade, and women artists whose problems of status, space, time and resources require special attention. Art-ists need management skills to run their co-ops, set up thrift and credit societies, arrange loans and combat indebtedness.
They need marketing skills to deal with spe-cialists, critics, media, buyers, exporters etc. These are problems that many do not even perceive as problems in the present scenario.
Some artists also need help to readjust with contemporary values where their ethnic group traditions dictate an antisocial life style. The rather robust attitude towards sex of a Kanjri dancer and a Nat from Maharash-tra had me thinking about parallel morality in variance with what’s around.
That is till I saw them buckle under the abuse of demonic lust. I also remember an alco-holic poet who no one wanted to help and a sensitive painter who left everything because he could not see the debasement of art.
Then someone also has to think about recrea-tional activities for the artists – the interper-sonal and interdisciplinary contacts required for growth; about a creative halwai wanting to experiment with regional foods and new recipes. There may be a traditional painter wanting to know about computer graphics or a goldsmith wishing to learn about watch assembly.
I have always wanted to arrange a national workshop of tribal painters and dancers in a
tribal area so that they could meet and share each other’s joys, aspiration and apprehen-sions.
Some of the most poignant moments in the arts for me have been my meetings with ‘small’ artists wanting to raise collective so-cial consciousness on vital issues. A magi-cian wanting to be a part of the of the main-stream has evolved ingeneous acts to express his concern for national integration. An ac-robat wanting to train in gymnastics wishes to bring in an Olympic gold for her country. A Hindu mat-weaver from Bengal creates a long roll weaving a series of mehrabs in absa prayer rug for the Jama Masjid of Delhi. These are people out to save the world and may their tribe increase!
Society owes to these artists and artisans a special debt. Their contribution is irreplac-able. Likewise the environment they need for their work is particular. What needs to be strenghthened is their inherent capacity to create wealth for themselves and their com-munity
My voice, while it lastedMy feet, while they dancedMy fingers, while they playedMy hands, while they workedMy senses while they prevailedHave asked you so many questions..........?
On the quality of life
hunger is for two chapattis and I can only mange one, it is
alright. I mange, but with honesty and fairness because lies
have short lives. Where is the need for me to lie to you any
way? When I say I need your help to make my living, you
will see that I am genuine, and you will help me. If you
saw that I was a liar or a cheat, with what eyes would you
look at me. Tell me? Does anybody look with friendly eyes
at a liar?
Ali Osad Urf SadiakLeather worker
32
PART III
Chapter 6Chapter 1
Chapter 3 traces the evolution of the concept of cultural industries and its transformation into a GLOBAL PHE-NOMENON, fueled by State policy intervention and the positioning of private-public initiatives in different coun-
-
Chapter 4 brings us home with THE INDIAN SCENARIO with eminent personalities throwing light on where
-
and space than provided here; this gargantuan effort will continue with the development of a web portal for this sec-
sub-sector and extended the rest into Chapter 5 and Chapter 7
Are we biting off more than what one can chew by clubbing these many sectors together?
Chapter 5 titled a INDIA’S EDGE we argue otherwise and show how ‘the traditional’ and ‘the modern’ can help
of the old and the new, margi and i deshiii
Chapter 6 THE WHEEL MOVES -
33
Making, D
oing, Being...
we felt the concept for a single Ministry grouping all connected departments from other ministries to form a whole
Chapter 7 points to THE WAY AHEAD..
-
Chapter 8 celebrates the making of BRAND INDIA suggested as a tenure for the Mission would help it devise and implement the mixed media programme outlined in
Chapter 9optimistically, called it the PURNA KUMBHA, ‘the pot of plenty,’ providing a blue print for sourcing resource would
Chapter 10, brimming with hope, is titled SHAJAR-E-HAYAT, ‘the tree of life’. We have here col-
PAST FORWARD is a timely reminder of what we need to do before it is too late and loosing our legecy and being
Rajeev Sethi
Created in the 1940s, an era when technological developments such as cinema, the photo-illustrated press and broadcasting were
making rapid inroads into individual homes and society as a whole, the term ‘cultural industries’ was originally intended as a
-
ists, the new media was there to stay, impelling a rethinking of the very understanding of culture. Furthermore, the popularity
and unprecedented reach of mass media made it a lucrative commercial venture as well as a potentially powerful tool for cultural
and political dissemination. State policy now began to address this issue – in capitalist countries, cultural policies aimed to gener-
ate employment and greater economic returns through sector; in socialist countries, culture, subject to extreme State intervention,
became a vehicle for propaganda; and in newly independent post-colonial states, culture became an important means of creating a
national identity.
With the more recent shift from a manufacturing to a service based economy that is largely content driven, creativity and content
have become the basis of competitive advantage in a global market. Creativity has to now be seen as not just residing in the arts and
media industries but as a central and increasingly important input into all sectors where design and content form the basis. Over
forty countries, some of which have economies and cultural contexts with little in common with that of India’s and others which
could be considered our peer group, have already recognized this factor and accordingly implemented programmes and policies that
can nurture and support their particular cultural and creative industries. Simultaneously, national and international bodies are
also examining the potential offered by the cultural and creative industries as a tool for grassroots development and the preservation
of cultural diversity and heritage. Running the gamut of commercially, politically, economically and culturally driven policies and
programmes, the examples of these prior experiments in the domain of the cultural industries present us in India, poised on the
brink of following suit in the same direction, with the opportunity to better equip our vast cultural and creative sector for success.
Overview
Global P
henomenon
37
Global Phenomenon
METAMORPHOSIS :Adorno to Art Policies
Cross-cultural Milestones
embroiled in debates about its value within transitional
accessible to a far larger and more heterogeneous
audience, fracturing previous notions of ‘art’ and its
infrastructure and micro-economy; the newfound
pervasiveness of its products implied that electronic
the massive capital investment and the technical expertise
beast called culture and how could they use it to their
revolution, class struggles, the establishment of
capitalism and resistance towards its monopoly, the end
Located within this framework and actively shaping and
being shaped by it, culture was becoming increasingly
Culture in the free enterprise economy: Art
becomes a commodity
of a single factory system geared towards nothing more
its consumers from the drudgery of their increasingly
automated work and to prevent them from recognising
Raoul Hausmann
Amid the chaos of World War I, Europe was taking a
quantum leap into the modern era through rapid techno-
logical development. While critics condemned the “machine
culture” spawned by the birth of the photo-illustrated press,
radio broadcasting, industrial assembly line production as
well as commercial cinema, a small group of artists of di-
38
verse nationalities – the Dadaists – were using the new
media at their disposal to challenge both traditional artistic
categories as well as contemporary society.
cinema, the latest entrant on the cultural scene, took over,
detail and politically charged subjects in favour of
of Bombay focussed on providing ‘light entertainment’
The major audience for a normal Hindi commercial
income groups. But more important than them are the
people who live below the poverty line. It’s very strange,
but most of the people who do odd jobs, or even beggars,
releases. In fact, I played a character like that. She was
a rag-picker, and whatever money she got from selling
rags she would stuff in her blouse, so she didn’t have
to give it to her father or mother. She would then use
far-fetched imaginary fantasy or some funny incident.
It’s the truth.1
the commercial cinema an impersonating, debased, and
purist seeking to maintain and police cultural boundaries
emerged out of a system of assembly-line production –
each year had been steadily increasing and the years
following the Second World War had created a boom in
Ten years from now we’ll have good roads, housing
schemes, hospitals, food, buildings, etc, but no culture.
We can import technology and know-how, but we can’t
import culture…
The Indian cinema is still held in its foreign lead-
ing strings and is totally unrelated to any tradition in
Indian culture, old or new. In fact, what the Indian
cinema is doing is to force Indian sensibilities into alien
moulds. Its disruptive effect is going to be, and already
is, far-reaching among the common people. It is rap-
idly destroying their folk culture and converting them
mentally into a typical town rubble, a disgusting plebs
urbana always crying for the circus.
-Nirad Chaudhari2
“To spin the simplest yarn on celluloid the wheels of a
- Satyajit Ray3
planning, this translated into large-scale industrial
projects such as power plants and factories as well as
not produce an essential commodity, and as a culture
industry, its products did not enhance or embody the
an alien imposition devoid of any organic connection
with a long and illustrious history of diverse indigenous
– what was to become perhaps the most pervasive
Once popularised, cinema became an electronic extension of
‘folk’ art forms. Thus, ‘Jhoot bole cauwa kaate’, a song of
Industry. The original stakeholders of its artistic property
remain marginalised.
Ray, Satyajit, ‘Under western eyes,’ Sight and Sound
Global P
henomenon
39
Bobby poster
culture industry claimed to be serving the consumer’s
need for entertainment, it concealed the way in which it
therefore feeds a mass market where the identity and
tastes of individual consumers becomes increasingly
less important and the consumers themselves are
pervasive, media culture was seen to impress its stamp
on everything until “the whole world is made to pass
“Movies and radio need no longer pretend to be art.
The truth that they are just businesses is made into an
ideology in order to justify the rubbish they deliberately
produce. They call themselves industries; and when
their directors’ incomes are published, any doubt about
-Theodor Adorno and Max Horkheimer
– painting, sculpture, music and dance – that are deemed
the only remaining expressions of freedom, creativity
capitalism is based on a romantic Marxism untouched
this utopian world view that he extends to his discourse
expression of “bourgeois subjectivity” and extolling
the virtues of the few cultural forms he deemed to be
music represented the key sites of resistance to cultural
forge connections between the cultural avant-garde and
the new popular media, arguing that both functioned
outside the boundaries of conventional art production,
reaching out to new audiences and embracing original
any form of cultural production characterised by the
relatively large-scale replication of cultural artefacts
by means of technology, Benjamin acknowledges that
Benjamin, mass media and avant-garde art provided the
initial conditions, at least, for the creation of something
who witnesses its accomplishments is somewhat of an
refusal of capitalism is abandoned in favour of a
democratisation of capitalism through critical public
consisting of two distinct parts – the ‘system’ and ‘life-
and the state, of money and power; the second to the
world of everyday experience, social discourse and
believed that ‘undistorted communication’ between free
values that could successfully counteract the dominative
himself recognised, was that the life-world was
increasingly subject to ‘colonisation’ by the system,
thus radically reducing the possibility of collective,
40
and discourses on art, they too joined the ranks of the
historical need for emancipation from the rigid social
structures of pre-modern tradition on the one hand, the
‘colonisation of the life-world’ by the logic of capitalism
Culture in the socialist state: Art as an ideo-
logical weapon
While thinkers within capitalist Western societies were
economic context, communist states, such as the Soviet
intervention in the cultural domain whereby all art was
codifying a system of artistic rules, which ensure the
Unlike capitalist states where the artist is seen as a
these same reasons, artists and art in socialist states
utterly subservient to the state, its progress, ideological
objectives, and creative pursuits determined by the
To work in a factory
blacken your face with smoke
then at leisure later
other men’s luxuries –
what is the good of that?
