.....

Towards the
NATIONAL MISSION FOR
CREATIVE AND CULTURAL INDUSTRIES
THE TASKFORCE FOR CREATIVE AND CULTURAL INDUSTRIES
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The future of Indias creativity
PAST FORWARD
VOL - 1,2,3
Te Asian Heritage Foundation
C-52, South Extension- II, New Delhi -110049
phone- 0091.11. 26263984-7. Fax: 0091.11.26263988
mail@asianheritagefoundation.org
www.asianheritagefoundation.org
Te Asian Herita
C-52, South Extension- I
phone- 0091.11. 26263984-
mail@asianheritag
www.asianheritag
Denition Of Cultural
Industries
Cvtvra vav.trie. are aefvea a. tbo.e ivav.
trie. rbicb roavce tavgibe or ivtavgibe arti.tic
ava creatire ovtvt., ava rbicb bare a otev
tia for reatb creatiov ava ivcove geveratiov
tbrovgb tbe vtii.atiov of cvtvra a..et. ava
roavctiov of voreage ba.ea gooa. ava .er
rice. ;botb traaitiova ava covtevorar,). !bat
cvtvra ivav.trie. bare iv covvov i. tbat tbe,
a v.e creatirit,, cvtvra voreage ava ivte
ectva roert, to roavce roavct. ava .errice.
ritb .ocia ava cvtvra veavivg.

UNLSCO
Jodhpur Consensus Iebruary 200S
Cultural And Creative Industries
INDIA VIS-A-VIS THL GLOBAL SCLNARIO
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-
nisms to tap the potential o these content drien enterprises. \hile each o these nations ormulated their own, context specic denitions,
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-
specic and draw on skills that are entrenched in our way o lie. 1hereore, they are more eectie in building employment and human
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 Indias legacy, cultural and creative industries form the bulk of the
balance 36-40 ,Source: Population Prole Surey, 2001- interpolated with industry data,
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.
The issue......
Creative and Cultural Industries
We must exploit this edge to our best advantageby combining the vast resources of heritage we have at our disposal and
the advances made in technology to create distinctively Indian products and services Indias 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 $15 billion by 2009-10. Similarly,
Indias share of the global Gifts, Handicrafts and Handlooms market (over US$ 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.
I such synergies are to be more than the proerbial nash in the pan, goernmental interention in the orm o a National Mis-
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 1
POSITIIONING A BIG IDEA
CRLA1IVL AND CUL1URAL INDUS1RILS AS A LLAD SLC1OR IN INDIA
Shri Montek Singh Ahluwalia took a pioneering step by setting up the 1askorce
or Creatie and Cultural Industries within the Planning Commission. In his
introduction he outlines why positioning this sector in the lead is a big idea.
Chapter 2
MAKING, DOING, BEING
A 1IML lOR JOINLD-UP 1IINKING
In his introductory essay, Rajee Sethi, the Vice-Chairperson o the 1askorce
on Cultural and Creatie Industries, argues or a holistic approach to culture and
creatiity bringing the traditional and the modern, the arts, crats, perormances
and design-led industries together under a single banner. Answering the ot
asked query regarding whether the 1askorce was biting o more than it could
chew by including so many subjects, he describes how interdisciplinary projects
are a means or the already prospering sectors to urther their interests and at
the same time nd a way or the subsidy ridden un-organised` sub-sectors to
ride piggy back on their rich cousins. 1he essay also discusses the human ace
o the sector and the oerarching issues aecting the lies o India`s creatie
artists at the base o the pyramid, thereby making a case or state interention.
lollowing excerpts rom a series o articles published by the author, the chapter
ends with a two page synopsis oer one thousand page publication.
CHAPTER LEAD-INS AS /AN OVERVIEW OF THE REPORT
Chapter 3
GLOBAL PHENOMENON
LVOLU1ION Ol 1ILOR\, POLIC\ & PRAC1ICL
Created in the 1940s, an era when technological deelopments such as cinema,
the photo-illustrated press and broadcasting were making rapid inroads into
indiidual homes and society as a whole, the term cultural industries` was
originally intended as a criticism o mass media and the beguiling but supercial`
machine culture` it created. Despite the antagonism o cultural purists, the new
media was there to stay, impelling a rethinking o the ery understanding o
culture. lurthermore, the popularity and unprecedented reach o mass media
made it a lucratie commercial enture as well as a potentially powerul tool
or cultural and political dissemination. State policy now began to address this
issue - in capitalist countries, cultural policies aimed to generate employment
and greater economic returns through sector, in socialist countries, culture,
subject to extreme State interention, became a ehicle or propaganda, and in
newly independent post-colonial states, culture became an important means o
creating a national identity.