Wipe the old out of our hearts!
Enough of penny truths!
The streets our brushes
the squares our palettes.
The thousand-paged book of time
says nothing about the days of revolution.
Futurists, dreamers, poets,
come out into the street.
- Vladimir Mayakovsky8
An order to the Art Army (December 1918)
production in a communist economy, belonged to the
‘bourgeois’ subject matter and style of art produced
under the tsars and embrace their new task as “engineers
“It [Russian art] concerns the value a man puts on his
own life. The Russian cannot believe that the mean-
existence can be pointless. He is inclined to think that
his destiny is larger than his interests. This leads in art
to an emphasis on truth and purpose rather than on
aesthetic pleasure. Russians expect their artists to be
prophets – because they think of themselves, they think
of all men, as subjects of prophecy.”
10
the use of political slogans and imagery as a means to
were marshalled to the cause of re-educating the entire
comparative ease of large print runs, the vividness of
its imagery and its greater accessibility, posters became
featured on town walls, fences, boats and special
propaganda trains, and in demonstrations, Russian
of the revolutionary struggle, a record in colours and
words,” enthusing those who were participating in the
Global P
henomenon
41
Soviet Poster, Chinese Poster, Haripura Congress
In the Soviet Union and China of the early 20th century,
posters became a visual extension of State propaganda, urging
the common man to join in the task of building a communist
nation. In India, Gandhi commissioned Nandlal Bose to
design posters for the Haripura Congress. The protagonist
of these posters is the rural Indian busy with work, making
style of the poster derives from Indian miniatures, creating a
sense of ‘Indianness’ that all Indians could identify with.
‘Working relentlessly for the Military Department since
the beginning of 1919, Comrade Moor has rendered
an immense service to the Red Army with his bold
poster designs. The ranks of the Red Army cherish
his revolutionary posters which raised their morale and
illuminated the way forwards. During the past three
years, Comrade Moor has designed 150 canvases and
posters for the Red Army. The Military Revolutionary
Committee of the Republic, noting Comrade Moor’s
services to the Revolution, honours him for the heroic
battle he has waged with his own particular weapons
– the brush and the pencil.’
Fuelled by the belief that they were contributing to the
political and spiritual future of their country, Russian
artists tried to create an art form that bore no semblance
to that patronised by the autocracy or to the ‘soulless’
rediscovery of pre-European Russian art coupled with a
search for the most advanced, the most modern means of
Once the revolutionary ship was stabilised,
however, state intervention in cultural production grew
promotion of radical, non-traditional directions such as
impressionism, constructivism, cubism, concept art, and
42
realpolitik of building an industrial base in a backward
country meant that all avant-garde art became at best, a
sort of luxury and, at worst, a vestige of pre-revolutionary
bourgeois culture which had to be extirpated from the
realism’ was instated as the state policy on the grounds
that realist art was more popular and comprehensible
based on a sense of its task – who it is addressing, what
has to be done to consolidate economic progress and
encourage its new constituency, the common man, to
leaders and policies of the Soviet Union or elevated
another, always highlighting the move towards a
socialist realism, especially those who wished to work
in avant-garde or non-representational genres were
not regarded as employed when working on their art
and could therefore be accused of social parasitism, a
charge that could send a person to the Gulag labour
urged to represent realism, it was only a limited view of
from heroic portraits of Stalin and Lenin, muscular
peasants, happy factory workers, collective farms, and
industrial landscapes was frowned upon, as were novels
deemed inconsistent with Marxist doctrine and musical
Without wholly identifying with the Revolution, the
true colours for his revolutionary cartoons’.
-Lenin
I do not know how radical you are or how radical I
am. I am certainly not radical enough; that is, one must
always try to be as radical as reality.
- Lenin
varied somewhat from country to country, socialist
realism became the predominant art form across the
Mao clocks
In an extreme of state intervention in the cultural
sphere, literature and in the arts in China of the
1940s were made entirely subservient to Communist
ideology. Strict guidelines were laid down regarding the
style, content and format that was considered permis-
sible. In an ironic twist, Chairman Mao’s visage has
since found its way onto clocks, sold as popular memo-
rabilia.
class struggle and nationalistic regeneration under Mao’s
fronts, among which there are the fronts of the pen and
army alone isn’t enough; we must also have a cultural
army, which is absolutely indispensable for uniting our
there was to transform any left-leaning liberalism and
Global P
henomenon
43
lingering individualism into the collective service of
to deliver control of literature and art, once in the hands
The purpose of our meeting today is precisely to ensure
-
ary machine as a component part, that they operate as
powerful weapons for uniting and educating people and
for attacking and destroying the enemy, and that they
mind. What are the problems that must be solved to
achieve this objective? I think they are the problems of
the class stand of the writers and artists, their attitude,
their audience, their work and their study.”
– Mao Zedong12
Mao left no doubt about the subservience of art to
whole revolutionary cause; they are cogs and wheels in
From the notion that the value of art derived from
revolutionary necessity, came a heightened esteem and
and Literature,” which became the cornerstone of Soviet aesthetic
supermen! Literature must become part of the common course of the
Mao, however, made it abundantly clear that this would
only apply to those who could adhere to the new
cling to an individualist, petty-bourgeois stand cannot
can do any meaningful work unless he is closely linked
with the masses, gives expression to their thoughts and
only what is needed and can readily be accepted by the
starting from the workers, peasants and soldiers can we
unambiguous, comprehensible to the audience, designed
counterpart’ of ‘socialist realism’, Mao’s aesthetic of
‘popularisation’ was designed not as a representation
realism – in other words, idealism and not realism at
that was a departure from this approach was labelled
“As Marx put it in a famous exhortation to philoso-
phers; the task is not just to understand the world but
to change it. So too with artists. “Socialist realism” is
more than mere faithfulness to reality: it contributes to
reality; it creates reality….There is, in fact, only one
taboo: the recognition of a variety of realities is forbid-
den, including any separate reality of one’s own. “Re-
alism” operates this way not because it does not wish
to know abut reality. You do not need much theoretical
training to realise that there can be no “real” reality
when there are many realities.”
– Miklos Harasztiin his dark-humoured account of state-directed
socialist art in Eastern Europe, The Velvet Prison
Western-style art were both considered ideologically
Other sources also existed as potential models for
development, including European and Soviet socialist
very fact that they were foreign would from time to time
of the time, Mao seemed to favour those theories and
programs intended to cultivate indigenous “national
44
“Some works which politically are downright reac-
tionary may have a certain artistic quality. The more
reactionary their content and the higher their artistic
quality, the more poisonous they are to people, and the
more necessary it is to reject them.”
– Mao Zedong16
visual manifestations of angst, generated by poverty
and loneliness in their lifetime, become such a valued
commodity among the wealthy and socially prominent
to express the thoughts and feelings of the masses, as
interpreted for them by their ultimate supervisory agency,
the time, the newly established revolutionary government
enlisted the arts and architecture in a campaign to give
Speaking about the conundrums in which cultures on
been proclaimed which leads to a grace lack of cultural
expressions could be solved by showing folklorisms,
the solution is not in showing our identity, but in acting
instruments) into the garbage can, to then go back
culture), adapting it, or even nationalising it, which may
with our own criteria, or at least participate actively in
this happens, it will have stopped being a Western
Culture in the postcolonial economy: Art as
identity
was as much about national identities as politics, in
consciousness grew from common bonds of language
from the necessity of unifying diverse cultural groups
formation as independent republics, what we today call
and social assemblies lived side by side but were deeply
or less homogenous and permitted itself to extend loops
had perforce to “invent” a national identity that would
create solidarity among its varied population, assimilate
their individual cultures, as well as consolidate their
land system was dismantled, labour was organised and
reformed, foreign economic despoliation were initiated,
and indigenous culture became the focus of a national
music, literature, theatre, dance, and painting, there
native costumes, and painters not only populated their
Mexicans were illiterate and that, as he put it, “Men are
more malleable when approached through their senses
as happens when one contemplates beautiful forms and
wages decorating public walls with paintings that could
Mexican art, one that expressed the Mexican character
Global P
henomenon
45
ancients and the foreigners could teach us, but we could
developing an art form that was at once nationalist, anti-
Diego Rivera, Frida Kahlo, Amrita Shergil
Mexican and Indian art of the immediate post-colonial era
shares certain similarities – primarily, a search for an identity
that is at once local yet global. This often translated into
a romanticisation of the rural population, now considered
the true and rightful occupants of the land. Diego Rivera’s
work represents the pro-active peasants and workers of the
Mexican State, and Frida Kahlo’s work is tinged with a
nostalgic, romanticising a Mexican past and prophesying,
nostalgic reimagining of a picturesque national and personal
identity. Although “Western” in terms of its medium and
style, the works of both Mexican artists are littered with
local references. Likewise, the Indian artist Amrita Shergil’s
is transformed by her choice of subjects and colours – village
women represented with a rich palette of earthy browns, reds
and ochres.
works the odious and degenerate type of common people
once and for all, the painting of sandals and dirty cotton
view, no matter how much the world changed, the same
evils – war, injustice, poverty, oppression, ignorance –
46
whose work was full of hammers and sickles and who did
him ideologies were suspect; they all led to demagoguery
- Diego Rivera
across centuries, classes and geographies, expressing
itself in the folklorism of Rivera on one hand and the
heritage that was free, and often superior, to that of her
romantic reconstruction of the past to imbue a ‘legitimate
resist the social and cultural challenges posed by the
heroes of popular legends from regional ethnic groups
culture of the various regions to the rest of the country
purely voluntary efforts – among them, Rabindranath
materialism had matured, nourished by western adulation
government had a mammoth task at its hands – the
creation of models for a national culture and translating
and reclamation of a historic past capable of eliciting
national pride and cohesion, the upliftment and economic
development of its vast population, and a progressive-
internationalism which allowed the new nation state to
focus on the international met in cultural policy; the
arts, the mass media and the non-mechanical were all
in multiple centuries, multiple pasts simultaneously,
KG Subramanyan
Art in Post Independence India was characterised by two
distinct approaches: an internationalist modernism and a
search for a cultural sensitivity in art practice.
K G Subramanyan, an artist of this generation, consistently
attempted to regain for modern art that additional resonance
traditional artists derived from shared culture and language,
experience and iconography. Through involvement with
weaving and textile design, toy making, writing and
Global P
henomenon
47
illustrating children’s books, and creating murals integrated
with architecture, he succeeded in breaking out of the narrow
limits of high art and explore different modes of cultural
production and communication.
the preservation, fostering and dissemination of culture
What we seek today is not a repetition of the old pat-
tern, be it Indian or colonial, but a positive contribu-
tion to strengthening the quality of current life
-Kamaladevi Chattopadhyay18
a parallel to what cultural industries has become today;
the only difference is that today policy makers are more
open to including the more commercial, non-traditional
Culture in the postmodern era:
Art as economic policy
theory was borne of this boom, spreading to theory on
the world now irreversibly and undoubtedly consumerist,
but the pragmatics of functioning within this system
means that even the bastions of ‘tradition’ or the ‘avant-
garde’ have now joined the groups already camped out
account of the culture industries, for instance, has
been critiqued
the cohesive character of mass culture and an overly
pessimistic, condescending prognosis of the “masses” as
brainless puppets attached to the strings of the powerful
the overall dynamics of the industries that provided mass
communication and cultural goods and services to an
increasingly wide cross-section of the public, choosing
instead to see these industries as the eradicator of an
with nostalgia for a cultural experience untainted by
culture industry is now deemed an overly dismissive
account of capitalist economies and their dynamics,
rigid boundaries between high art, mass culture and
industries has for the most part tended to focus the
cultural and social implications of cultural consumption,
the increasing presence of the culture industries in social
and economic life motivated its development as an object
of policy, moving discourses on the cultural industries
out of the realm of conceptual analyses and into the
framework of local, regional and national policy for the
48
working with city and other arts agencies, culture now
came to be repositioned within a rhetoric of the ‘value’
of culture – the assessment of which constantly shifts
between aesthetic, economic and social understandings
and constraints faced by subsidy and arts policy systems
Early forms of arts policy in many countries mirrored, to
some extent, the disdain for mass media and commercial
they strictly demarcated publicly supported ‘excellence’
in the cultural realm, and popular arts and cultural forms
models promoted by governments therefore supported
the production and exhibition of “traditional arts” and
literature, the visual arts, classical dance and music on
social improvement, based
on the belief that such cultural forms are of
intrinsic worth to the community;
public subsidy, whereby
on the grounds that these forms were not
otherwise commercially viable;
national culture, and the
the ‘true’ representations of national
became the focus of arts policy only to the extent that
policies thus promoted state-funded cultural activities
with limited impact, while largely ignoring and often
which tended to reject the market and focused on a
residual approach to public intervention in the cultural
sector, Nicholas Garnham, a political economist, offered
as “those institutions in our society which employ the
of industrial corporations, to produce and disseminate
symbols in the forms of cultural goods and services,
publishing, recorded music, design, architecture, new
media – and the ‘traditional arts’ – visual art, crafts,
theatre, music, concerts and performance, literature,
museums, galleries – all those activities which have been
divisions between these two categories – but a line
between ‘art’ and ‘commerce’ is ideological and not
though in receipt of enormous public subsidy, cannot
‘make it’ at some point, calling struggling pop musicians
– one relies on ‘the market’, the other on a bureaucratic
Both deal in symbolic value whose ultimate test is within
a circuit of cultural value which, whether mediated by
the market or bureaucracy, relies on a wider sense of it
therefore presume that they are two separate sectors
noted above, the commercial sector provides wealth and
With the erosion of the cosy separations of ‘art’ and
‘mass culture’ set up by early policy systems, the role
instead of merely being ‘defended’ against new forms of
who promoted a more populist orientation of cultural
those areas of arts and culture ‘least contaminated by
commerce’ cultivated those activities with the lowest rate
of growth in consumption and the strongest class biases
where “most people’s cultural needs and aspirations are
being, for better or for worse, supplied by the market
as goods and services,” they argued for an analysis of
Global P
henomenon
49
far more important as employers of labor, objects of
consumption, and areas of public intervention, than the
traditional performing and visual arts, which received
those cultural activities which fell outside the public
funding system and operated commercially were
of a whole range of cultural goods and objects which
music, books, adverts, concerts) had nothing at all to do
involved an alternative economic line, concerned with
cultural industries research was developed through
The Creative Nation viewed culturaln
industries as an important contribution to national
economic development, and indicated the value-adding
possibilities arising from effective policy development,
particularly with regard to the development of the
cultural industries value chain, or ensuring that the
products and outputs of artistic creativity were better
excellence to the whole way of life of a community, this
approach to cultural policy sought to reach sectors, such
as popular music and media, which had typically not
been well served by conventional arts policy, as well as
broadened and enriched debates about the role of
the production of symbolic goods and services, was
it then possible to exclude any activity of industrial
cultural industries, or the use of aborigine artwork on
use of music by artists such as Moby or Fatboy Slim to
were of little help in making these distinctions, divided
inclusive as to prevent almost any realm of human
It may be argued that all industrial production con-
tains a design element (and therefore creativity, intel-
lectual property, and culture). What, then, is really
the difference between the cultural industries and other
manufacturing industries? It is not the output of the
production that distinguishes the cultural industries
from other manufacturing industries, but the fact that
the cultural industries as a concept offer an alternative
interpretation of value generation.
Jodhpur, (February 2005)
policy purview of those areas of government that were
television, radio, multimedia, built heritage, cultural
property, indigenous cultural heritage, open learning and
that more obviously attracted governmental support than
others – orchestras rather than contemporary music,
by the areas that were within the policy domain of the
industries such as television and radio were absent from
cultural policy, on the basis that they were at that time
administered by a different government department,
Similarly, in Britain, the mapping document prepared in
activity in the cultural industries and policy measures that
50
as ‘those activities which have their origin in individual
creativity, skill and talent and which have the potential
for wealth and job creation through the generation an
exploitation of intellectual property,’ the now titled
mechanisms to support both the traditional arts and
emergent cultural sectors, such listings inherently carry
connected to the institutional alignment of culture with
the heritage sector, while the inclusion of areas such as
designer fashion may have been governed by the fact
to revert to the demarcation between areas involved
directly connected to the market), and the more ‘artist-
centred’ areas of culture, which can retain a focus upon
attributed to the institutional divide between those areas
of the performing and visual arts whose development
subsidy, and those sectors that are associated with the
What has become increasingly apparent in policy debates
around the cultural industries, is the extent to which they
have been drawn upon by traditional elements of the
subsided arts, that have been able to selectively use the
economic discourses surrounding cultural industries,
particularly the elements associated with market failure
– such as public good, merit good and externality
arguments – to accommodate more traditional arguments
While cultural industries discourses stressed the
economic value of artistic and cultural activities, they
were also widely seen as being about providing new
forms of legitimation for traditional art and cultural
limitations of traditional forms of cultural policy, such
consumption base beyond higher-income earners with
and a tendency
for peer assessment to encourage familiar patterns of
forms of arts and cultural funding while broadening
statistical debates around the cultural industries, usually
training needs and increasingly, contribution to local,
The role of creative enterprise and cultural contribu-
tion... is a key economic issue…The value stemming
from the creation of intellectual capital is becoming
increasingly important as an economic component of
national wealth…Industries, many of them new, that
rely on creativity and imaginative intellectual property,
are becoming the most rapidly growing and important
part of our national economy. They are where the jobs
and the wealth of the future are going to be generated.
- Chris SmithMinister for Culture and Heritage (1998)37
argumentation with hard fact but they have riddled with
in different countries and regions have meant that the
statistics compiled for each are not necessarily based
cultural sector’ include the ‘traditional arts sector’ along
with commercial cultural activities, others are directly
concerned with ‘original production’ or ‘technological
industries sector’ has been expanded to include related
‘Culture’ … ‘Industry’ IncompatibleCompanions?
industries’ itself indicates that the term is currently responding to some
deep-stated and far-reaching need to handle transformations which go
beyond short term tactical problems and rhetoric… At stake here is a
new relationship between culture and economy.
subsumption of culture within the productive base of capitalism; it is
partially both but it is also a different dynamic which needs to be faced.
999)
Global P
henomenon
51
industries, now calls them the ‘creative industries’
pointing to a more directly economic and value-
laden agenda – throwing in employment, creativity,
competitiveness, innovation, exports, international
is sometimes preferred, with the distinction between
private sector-driven activities and those associated with
culture in a more traditional sense continuing to inform
Secondly, statistics in these areas tend to be collected
differently in different countries and regions, making
of many sectors, it is particularly true in the case of the
cultural industries as there is often no agreement as to
whether we measure ‘artists’, or ‘heritage’ or ‘ancillary
Finally, employment statistics are often based on
outmoded industrial and occupational categories which
make collection and analysis fraught with ambiguities
and omissions, especially since the whole notion of
‘employment’ has undergone radical restructuring over
employment, non-paid jobs and self-employment
has restructured the cultural labour market has made
statistical analysis useless without an accompanying
administrative problems, many of them stemming from
opened up by the cultural industries across the world is
essentially an expression of an imperative wrought by
some deep-seated and far-reaching transformations in
At stake here is a new relationship between culture and
economics is valuing human creativity and realizing in-
culture within the productive base of capitalism; it is
partially both, but it is also a different dynamic which
needs to be faced.
-Justin 0’Conner
52
LET’S GET CREATIVEINDIA’S FUTURE COULD DEPEND ON THE STRENGTH OF ITS ‘CREATIVE ECONOMY’. SO HOW DO
WE STACK UP? SUNDAY TIMES INVITED THE MAN WHO COINDED THE TERM TO EVALUATE OUR
NATIONAL IDEAS BANK
Richard Florida
If China is the world’s factory, India’s become the world’s outsourcing center. Its software industry is the world’s sec-ond-largest, its tech outsourcing accounts for more than half of the $300 billion global industry, according to tech-nology expert Martin Kenney.