\ith the more recent shit rom a manuacturing to a serice based economy
that is largely content drien, creatiity and content hae become the basis o
competitie adantage in a global market. Creatiity 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 orm the basis. Oer
orty countries, some o which hae economies and cultural contexts with little
Volume - 1
29
in common with that o India`s and others which could be considered our
peer group, hae already recognized this actor and accordingly implemented
programmes and policies that can nurture and support their particular cultural
and creatie industries. Simultaneously, national and international bodies are
also examining the potential oered by the cultural and creatie industries as
a tool or grassroots deelopment and the preseration o cultural diersity
and heritage. Running the gamut o commercially, politically, economically
and culturally drien policies and programmes, the examples o these prior
experiments in the international domain o the cultural industries, present us a
ulnerable learning ground or our subcontinent, India poised on the brink o
ollowing suit in the same direction o the other deeloping countries, with the
opportunity to better equip our ast cultural and creatie sector or success.
Chapter 4
INDIAN SCENARIO
DIVLRSI1\ AS LLGAC\
A comprehensie strategy or India`s Creatie and Cultural Industries sector
can, at best, only be inormed by international models ,Chapter 3,. 1he
subcontinent oers a unique set o challenges. lirst the issue o grouping all
dierse elds listed in this chapter on the same page or under one umbrella.
Secondly, the ery recognition o the term cultural, creatie or legacy industries
and the issues conronting each indiidual sector is little understood by policy
makers. 1hirdly, the potential o arious components is hugely dealued since
the statistics currently aailable or this sector are scarce and most goernmental
interentions remains duplications and unmanageable.
1he chapter holds a number o experienced iews expressed by experts and
scholars in the eld. 1he recent history and state o culture as iewed by those
who goern is lucidly discussed in an interiew with Dr Kapila Vatsyayan
through illuminating passages elicited rom her writings we get the most
succinct obserations on e decades o policy, planning and implementation.
1he propensity o reports to gather dust in the loty portals o the goernment
is critiqued by the poet,administrator, Ashok Vajpeyi, while Gulammohammed
Sheikh speaks rom the antage point o a senior artist and art educator. Anees
Jung, in a personal exploration, connects culture with her way o lie and her
eeryday experiences. Iaku Shah deles passionately into the rural landscape
highlighting the innoations in traditional knowledge systems.
Language oers a unique prism to examine the way people understand culture.
Oten a single world in one language requires more than a ew to translate
its meaning into another. 1aking the message o this report to the people
will thereore mean going beyond Lnglish with the use o terms understood
commonly in India. An attempt has been made in the Glossary section to explore
a ew unique words that resonate with the essence o Indian traditions.
In a rst-time mapping exercise presented in this section, we hae attempted
to outline the range o actiities coered by the cultural and creatie industries
thus illustrating the richness o India`s talent pool as well as pointing out the
glaring lack o any statistical inormation ,both in terms o human resource
and economic returns to society, that tragically inhibits the management o
this sector. 1he Shilpsagar, the directory o materials and skills, is an attempt
to map the usages, lielihoods and institutions supported by this sector. It
proides a preliminary checklist or urther research in uniorm systems o
classication in sync with international standards. Simply going through it
proides an insight into the enormous tasks ahead.
1he oeriew and oices rom the eld are ollowed by inormed inputs rom
practitioners, academics and policy makers. An attempt has been made to
create a mosaic o the arious sectors, detailing a ew whereer possible. 1his
is but a drop in the ocean. Many iews, issues and hundreds o oices and their
Volume - 2
30
representations hae yet to nd a place in this anthology, primarily because this
will remain a work in progress. 1he task o collation o existing material is
accretie, deeloping een as this report gets its rst public hearing through a
web portal or some suitable I1 interention.
Ioweer, an attempt has been made to include as many points o iew as were
presented to the editorial team, een i they were in the orm o single paragraph
opinions. 1he authors include stalwarts like Lla Bhatt oering a challenging
paradigm on what constitution design or India, to ery insightul aspects rom
eminent experts like Jasleen Dhamija, Darley O Koshy, Ldward Oakley, Naman
Ahuja, Rta kapoor Chisti, Gautam Nair, Sunita Narain, Anupam Mishra, Sanjay
Kak, Vir Singh, Ratish Nanda, Shikha Jain, Nalini 1hakur, BV doshi, Poonam
ir Kasturi, Sujata Keshaan, MP Ranjan, Geeta Kapoor, Peter Nagi, Roshni
Vadhera, John Llliot, Pooja Sood, Anuradha Kapoor, Gayatri Sinha, Sharad
Kumar, Vibodh Parthasarathy, Shanta Sarabjeet Singh, Varsha Dass, Mrinal
Pandey, Subhabrata Sengupta, Rashme Sehgal, Supran Sen, Ashwin Kumar,
Aruna Vasude, Raji Meherotra, Manoj Chaturedi, Viek Chaturedi, Dilip
Cherian, Sunil Khosla, Shijeet Khullar, Madhu Kishwar, OP Jain, Naeen
Saraswat, Nina Rao, laith Singh, Darshan Shankar, Sanjee Bhanot, Shahnaz
Iussain, Payal Kapadia, PL Surathan, Camilia Punjabi Marut Sikka and
Rajee Sethi. . Space constraints dictate that their essays are mentioned in the
index without a detailed note here. Articles rom the newspapers and internet
hae also been included at seeral instances in order to illustrate or elucidate a
point. Due credits hae been published whereer possible, howeer inadertent
omissions are regretted.