But India’s future depends crucially on its ability to com-pete fully in the Creative Economy – not just in tech and software, but across design and entrepreneurship; arts cul-ture and entertainment; and the knowledge-based profes-sions of medicine, finance and law.
India is well-positioned to compete. Bollywood, which makes over 9000 films a year, is the world’s largest film-making centre. India’s creative talent has already made its mark on the global entertainment industry and popular cul-ture. The music scenes of London, Toronto, and New York are infused with Bhangra beats.
Elsewhere too, Indian excels. Its video game industry is million, to grow tenfold, to $300 million, by decade-end, and its animation industry from $300 million to almost a billion dollars by 2009. Its advertising, graphic design and product design industries are seeing extraordinary growth.
Already, India has been a source of creative talent for the world. The skills of Indians were integral to the success of Silicon Valley. Indian expatriates started 385, or 10%, of its high-tech firms in the late 1990s. Vinod Khosla, who Forbes magazine named The “most important venture capitalist in the world”, has
single-handedly been responsible for identifying a host of key technologies and generating billions in new wealth. In the US alone, more than 160,000 Indians work in science and engineering.
India also faces substantial challenges. It ranks 41st of 45 countries on my Global Creativity Index, and aggregate measure of its strength across the 3Ts of economic develop-ment. India does well on the first T, Technology, ranking 23rd worldwide. But, despite its globally renowned IITs, it rank 44th on the second T, Talent, with only 6% of its popu-lation holding a Bachelor’s degree. It rank 39th on the third T, Tolerance – openness to self-expression and a wide range of social groups.But India’s biggest challenge goes deeper and is embedded in the very logic of the global Creative Economy. Innova-tion and economic growth are more concentrated than ever. India’s growth is premised on the success of a handful of regions. Virtually all significant technological innovations produced in India in 2004 (those for which US patents were granted) came from just three city-regions – Bangalore, Hy-derabad and New Delhi. Outside of these and several other creative centres, large sections of India’s population live a hand-to-mouth existence
Still there is a great tradition of creativity to build on; cre-ativity, it seems, is part of India’s DNA. India has long val-ued the development of talent across multiple dimensions, from literature and the arts to medicine, engineering and entrepreneurship. Its internal diversity – religious, cultural, political, and geographic – along with a tolerance of dis-sent and openness to outside influence and trade have pro-vided this ecosystem with a constant influx of new ideas and people.
Global P
henomenon
53
Pochampalli and Mobile Gaming Design:What’s the connection?
What are the Cultural & Creative Industries but industries of the
imagination, content, knowledge, innovation and creativity…they are also
important contributory factors to employment and economic growth.
UNESCO (1999)
• Each is based on intellectual property and design talent – One so far rooted in tradition and community,
and the other in a modern visual culture and the individual.
• Each evolves its own vocabulary – Pochampalli, from the temple motifs or new design sensibilities, and
gaming from popular graphics ortraditional contexts.
• Each derives its unique visual character from the process and technology that creates it –one tactile, the
other virtual, but created with the warp of insight and the weft of skill.
• Both are knowledge based – the technology of one is heritage legacy and that of the other, software
design in digital media.
• The survival of both in global markets depends on innovation and creativity– in terms of their
vocabulary, design and promotion.
• Both require human interface, are small scale and not machine produced. Seen together they are not
dismissed or straight jacketed as traditional or modern, sunset or sunrise.
• Each needs the other to gain and retain a competitive edge in the global market 90% of the culturalt
industries in India are traditional, while the remaining 10% is part of a rapidly advancing sector.
market.
54
The Cultural and Creative Industries:Too much on the same page?
Cultural diversity presupposes the existence of a process
of exchanges open to renewal and innovation but also com-
mitted to tradition… If creativity is essential to generate an
evolutionary leap, then memory is in turn vital to creativity.
That holds true for individuals and for nations who find their
heritage - natural and cutlural, tangible and intangible – the
key to their identity and the source of their inspiration.
UNESCO
Global P
henomenon
55
A global phenomenon
Creativity and Content in a Knowledge-based Economy
The shift from manufacturingto services and then to knowledge
in recognition of the increasingly important role of in-
formation, technology and learning in economic perfor-
aspects of economic production, distribution and con-
sumption, a phenomenon linked to the ‘new economy’
whose ‘form is increasingly informational, global and
the value of manufactured products will come from the
-
the knowledge content of products and processes is ris-
how the critical source of competitive advantage in the
public and private investment, and the ways in which
speedy production, collection and dissemination of re-
search outcomes has enabled more rapid transformation
‘Market pull’ factors that promote the rise of a knowl-
competition, greater sophistication in consumer demand,
and the growing importance of intangible assets, such as
of know-how and the growing demand for innovation
affect virtually every part of the economy and all orga-
Within contemporary models of production, the sys-
tematic application of knowledge and information to
the production of knowledge and information itself has
relies on global networks made possible by information
both employment and the share of total output, the ser-
-
-
-
oped in the heyday of manufacturing industry, to make
-
es as a residual category, comprising of all those activi-
ties that are not agriculture mining, construction, utilities
-
56
dustries employment may be in part a statistical illusion,
also not be particularly informative, since the term cov-
ers so many disparate industries and forms of employ-
ment that the implications of service industry growth
-
ing disaggregating of the services sector-
and real estate
with transportation and communication
other health, education and welfare services
entertainment and hospitality, domestic,
retailing, and services associated with personal
economy, to see the production of physical output as
constituting the ‘real economy’ and to see services as es-
industry work as involving the creation of poorly paid,
low skill jobs with high employee turnover or as being
symptomatic of an unbalanced economy that is highly
that are strongly based on tourism and migration, such
as the state of Florida in the United States, island na-
tions such as Bermuda and the Bahamas, or the Gold
Such negative perceptions of the service sector have
these is the growing convergence between manufactur-
Such developments are particularly relevant to the cul-
-
gued that the nature of cultural industries value chain
is such that clear distinctions between content creation,
-
-
the dire predictions about the industrialisation of culture
in advanced capitalism, the manufacturing and service
industries are becoming more and more like the produc-
The cultural industries are irretrievably more
innovation intensive and more design intensive
than other industries…Our claim is that ordi-
nary manufacturing industry is becoming more
and more like the production of culture. It is not
that commodity manufacture provides the tem-
plate, and culture follows, but that the culture in-
dustries themselves have provided the template.
-Lash and Urry, 1994
production’ are not merely more knowledge intensive,
to incorporate more detailed information about cus-
more explicitly cultural, since inputs are not only infor-
mational, but also aesthetic, and value adding involves
-
tors of the economy to product research and develop-
ment, and the testing and trailing of prototypes, which
is very much in keeping with the development of the
cultural or creative industries, where the production of
physical commodities is a minor sub-set of the activities
associated with discovering creativity and distributing
-
the knowledge economy, and the service industries sec-
tor, is central to understanding the dynamics of the new
-
tion as the principal source of economic growth, cre-
ativity has come to be seen not just as residing in the arts
or media industries, but as a central – and increasingly
important – input into all sectors where design and con-
tent form the basis of competitive advantage in global
impact on all aspects of everyday life, particularly those
thus recast from being a distinct sphere of social life,
to something that permeates everything from the design
-
Global P
henomenon
57
user and those who see the user, and the promotional
strategies of corporations and indeed, governments in
an era of electronic commerce and “promotional cul-
of everyday life’, connected to consumer society and the
blurring of lines between art, aesthetics and popular
-
enon it has been customary to point to the increase in
the consumption of ‘leisure’ and ‘luxury’ goods due to
the growth of leisure time, education and disposable in-
expressivity, of the breaking of rules, of the explicit re-
jection of the established social order were central com-
this counter culture, the values of personal creativity and
choice, continual transformation and innovation entered
by transformations in cultural consumption and increas-
other words, led not just to an expansion of the market
segmented, and increasingly cultural – have placed the
cultural component of many consumer goods at the
of manufactured goods as well as services, has become
-
dustries – where traditional artisan skills and business
knowledge has now to be linked to ever faster and ever
of consumption suggests that the ‘tastes’ of the con-
cultures directly onto class, or class fractions, with these
latter representing a differential mix of economic and
fraction he called the ‘new middle class’, a new urban
service class who mixed cultural and economic capital,
Since Bourdieu’s research, this line of argument has be-
come central to the sociology of consumption and to
-
struction of identity has fragmented taste groups beyond
any direct connection to class fractions, undermined the
binary of high and low cultures, and has made the cul-
consumption has become increasingly cultural, central
to the construction of individual and social meaning and
radically restructure their operations in order to be able to
detect and respond to these increasingly niche and vola-
knowledge intensive production,
terms of the capacity to creatively understand and re-
level of market knowledge and stock control, short pro-
economy’ dynamics by identifying the key to creative
industries as being the alignment of micro-businesses
and SMEs in the content creation area, where creativity
public and private – that can provide national and in-
Creative industries, such as music, entertainment
and fashion, are driven… not by trained profes-
sionals but cultural entrepreneurs who make the
most of other people’s talent and creativity. In
creative industries, large organizations provide
access to the market, through retailing and dis-
tribution, but the creativity comes from a pool of
independent content producers.16
economy as operating together in a very general sense
– as blatantly expressed in arts and business funding op-
portunities for cultural activity and in the ‘creative in-
dustries’, a neo-liberal cultural policy in which culture
is linked to a regeneration of capital through cultural
58
populism, cultural policy and management, enacted by
-
personal dimensions of the ownership of knowledge
and the need for knowledge transfer to involve a learn-
ing process, means that knowledge in the new economy
-
employment is not only growing, but is becoming more
tied to places, especially cities, indicating that sustained
processes of technological and economic innovation
need to be underpinned by social, cultural and institu-
-
phasis upon locational geography, and particularly the
formation of creative cities and regions in the knowledge
concentrations of interconnected companies and insti-
-
universities and research institutions that provide spe-
cialist knowledge, training, information, education and
promote innovation by making all forms aware more
-
in related sectors, through distinctive access to necessary
-
formation and communication technology and creative
-
teristic of economic processes that are increasingly in-
formational, global and networked would seem to point
-
-
graphical spaces is central, distribution through new me-
dia technologies points to the delivery of content to the
home, workplace, educational institution or other sites
that are not linked to the geographical site of produc-
-
tent distribution network means that, subject to available
bandwidth capacity, content creators can be promiscu-
ous and footloose in where they sell or distribute their
content to, just as content distributors can source mate-
-
tional national cultural policies, where national cultural
authorities have sought to use funding to direct cultural
Manuel Castells has observed that the new economy is