Several authors have decided to go beyond describing the state of affairs
in their eld of specialisation by attempting to nd ways to move ahead.
The authors have sometimes chosen to elaborate on one aspect and not
the other. Their essays, so generously offered without any remuneration,
suggest the spirit of this publication.
Bifurcation of the articles and collation of the material into different
chapters has had to be an ad hoc exercise and suggests how difcult it
is to tame the beast'.
Chapter 5
INDIAS EDGE
S\NLRGISING 1IL OLD AND 1IL NL\, 1ANGIBLL AND IN1ANGIBLL
Creatiity connects the traditional and the contemporary, interacing between
arious cultural industries. Lach resonates with the other and creates new
benets and grounds or alliances and innoation.
India, with its unique ability to lie in many centuries rolled into one, has its
own USP. Indias Edge takes a look at some examples o this synergy, led by a
comprehensie and nuid demonstration o it through the work and writings o
Rajeev Sethi celebrating the use o traditional crats in contemporary interiors,
design, eents and exhibitions and the use o modern scenography and direction
or olk and perorming arts. 1his is ollowed by the juxtaposition o seemingly
disparate actiities such as animation and traditional olk paintings in articles by
Nina Sabnani and Nitin Donde.
Hitesh Rawat, Rta Kapur Chisti and Rahul Jain tie the threads o handloom
with designs generated on computers integrating the new world o techno-
textiles with the muscle o nexibility possible only in hand work. Sanjay
Prakash explains the application o traditional and local crat resources
in present day architecture as seen in his practice, Dr. Pushpa Bhargava
explores the connections between traditional plant-based medicine and the
most contemporary modern drugs. Geeta Chandran seeks the link between
social change and perorming arts and the seminal work o Chandralekha
creating a new language in contemporary dance with the ocabulary o yoga
and Martial arts is explored. Dr. Vandana Shiva highlights the connection
31
between organic oods and innoatie retail through the Nadanya experience,
while we relie the joys o ephemeral art in mela toys and their use in education
with Sudarshan Khanna.
Veenapani Chawla expands upon how gurukuls and art centres can impact
meaningul tourism while Bhaskar Ghose and Shubha Mudgal trace the path
and innuence o electronic media and technology on the perorming and olk
arts. A case study when such technology is harnessed by the stakeholders at
the grassroots leel or their empowerment ollows in an article on community
radio initiaties.
1here are many instances where tradition and technology hae kept abreast
o each other, but a deliberate attempt has been made to shit some o these
examples as models in the later chapters - 1he \ay Ahead and Brand India as
well.
Chapter 6
THE WHEEL MOVE
A CA1AL\S1 lOR CIANGL
The Wheel Moves till it completes a reolution! 1he constitution o the 1ask
lorce on the Creatie and Cultural Industries by the Planning Commission in
May 2005 was a signal eort and has resulted in the articulation o many ideas.
1he initial papers, articles, debates and discussions that sparked o the creation
o the 1ask lorce, the minutes o the three meetings conducted, and the
presentations and lectures undertaken on the subject by the Vice Chairperson,
are all addressed and presented in this chapter, with a comprehensie oeriew
o the task orce actiities by the Chairperson Dr ,Mrs, Syeeda Iameed.
Included also are the responses to the articles o the Vice chairperson receied
Shri Arjun Singh, Shri Kamal Nath, Smt Ambika Soni, Shri Mani Shankar Aiyar,
Shri Kapil Sibal, Smt renuka Choudhuri, Kumari Selja, Shri Gopal Gandhi, Dr.
Karan Singh, Shri Atal Behari Vajpayee, Mr. Sam Pitroda, Mr. Ratan 1ata, Pro.