cultural, in that its dynamics are dependent upon ‘the
culture of innovation, the culture of risk, the culture
of expectations, and ultimately, on the culture of hope
in the future.’18
Global P
henomenon
59
A global phenomenon
An Overview of Multilateral Mechanisms in Place
INTERNATIONALACTION
is important to identify the various globally active
following are noteworthy on account of their immense
generating awareness among the various governments
UNITED NATIONS EDUCATIONAL,SCIENTIFIC AND CULTURALORGANIZATION (UNESCO)Global Alliance on Cultural Diversity1
, as a six-year exploratory
undertaking, to be implemented in collaboration with
development agencies, both national and international,
and representatives of the private sector and civil
industries through:
management, elaborating cultural industry policies,
developing legislation and regulatory frameworks;
local and international opportunities for business
development;
sectors in areas relating to culture;
development, entrepreneurship, long-term planning
potential needs of participating developing countries
development of policies and regulatory frameworks
development of regulatory mechanisms and copyright
enforcement training for judges, lawyers and customs
updating of legislation pertaining to targeted cultural
THE WORLD INTELLECTUAL PROPERTY ORGANIZATION (WIPO)2
60
dedicated to developing a balanced and accessible
rewards creativity, stimulates innovation and contributes
to economic development while safeguarding the public
cooperation among states and in collaboration with
Strategic Direction and Activities
economic, social and cultural development of all
policies and programs;
systems; and
UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT (UNCTAD)3
development-friendly integration of developing
progressively evolved into an authoritative knowledge-
based institution whose work aims to help shape current
policy debates and thinking on development, with a
particular focus on ensuring that domestic policies and
international action are mutually supportive in bringing
deliberations, supported by discussions with experts
and exchanges of experience, aimed at consensus
data collection for the debates of government
special attention to the needs of the least developed
works together with member Governments and
system and regional commissions, as well as with
governmental institutions, non-governmental
and industry associations, research institutes and
INTERNATIONAL NETWORK ON CULTURALPOLICY (INCP)
is an international forum where national ministers
responsible for culture can explore and exchange views
on new and emerging cultural policy issues and to
develop strategies to promote cultural diversity in an
governments, together with civil society, can create an
international environment that values diversity, creativity,
• offering a means through which countries
can share their expertise, exchange views and
Global P
henomenon
61
information and strengthen domestic and
international partnerships;
• raising awareness of the importance of cultural
diversity and identity to social and economic
development;
• demonstrating the links between national cultural
objectives and international development;
• advancing dialogue on cultural policy issues
by ensuring that culture is "on the table" in
and examining how to address the many challenges
and opportunities associated with the growing issues
of cultural diversity and identity in an increasingly
communication technologies and industry consolidation
-- offers great opportunities for cultural expression, it
also poses fundamental challenges to governments, civil
to remain open to the best the world has to offer,
while nurturing domestically rich and diverse cultural
can be integrated into a common approach to global
development, including the challenges and opportunities
of promoting and protecting cultural heritage for social
• promote cultural and linguistic diversity as
fundamental elements to global thinking on
development, access, governance and identity
issues;
• encourage full participation in the global society,
while at the same time explore means to ensure that
• exchange views on the central role that culture plays
on the international agenda including the sharing of
views and best practices on cultural policy;
• bring informed expertise to other international
• contribute to an inclusive broad based dialogue on
issues related to culture
ORGANISATION OF ECONOMIC CO-OPERATION AND DEVELOPMENT (OECD)
the economic, social and Governance challenges of
can compare policy experiences, seek answers to
common problems, identify good practice and co-
incentive to improve policy and implement “soft law” –
collects data, monitors trends, and analyses and forecasts
trade, environment, agriculture, technology, taxation and
instability, trade and investment, technology, innovation,
development and environmental protection are
and to help governments to respond to, new
structural adjustment, online security, and the challenges
world’s largest and most reliable sources of comparable
span areas as diverse as national accounts, economic
indicators, the labour force, trade, employment,
migration, education, energy, health, industry, taxation
62
a range of economic, social and environmental issues
while further deepening its engagement with business,
pricing, for example, have paved the way for bilateral tax
Essentially, membership is limited only by a country’s
commitment to a market economy and a pluralistic
ASIA PACIFIC REGIONAL CENTRE FOR CULTURELINK NETWORK (APRCCN)
Following the recommendation at the First World
information, research and cooperation among those
institutions concerned with cultural development
Network and serve as a catalyst for co-operative research
and joint research projects in order to promote cultural
along with other reports on cultural development, are
made available to researchers, scholars and experts in the
CULTURELINK
speedy and reliable exchange of information among
cultural and research institutions all over the world,
and to stimulate their ever-growing and increasingly
the development and regular updating of the databases
GATT/WORLD TRADE ORGANISATION
GENERAL AGREEMENTS ON TRADE AND TARIFFS (GATT)
and conditions governing trade and commerce of goods
its inception, though there were additions in the form
of “multilateral” agreements as and efforts to reduce
Much of this was achieved through a series of eight
multilateral negotiations known as “trade rounds”, the
Global P
henomenon
63
WTOintergovernmental body that deals with the global
rules of trade between nations through multilateral
agreements adopted by member states, serve as a forum
for trade negotiations, handle trade disputes, monitor
endorsed the results of the Uruguay Round and the
GENERAL AGREEMENT ON TRADE IN SERVICES (GATT)
through telecommunications or regular mail),
maintenance work), known as “consumption
branches to provide services in another country
TRADE-RELATED ASPECTS OFINTELLECTUAL PROPERTY RIGHTS (TRIPS)
to adhere to minimum standards for protection of
intellectual property rights – essentially, the standards
introduce the system and adapt their laws and practices
circuits
secrets
and other international intellectual property
agreements should be applied;
property rights
64
the period when the new system is being
TRADE RELATED INVESTMENT MEASURES TRIMS)
that certain measures can restrict and distort trade, and
states that no member shall apply any measure that
discourages measures that limit a company’s imports or
SOME CONCEPTS AFFECTING FLOW OF GOOD, SERVICES AND INVESTMENTS
BETWEEN COUNTRIES IN THE WTO REGIME
FREE TRADE:
based on the notion that consumers can access good
protection mechanism is to allow the market to operate
trade takes no account of the fact that not all trading
do, as trade in services is surging exponentially and
new barriers are replacing conventional barriers such as
productions)
of directors, restriction of repatriation of
MOST FAVOURED NATION (MFN)
trading partner, it has to give the same “best” treatment
favourable or discriminatory – to goods and services
countries within a region can set up a free trade agreement
Global P
henomenon
65
NATIONAL TREATMENT
as well as to foreign and local trademarks, copyrights
treatment as one’s own nationals is also found in all the
National treatment only applies once a product, service
CULTURAL EXCEPTIONS
some countries expressed concern that enforcement of
treatment rules – on goods and services as well as on
copyright protected products would undermine their
survive due to import restrictions and other support
mechanisms facilitated by certain public administrations,
which consider it a priority to preserve domestic cultural
Negotiators felt mechanisms were needed to maintain
and develop a viable degree of domestic production to
the Uruguay Round’s concluding negotiations, which
tacit understanding has been known as the “cultural
status, nor does it exist as such in any agreement or
treaty), the ‘cultural exception’ is based on the principle
that culture is not like any other merchandise because
it goes beyond commerce - cultural goods and services
Cultural Protectionism:An Appropriate Strategy?Protectionism will back. re. Besides creating a fertile ground for corruption and political
censorship, cultural protectionism will help develop mediocre, parochial and less com-
petitive creative industries, which will have an even harder time conquering the global
market.
Andres Oppenheimer, The Miami Herald, Jan. 26, 2006
U.N. Convention on the Protection and Promotion of Cultural Diversity, which gives
member countries the right to “take all appropriate measures to protect” their “cultural
expressions.” The convention was approved in October at UNESCO by 148 states with
2 opposing - U.S.A and Israel. It will become a binding treaty once 30 countries ratify it.
Canada has already ratified it, ed it, and several Latin American countries and the EU are
taking it to their parliaments.
“We need to do something to avoid being suffocated by the unscrupulous presence of
foreign (cultural) products in our countries. Countries must find a way to sustain their
industries… and if quotas, or positive discrimination, can be a helpful mechanism to im-
prove national production, they should be used with moderation, with good judgement,
but assertively.”
Gilberto Gil, Brazil’s Culture Minister
A global phenomenon....
Status Of Cultural &Creative Industries
INTERNATIONALACTION
distinct area of interest for economists, statisticians,
a growing awareness of their economic potential
and their role in fostering cultural diversity through
for the purpose of public policy making remains
very young and not all governments are convinced
of the need to address this sector with targeted ini-
consuming cultural goods and services easier than
-
-
derlines that during the last decade a number of
-
was once considered a sector of marginal interest,
which received limited attention from researchers,
has led to a growing body of analysis, statistics and
mapping exercises on the relationship between cul-
ture, creative industries and economic development
-
-
velopment policies, the demand for more precise
and sophisticated cultural statistics at international,
regional and national level is set to grow and gov-
ernments should support and encourage initiatives
“The need for a coherent and robust framework for analyzing cul-
tural industries is underpinned by an understanding of the rapidly
expanding knowledge economy as the immediate context for the devel-
opment of these industries. As the knowledge economy encompasses
the whole of the arts and sciences, the potential for cultural industries
is in fact far greater that the traditional notion of their “limited”
potential that still lingers in many planning schemes”.
66
-
tion of statistics on a wide range of arts and cultural
industries, began to be done, stimulated initially by
emerged from this process, it became obvious that
one country’s ‘cultural industry’ was another’s ‘sub-
sidised art’ sector and that any attempt to compile
knowledge of each participating country’s cultural
and academics many governments remain uncon-
-
tor and creative industries still do not rank high in
the competition for public funds within their bud-
within policy-making is further hampered by an un-
made by many governments to develop the creative
industries systematically through a mapping of the
“stand-alone” and largely un-coordinated
internationally, they have nevertheless
demonstrated the strength and depth of
-
veloped and emerging economies of the
initiated programmes, policies and plan-
some of the most prominent ones in de-
-
ing played a groundbreaking role in developing ana-
lytical models on “creative industries” from an eco-
as all industries along the value added chain related
to cultural and artistic products and services as well
were originally referred to as “cultural industries”
in economic policy circles in the UK and in the
-
some cultural activities which were outside the pub-
lic funding system and operated commercially were
important creators of wealth and employment in
order to craft a economic policy to promote and to
was also observed by many as a device to differenti-
Europe though it constantly a subject matter of
-
dustries were found in Blair’s Labour Government’s
The role of creative enterprise and cultural contribution ... is a key
economic issue … The value stemming from the creation of intellec-
tual capital is becoming increasingly important as an economic com-
ponent of national wealth ... Industries, many of them new, that rely
on creativity and imaginative intellectual property, are becoming the
most rapidly growing and important part of our national economy.
They are where the jobs and the wealth of the future are going to be
generated.
Global P
henomenon
67
set about mapping current activity in the
creative industries, and identify policy
measures that could promote their fur-
-
industries as ‘those activities which have
their origin in individual creativity, skill
and talent and which have the potential
for wealth and job creation through the
generation and exploitation of intellec-
tual property’
Unlike the United States, where private philanthro-
py plays a key role in the cultural scene, arts and
cultural development in the UK is largely govern-
-
need to ensure, both in the formal school system
and also through life, that artistic creativity forms a
central part of what is offered as the learning expe-
that creativity and those enterprises that rely on cre-
ative ideas for their added value are an increasingly
html
emergence of the creative
economy and alongside the
UK, France was one of the
interest in gaining a better understanding of the
economics of culture and in the development of a
-
cation and other government bodies, France partici-
pated in a series of international conferences on the
generated a number of papers discussing conceptu-
al issues on the economics of culture and the means
to capture the sector statistically and included one
of the earliest proposals for a possible satellite ac-
-
analysing the processes involved in the production
of cultural goods and services served as a major
cultural indus-
tries research was developed
and informed the Keat-
-
ative Nation cultural policy statement, released in
as being important in terms of their contribution to g p
In recognition of their (cultural industries) essential role in our na-
tion’s life, in 1993 the Commonwealth Government made the arts
a full Cabinet portfolio. Early this year the Government decided to
combine the Arts and Communications portfolios, because in the
modern era there are natural synergies between them. These two mea-
cultural issues into the mainstream of our national life, and accord
them their rightful place in all decision- making. This cultural policy
is another major step in that direction
68
national economic development, and pointed to the
value-adding possibilities arising from effective pol-
icy development, particularly in relation to develop-
ing the cultural industries value chain, or ensuring
that the products and outputs of artistic creativity
were better distributed and marketed to audiences
as a form of cultural policy, in line with shifting
notions of culture from aesthetic excellence to the
also sought to reach sectors, such as popular music
that had typically not been well served by traditional
arts policy as well as emergent sectors such as mul-
-
ing economic importance also led to a burgeoning
literature on the economic value of the arts, that
-
‘image’ of cities and regions, tourism, and ancillary
and social eco-system and had allocated an exten-
sive administrative, regulatory and monitoring sys-
had borrowed the UK Model per-se and added key
-
proach with cultural sector as a sub-domain of the
-
-
-
-
-
pore have been particularly
progressive in analysing the
creative industries sector in
an effort to maintain their economic dynamism
in the face of the competitive challenge posed by
-
-
-
sively from UK with respect
-
dustries with changes to suit
their local economy and its
Singapore followed the US
-
create an interdependent economic and social eco-
-
tensive policy spaces within their governments for
started to concentrate on statistical data collection
and focus on the creative industries to drive forward
Global P
henomenon
69
countries which have not taken this sector seriously
domestic markets and have overlooked the impor-
tance of a sustained program to target high-value
-
ment and cultural industry strategies have prevailed
highly synergetic cluster of activities as an industry
-
cent facilitative action from the government have
comprehensive and cohesive policy framework is
-
from these economies also in way expedited gov-
-
dustries and are working on detailed statistics pro-
own realignments within, while Korea adopted the
of the fast eroding cultural frameworks within the
it adopted after the Korean
-
tential as the fastest growing
and wealth creating sector in
-
ties created by these industries and their economic
-
-
-
sive gamut of activities from research to advisory to
recently constituted a working group to restructure
and revamp the administrative mechanisms govern-
-
tion of creative industries, promotion policies do
in fact exist in various forms, including the arts and
-
try’s content industry policy and promotion policy
Starting from these policy trends, below we consid-
Recently, attention has often focused on creative in-
have enjoyed remarkable success internationally,
they inevitably leave a biased impression when the
-
ative industries essentially need to be nurtured from
From this perspective, some areas have not ap-
pealed for funding agencies in the market econo-
performing arts such as theater and dance, music
70
industries is the government’s concerted efforts in
-
-
ters for intellectual property strategy was also es-
to promote the creation, protection and use of
drastically expand the content business by enhanc-
ing the creative environment and protection system,
the drafting of a parliamentary document on this
‘new’ industry, a report that will be adopted by the
commissioned to do a research report on the topic,
cultural industries policies is carried out by the Min-
EU
could be that is seen as being associated so strong-
Europe we notice an emphasis on broader issues,
stands for telecommunications, information, me-
dia, entertainment and software, which is certainly
a very broad series of sectors - broader than the
Global P
henomenon
71
When does India step in to stake her claim??
Post World War II – focus on transfer of technology and the establishment of industrial
production in the competetive developing economies.
Malaysia, Republic of Korea, China, India and Thailand secure economic growth and
trade by meeting an increasing global demand for medium/high-skill and specific
technology -intensive products.
Today’s consumption driven lifestyle – Focuses on new products and possibility of pen-
etrating an increasingly global and easily accessible market. Copyright based industries
become the key economic driver.
The emerging power of creative industries is most evident in Korea, Singapore, Taiwan,
Hong Kong and China through their entry into software, publishing, design, music,
video, movie making & electronics.
A global phenomenon....
Administrative Frameworks
INTERNATIONALACTION
-
ernment across the world for the industries cubbed un-
-
tional regulatory mechanisms before the widespread re-
-
various sectors of the creative, cultural industries soon
seemed like fragmented monoliths which were no-lon-
Synergies between the various sets of activities, formed
a web of relationships between one industry to anoth-
er and to another and establishing a common thread
grappling with this issue of overcoming political and
-
forces, working committees, special cells, subsidiary de-
partments, missions, councils and commissions started
void that was created by this lack of holistic understand-
that various countries have put in place for the creative,
Government Departments :
-
Major Institutions supporting the Creative/Cultur-al Sector:
-
stitute of Museum and Library Services; National Gal-
-
-
-
72
-
Recently there is a growing recognition that a new
needed to provide greater coherence and coordination
for cultural policies currently spread widely throughout
-
tions for a mechanism to advise and coordinate cultural
-
ommendations would raise the agenda of the arts and
the overall coordinating and policymaking government
-
tion with both the concerned government agencies and
-
tourism as a major tool in nation building and sustain-
-
tributionto world pence, cultural enrichment, and socio-
formulates and implements policies, plans, and pro-
grams to promote and protect the rights and well-being
of the indigenous cultural communities and indigenous
-
vides leadership in the formulation of policies and set-
ting of priorities and direction of all youth promotion
and development programs and activities; encourages
wide and active participation of the youth in all govern-
and activities, harness and develops the full potential of
Responsibility for research and production of statis-
tical information on culture in France lies with the
-
-
-
four sub-groups to look into the different sectors of the
-
Statistics & Planning1 :
publishing statistics on what is referred to as the creative
industries.2
Global P
henomenon
73
-
Other major institutions supporting culture industries
Statistics and Planning:
Cultural Statistics Program (CSP)3
much of the sector’s data were inextricable from other
-
sure from both the policy departments and the culture
-
Survey, includes a time-budget module from time to time
module in the same survey instrument in order to obtain
a measure of participation in cultural activities that are
-
Expenditures Survey to gather more detail on culture
The National Advisory Committee on Culture Sta-tistics (NACCS)4
-
-
cal activities related to all aspects of culture and the arts
constituencies, and their two-year terms are staggered to
Creative Industries in Singapore are primarily gov-erned by the following ministries:
Ministry of Education, Ministry of Manpower Ministry
-
Principal autonomous bodies that co-ordinate proj-ects and missions on cultural and Creative Indus-tries within Singapore are:
-
velopment and use of historical sites, promoting con-
servation of national treasures and important cultural
properties, maintaining traditional performing arts, and
development and operation of national museums), and
holding arts festivals and similar events, development of
and development and operation of national art galler-
programs and budget for creative activities such as con-
74
-
-
also playing a growing role in nurturing creative indus-
industrial policy, but are focused instead on support and
subsidies for artistic activities in the private sector, op-
eration of national cultural facilities, and promotion of
policy stance is to support and nurture performing arts
-
ments responsible for administering and implementing
responsible for the formulation and execution of the na-
-
-
-
sion for Museums and Monuments, National Library of
-
in charge of cooperation and coordination among vari-
ous bodies at the national, state and local government
-
sive responsibility of each Nigerian state, although the
-
-
Statistics5 :
has been on those relevant to “arts” and “cultural heri-
-
-
including the demand for authoritative statistics on the
sector from government policy makers as well as de-
coverage of statistics relevant to sport and recreation,
but this component of the program is not normally re-
-
tem in an effort to add items of interest to existing col-
-
nership with key government clients, including those
an ongoing relationship with these key clients to assess
-
Global P
henomenon
75
A global phenomenon....
Policy Frameworks& Mapping Of The Cultural & Creative Sector
INTERNATIONALACTION
subject of intense debate over the last few years, espe-
cially within the framework of local, national and Eu-
growing interest in this subject there are currently few
framework for the cultural industries does present real
organisational and administrative problems, but many
-
-
stantly shifting between economic, social and aesthetic
in the world of publicly funded arts and culture since the
-
-
and constraints faced by the subsidy systems in the dif-
intent is not to deny the need of a debate on the value
whole issue of the cultural industries as a fundamental
Legal instruments enable States to more effectively
instruments in the form of declarations, recommenda-
-
ing to achieve the goodwill and co-operation of member
a Recommendation is intended to encourage them to
adopt a particular approach or to act in a given manner
-
dation does not create a legally binding obligation on
an accord implies the joint will of the parties upon whom
-
-
-
76
Culture, Creative Or Copyright Industries:
Many countries especially the developed ones which have also been
and establishments as an “industry” have done it with a view
to retain their edge in a fast globalizing economy realising that
“knowledge” and not mere labour or capital will drive growth.
Economies in Europe, America and South East Asia and have
-
ments though not free from political interventions have more or
within their cultures, their strengths and weaknesses and their eco-
nomic potential. Three major point of view have emerged as a
world order in this sector :
(a) Copyright based industries:Countries that view these industries as one generating copyrights
or intellectual properties a majority of which are based on cultural
content presented in creative ways which are used for economic le-
veraging. USA which pioneered this model for still dominates the
global creative industries economy.
(b) Creative & Cultural Industries :An experimental term originally coined by GLC (Greater London
Council 1980s) to differentiate high-end creative/cultural goods/
services from mass-produced cultural goods, later on adopted to
differentiate high-end technologically improved, produced and dis-
tributed cultural content which were called creative industries from
subsidized art which were categorized cultural industries. However
it was soon realized that the creative industries are a set of eco-
nomic manifestation of a cultural eco-system and has no individual
Cultural Industries. UK which parented this approach also did
noteworthy detailing of the systems and modeled an economic sub-
subsystem around this which was later adopted by many economies
including Singapore, Hongkong, New Zealand etc.
(c) Cultural Industries :The European Council around the same time as GLC had started
-
ture” as a common thread connecting all the industries that could
be clubbed under the head of creative, leisure or heritage industries
Most countries of Europe, Canada, Korea & Tai-
wan have adopted the term with regional variations
and adoptions to suit their culture and economy.
However as UNESCO observes - there is still a
lack of consensus and ad-hocery prevails. Most
countries which have recognized this class of indus-
tries as creative or copyright industries have done so
with an eye on their export potential and very large,
culturally rich developing countries such as China,
India, Brazil, Argentina, Russia, South Africa, SE European
countries, Other African and Latin American countries etc. have
till now lagged behind due to their large domestic markets for these
goods and services. But with the growing globalisation every country
has started working towards a common platform which will en-
able cross country comparison, establish industry standards, and
to enforce regional/local exceptions which cannot be internationally
exploited to preserve cultural
as ‘those industries which produce
tangible or intangible artistic cre-
ative outputs, and which have the
potential for wealth creation and
income generation through the exploitation of cultural
assets and the production of knowledge-based goods
cultural industries have in common is that they all use
creativity and cultural knowledge to produce products
be referred to as “creative industries”, sunrise or “future ori-
ented industries” in the economic jargon, or content indus-”
industries generally includes printing, publishing and
multimedia, audio-visual, phonographic and cinemato-
some countries, this concept also embraces architecture,
visual and performing arts, sports, manufacturing of
With its cultural mandate and a dedicated statistical unit,
placed to take the lead in developing effective statistical
methodologies at an international level to provide na-
tional governments with the tools necessary to study the
creative industries sector and to encourage countries to
“The industries of the imagination, content, knowledge, innovation
and creativity clearly are the industries of the future….They are also
important contributory factors to employment and economic growth”
Global P
henomenon
77
-
dards and nor can it force countries to collect these
-
ing so themselves at national and sub-national level and
statistical standards emerge organically through a long
should be an active advocate of studying this growing
disseminating best practice in the collection of data and
development of indicators as well as supporting coun-
Framework of Cultural Statistics (UNESCO)1
-
hensive attempt to develop common methodologies to
capture information about cultural activities, but it des-
-
date goes far beyond an economic evaluation of cultural
common structure to collect data on cultural activities
that could be ultimately lead to cross-national compari-
-
• cultural heritage;
• printed matter and literature;
• music and the performing arts;
• visual arts;
• audiovisual media
• cinema and photography;
• radio and television);
• socio cultural activities;
• sports and games;
-
-
emergence of the creative industries as a distinct area
framework needs updating to capture the new and varied
ways that culture, and particularly cultural goods and ser-
-
lar has profoundly changed the way people create, work
methodology, with particular attention devoted to cre-
commissioned the London School of Economics, the
a private British consultancy specialising in cultural sta-
tistics, to review the intellectual framework that under-
-
-
creative sector as a key driver for socio-economic de-
establishing a policy framework and an accompanying
appealing to creative communities, policy-makers, civil
society and the private sector to cooperate to ensure the
-
upon international agencies, national and local authori-
-
tivities designed to support the development of cultural
-
endorsed at the symposium, establish a policy frame-
78
-
tion is intended to facilitate recognition of the cultural
industries sector and its needs, as well as to encourage
the conditions conducive to the development of the cul-
tural industries sector, through coordination and invest-
-
frastructure, intellectual property rights regimes, small
-
-
1. Coordination:Support for a regional, integrated policy development
coordination mechanism to promote cultural industries
as a strategy for poverty alleviation and socio-economic
2. Best Practices:
-
3. Networking:
research and proactive policy development pertaining to
cultural industries as a strategy to strengthen the cultural
4. Creativity Matrix:
to track and measure the effectiveness of policy initia-
5. Data:
project, for the establishment of baseline data pertain-
ing to the socio-economic development potential of the
“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 ex-
Culture & Creative Industries
-
-
Core Copyright Industries
Partial Copyright Industries
Distribution industries
Global P
henomenon
79
matter
matter,
Copyright-related industries
Cultural Sectors :
-
dustries 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
Creative Industries
generate copyrights, patents, designs or trademarks”
Copyright Industries/Creative industries
Core Copyright industries4
Partial Copyright Industries
Distribution Industries
80
of economic activities that exploit and deploy creativity,
skill and intellectual property to produce and distribute
products and services of social and cultural meaning
- a production system through which the potentials of
-
the creative sector, namely - creativity, intellectual prop-
erty, the production and exchange of social or symbolic
meanings and the idea of creative industries production
-
Creative Industries
“production of the means of production”, “reproduction and
mass distribution” and “sites of
applied to a number of studies on creative industries, for
Global P
henomenon
81
Creative Industries Production System (CIPS)
Copyright Industries
Core Copyright Industries
and periodicals
Partial Copyright Industries
Distribution Industries
services to the arts
82
traditional and ‘new’ industries in the knowledge econo-
Cultural-Creative Industries
1) Publishing
d) Records
f) Other publishing
g) Software publishing
2) Film & Video
a) Film production
b) Film distribution
c) Film screening
d) Film industry
The Taiwan government uses the term ‘Cultural -Creative
Industries’ to cover three broad categories: ‘Cultural Arts
Industries’, ‘Design Industries’ and ‘Peripheral Indus-
such as social education centre (museums, galleries and
cultural facilities) and ‘Creative Living Industries’ (tea
house and wedding photography etc.)
Global P
henomenon
83
e) Recorded programme production and
distribution
3) Craft products and materials
b) Sculptures
4) Antiquesa) Stamps and coins collection
c) Mediaeval collections
d) Stamps and coins collection
5) Broadcastinga) Broadcasting industry
6) Television
7) Performing Arts (Music, Drama, Dance,Traditional Performances and Circuses),Festivals
c) Other performing companies
d) Live music performances
e) Management of concert halls
performance agents
g) Music agents
i) Literature and arts industries
8) Social Education Services (Museums,Galleries and Cultural Facilities)
d) Other advertising
10) Design (commercial furniture, Fashion, Landscape and Interior, Product andPackaging, Industrial)
c) Monopoly commercial logo design
e) Landscape design
g) Garden design
11) Architecture (incl. Design, Publication)
d) Electrical circuit design
12) Software and Digital Games (Computerprogramming)
13) Creative Living Industries – Tea Houses,Wedding photography
-
work has been developed by working groups for con-
model of UK to a great extent but selectively limits or
enlarges the scope of some component industries de-
-
recordings
84
-
dian Government has given priority to practical aspects
such as measurement of statistics, their conformity to
can include economic systems, political ideologies and
processes, educational institutions, social programs, the
environment, technological systems, recreational prac-
tices, artistic and heritage activities, transportation and
communication industries, religious and spiritual activi-
-
-
poses, establishes boundaries around what is included
generally accepted as distinct within the national statisti-
-
ered in the socio-demographic statistics program within
-
goods and services produced by it and the preservation
-
-
-
Core Culture Industires
support services)
newspapers and periodicals)
Non-core Culture Industries
-
ing new terms to describe the industry, Norway has so
far chosen to employ the term cultural industries rather
-
Global P
henomenon
85
Cultural Industries
entertainment and recreation
bookshops
newspapers and periodicals
pictures and videos
sound recordings
Culture and Leisure Industry
86
A global phenomenon....
THE CULTURAL &CREATIVE ECONOMY: Size, Contribution To GDP, Growth Rate, Employment & Funding
INTERNATIONALACTION
-
derstand the value of the in-
ternational trade that cultur-
al industries give rise to, the
-
that analyses cross-border
countries on selected prod-
-
-
-
culty of collecting complete information and concede
markets as a single master copy and then reproduced
exports may bear little relation to the volume distributed
as a good has an almost negligible value at customs,
is copied and distributed and this value is captured by
the services data through the balance of payments as
to illustrate the above is of - India, whilst being a major
customs statistics.
launch and update its biennial survey on the Statistics
-
-
barometer surveys for their two studies titled - “Euro-
Market values of these outputs have been estimated at
-
-
-
that the data presented are based mainly upon customs
Global P
henomenon
87
three percent of the total trade of cultural goods in
any progress, with a combined share of less than one
countries to share their cultures and creative talents, it
is clear that not all nations are able to take advantage of
-
tries participate in this trade, their cultural voices will
Recorded media - primarily consisting of music, sound
-
is dominated by video
the lack of data, particularly for cultural services, togeth-
er with the complex nature of cultural products, means
Size of Economy and Employment:
annum, which was higher than the average growth of
-
ing software )
Funding :Funding reforms undertaken by the present government
NESTA -
-
-
-
-
gramme design, although a number of areas of its work
-
• Innovation programmes: transforming the
UK’s capacity for innovation – focusing on
data shown here are the numbers of people employed in both
the creative industries and in creative occupations outside the
creative industries in Great Britain
88
• Financial programmes: to increase the
co-ordination to the development of early
• Policy programmes :rich innovation policy, making it dynamic and
responsive
Other sources of Funds :-
-
-
Micro-credit -
Micro-credit provides loan and sometimes savings ser-
vices to entrepreneurs at either start-up or growth stag-
donations or investments are made by organisations
-
-
nations to the fund, which is then distributed to a local
then transferred to businesses as micro-credit or banks
-
fund manager), providing small business development
sector, providing a useful stepping stone towards larger
SFLG
-
es where a retail bank is unable to invest in a proposition
due to the lack of security, though favourable otherwise,
-
within syndicates, who seek investment opportunities in
OLBAN -
gel Network that operates within Greater London En-
-
Business angels often commit amounts of between
-
Venture Capitalists:very ‘service based’ and thus people-centered and reli-
-
cialist investors in the sector, which does not breed con-
-
evance, because they provide opportunities for smaller
syndicates in ways that collectively raise investments be-
Size of Economy and Employment :
-
-
copyright industries achieved foreign sales and exports
Global P
henomenon
89
Funding :
-
-
-
funding takes place from local to state all the way to the
federal level as a matter of concern for the policy mak-
-
viduals and corporations which support arts and cultural
-
tion that new policy tools are needed to support the
substantial impact of cultural policies on “trade nego-
tiations, anti-trust enforcement, copyright and patent
law decisions, public broadcasting operations, access to
has won greater support in recognition of the enormous
-
-
-
Other Investments
in the Arts Culture & Humanities:
cultural capital has been built by a sustained investment
in arts and humanities education and research begin-
ning with the focus on interdisciplinary humanities in
the schools system to the investments in humanities re-
cultural activities are often embedded in the education
-
porations, such as the Rockefeller Foundation, Forbes,
Even smaller companies have active arts and sponsor-
ship schemes as part of their community and staff wel-
-
nors, foundations and corporations go towards support-
federal sponsorship, and other funding from founda-
-
stimulate the local economy, to attract visitors to the area
and to provide entertainment experiences for employees
Size of Economy and Employment:
-
Funding :Finance for the arts and culture comes from both the
in the public sector are central and local governments
private sector corporate members of Korean Business
-
-
-
90
-
investment for cultural infrastructure such as building
-
porate cultural spending is allocated to the own cultural
-
porting the artistic activities including art, music, theatre,
Size of Economy and Employment:
-
-
-
services
software development and maintenance, followed by
-
-
-
-
number of establishments and employment has also
-
-
-
-
-
ture and engineering services, and music and performing
-
[Hong Kong] Employment in CI 1996-2002
Global P
henomenon
91
of the cultural sector is also evidenced by its contribution
-
-
-
-
-
-
-
wealth expenditure is estimated to be over one billion
-
opment is provided through other portfolios, including
-
include, for example, limited investment and loans pro-
-
-
which compensates the creators of works used in public
libraries; and programs which fund companies and in-
-
support through the taxation system; partnerships with
other levels of government, communities and the private
sector; and legislative and regulatory provisions, such as
protection of intellectual property through copyright,
-
ciated with these core creative industries added a further
-
-
-
92
worker in the creative cluster amounted to about
Growth of the creative cluster during this period
-
tries had consistently grown faster than Singa-
creative industries had maintained a relatively high
which have grown more weakly in recent years,
are taken into account, the growth of the creative
Global P
henomenon
93
A global phenomenon....
Special Efforts &Government Policies And Programmes
INTERNATIONALACTION
public sector in the development of Finland’s “design
system”, which is to enhance competitiveness through
the development of education, training and research in
seeks to develop a national design culture of interna-
tional renown to strengthen the national identity and
design and promote the value of design in all aspects of
aim of taking a number of prototypes to production and
working with local manufacturers to create products that
The Opportunities and Challenges to the Creative cluster in Singapore
and telecommunications infrastructure,
and stable governance, etc, stand Singapore
in good stead to develop the creative
tion can serve as a test-bed for innovative
products and services
arts and cultural infrastructure
that industry growth will have to be driven
94
by an export-driven approach targeting
global markets
off potential investors
partnership and sponsorship for arts and
cultural events in Singapore limits the growth
Singapore’s Targets for 2012 include:
and multi-talented global city for arts and
Levels of Education
work
Singapore Biennale to Enhance Singapore’s
design industries
pore’s wealth of heritage resources to go into
merchandising and arts and heritage
consultancy
- National Library Board to venture into
global knowledge concierge service,
develop the information services sector
and provide library consultancy services
“A Global Cultural and Business Hub for the Design of prod-
ucts, content and services, where design consciousness and creativ-
ity permeates all aspects of work, home and recreation” [Design
Singapore]
products and Services
Excellence
Strategy
“A Global Media City with a thriving media ecosystem rooted in
Singapore with strong international extensions” [Media 21]
Media
Media Services
Global P
henomenon
95
Exchange
Media Materials
to World’s Best
Environment
Responsiveness
Empowerment
Developing Hong Kong’s creative industries – An action-oriented strategy
no single body is representative of creative industries as
various stakeholders in a productive dialogue, so as to
-
-
-
ter, which should be launched as a joint venture between
government and the business sector; however, we draw
Whatever model is adopted, the key is for clear leader-
is to have a clear vision and strategy, and an actionable
Brand-name projects
(a) A Major Conference :
is not a one-off event, but a more lasting
very well prepared if it were not to become a
(b) Flagship projects.Singapore is developing “MediaLab” as one of her
be created anew; instead they can be built upon some
can be promoted well in advance, to height
more immediate results should also be
96
(c) Regular programmes :
sectors on their own, but the challenge is to coordinate
and sustain these activities to build up a cumulative im-
creative industries practitioners, such as
artists and designers, to undertake small-
industries corner” with an emphasis is on
overseas outreach programme for our
be to arrange an informal roundtable discus
promotion;
(d) Development projects
encouraged to plan and execute their own development
programmes, making use of existing funding schemes
may present an obstacle, hence it is important to have
a champion for creative industries among the various
funding departments, to lobby for the inclusion of the
“creative industries” concept in the funding guidelines
-
on the market opportunities, the needs of the respective
-
tries themselves, the scope of regeneration could be
-
Clustering Of Industries ForThemed Developments
Following the preliminary spatial mapping of the cre-
ative industries, certain clustering effect could be identi-
-
rior design companies with the distribution of retailers
and suppliers of building materials and products; cer-
-
tion of these districts should therefore take into account
the existence of these patterns of business activities as
not happened spontaneously, it is worthwhile to study
whether a clustering strategy would provide synergy for
-
lated businesses, as in the concept of art or artist village,
to develop such clusters in disused factory buildings in
-
-
Lumpur and the cultural industries satellite centers such
Heritage/tourism Related Developments
Global P
henomenon
97
will be indispensable in developing cultural tourism as
-
bination with business development plans are currently
-
-
Flagship Projects
-
ship projects become symbols of cultural status, and have
-
Gallery in London and the Esplanade in Singapore are
-
-
-
-
according to the actual needs for the purpose of dem-
The Ceramic Project Flagship Plan:
rooting of ceramic culture, ceramic product annual re-
-
wan ceramics and design abilities, this plan is expected to
solve the problems faced by the ceramic business opera-
uplift the general energy level of the cultural and cre-
Taiwan Culture Style Fashion Design:Clothing Party:
-
tile, fabric, and fashion in the country, and open a new
-
formation of a fashion designer team, international ex-
-
-
-
-
-
creativities and coagulate a consensus in the industry
through various aspects of the culture and actively seek-
Metal/Jewellery and Paper ArtsPromotion Project: Following the effects of special projects in upgrading
-
98
series publications, seminars, demonstration,
-
music, television, books, publishing to make a
major contribution in closing the gap between
• We have found new ways to increase our par
responsibility to accelerate growth in these
• Launch ‘Hubs’ in craft and music
• Boosting publishing through promoting lit
an enabling environment is being createdfor
small scale music recording labels to grow their
-
1) ‘Local is Lekker!’ :-
-
2) Closer collaboration within government and associated institutions:
-
-
-
3) Employment through Skills Empowerment: -
vide opportunities to train cultural workers such as tour
guides, musicians, dancers, choristers in groups, orators
intervention that adds value to this industry and brings
4) Training Opportunities in Design, Fashion & Film-making:
-
link in the chain joining artistic practice and economic
Monash University satellite campus in Sandton to train
-
links have been developed with a United States-based
to ensure the transformation of the sector and promote
Global P
henomenon
99
11) Launch of African World Heritage Fund:-
-
12) Sustainable income for Artists:Establishment of four ensembles that provide sustain-
-
light world class talent but to nurture and keep South
13) An Art Center in Every Locality: -
marketing and labor relations to emergent and estab-
14) Promote National Identity & Pride:-
15) Youth & Vuku-Zenzele:-
opportunity to involve youth volunteers as helpers and
16) Renaming Programme:
will be done in the spirit of the building of a new nation
17) Training in Indigenous Languages:-
part skills to local communities in research methods,
18) Anniversaries and Special Projects: -
batha Rebellion);
Students Uprising
Gandhi’s ‘Satyagraha’
-
spirit, cultural life, and the preservation of its cultural
four structural recommendations that are intended to
-
advise and coordinate cultural affairs in the
and integrated approaches to policies
-
manities, and cultural preservation often has been frag-
create focal points for cultural policies within govern-
ment that will be better informed, better integrated, and,
above all, more suitably aligned with the demands of a
100
T H E W O R L DC U L T U R A L
F U N D
A N I N D E P E N D E N T O R G A N I S A T I O N
T O S U P P O R T I N T E R N A T I O N A L
A D V O C A C Y F O R L O C A L
C U L T U R A L A C T I O N
Global P
henomenon
101
103
• Bibliography & References
BIBLIOGRAPHY
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The Medium is the Massage: An Inventory of Effects,
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The Cinemas of India 1896-2000,
Economics and Culture,
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The Rise of the Network Society, The Information Age: Economy, Society and Culture,
Critical Education in the New Information Age,
British Journal of Sociology
The Internet Galaxy: Reflections on Economy, Society and Culture,
International
Labour review,
Consumer Culture and Postmodernism, Sage
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Cultural Sits, Cultural Theory, Cultural Policy
Economies of Signs and Space,
Living on Thin Air: The New Economy
The Definition of ‘Cultural Industries’,
m
Creative Cities,
INTERNATIONAL ACTION
i
t
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4. International Symposium on Cultural Statistics,
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Statistical Indicators for Arts Policy
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Cultural Statistics in the EU: Final report of the LEG,
Towards a System of Social and Demographic Statistics, Studies in Methods,
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Économie et Culture :Les outils de l’économiste à l’épreuve
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Economic Contribution of Culture in Canada
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