M.S. Swaminathan, Mr. M. R Narayanmurthy, Ms. Lla Bhatt, Dr. Vandana Shia,
Ms. Sunita Narayan, Darshan Shankar, Ms. Shobha De, Mr. Asoke Chatterjee,
Mrs. Rta Kapoor Chisti, Mr. Aman Nath, Pro Anil K. Gupta, Ms. Shama
Zaidi, A.R Rahman, Mr. Shyam Benegal, Ms. Shahnaz Iussain, Mr. Sanjay Kak,
Mr. Rakesh Kumar Sriastaa, Mr. Prain Anand, Mr. PI. Suratan, Mr. S.K
Mishra, Smt Neena Ranjan, Smt Roomila 1hapar, Shri. Abhisek Sinhi, Shri
Bhaskar Ghosh, Ms. Mallika Saraai.
1he recommendation o the 1ask lorce or the ormation o a National
Mission or Cultural Industries, its proposed structure and suggested initial
actiities are presented as a bird`s eye iew on a single page. 1his succinct sheet
is like a key to what has been detailed and elaborated in all other chapters.
Chapter 7
THE WAY AHEAD
\ORKING MODLLS AS SUGGLS1IONS
An idea requires a tangible ehicle to take it orward. Is there a methodology
set in place to achiee what has been enisioned Dealing with the creatie and
cultural industries in its entirety will entail enormous patience and committed
resources to plan and detail the action points with releant areas o interention.
As enumerated in the preceding chapter, the major unctions o the proposed
NMCCI deal with e distinct elds o operation. In The Way Ahead, an
attempt has been made to outline the procedure and methodology to achiee
these tasks. Path breaking initiaties that hae already been taken at arious leels
and models that are in place and unctioning eciently hae been included.
Realising the ambitions o this sector will require an equally ambitious game
Volume - 3
32
plan, based on the implementation o pilot projects and programmes suggested
in chapter 8.
Under Policy and Planning Services the topics explored are the indigenous
mapping systems already in place, new structures or obtaining the data required
or successul management o the sector and the unique indigenous methods
in use as creative indices outlined in a subtle piece by Dr Darshan Shankar.
A great amount o work is still required to ealuate air trade practices but a
beginning has been made in a comment on transmission of tradition versus
child labour by Smt. Renuka Chaudhary, with excerpts rom Mahatma
Gandhi`s writings on Buniyadi Siksha. 1he summarised report o the Inter-
ministrial 1ask Group on the need or a Ministry for artisanal manufacturing
by Rajeeva Ratan Shah announces a major policy interention endorsed by
no less than seen Secretaries o dierent ministries.
In Financial and Credit services Vijay Mahajan and Divya Thangadorai
lay out in layman`s terms, the need or equity and debt capital to the sector, the
present gap in demand and supply o nances and innoatie ways to bridge
the gap. Concepts like micro-nance, sel help groups, thrit societies, banking
correspondents, which bridge inormation asymmetry and local nancial
institutions and the pioneering grameen-banks ensuring ubiquity o access
to the urban poor in rural areas are essential to the sector, but the success
probably lies in increased regularisation o these instruments in mainstream
banking and nancial policy making. A ew successul international pilots on
SML nancing are also touched upon as illustrations.
Capacity building is a major actiity in the unctioning o the proposed
NMCCI. 1his section coers arious acets o skill upgradation addressed by
the discussion o Educational models in Design, line Arts and Conseration
by Darly Koshy, MP Ranjan, Kavita Singh and Nalini Thakur, presenting
options in Cultural Management and administration through the Apna
Utsa les o the AIl and the Sanskriti model, touching upon the space or
Technological innovations and interventions in articles by Ranjit Makkuni,
Anil Gupta, RK Pachauri and Johny ML, dealing with the phenomenon
uniquely Indian-that o Jugaad in the section Design without designers
through the work o Anand Sarabhai and Aditya Dev Sood, exploring the
role o Regional Service Centres in business oriented expositions by Sunil
Munjal, Tinoo Joshi and RK Shrivastava and nally a note on Civic and
private partnerships rom Nina Ranjan.
Legal Services take on particular signicance in the context o the CCI due
to the inherent issues o copyright, community indicators and ownership,
geographical indicators and intellectual property rights and usage protection.
Pravin Anand with Swathi Sukumar and Sudhir Krishnaswamy with
Kritika DN, take a closer look at the requirements o the sector and the steps
to ensure a proper legislatie ramework. Achille Forler takes a look at Indian
copyright laws in the international context.
Various models and illustrations hae been presented as case studies in the
section on Marketing and Promotion, another key area o interention or
the sector. In revenue models, the Dehati Kala Kendra, drawn rom the work
o Rajeev Sethi in Iaryana illages in the early seenties, seres as a rural
model, Faith Singh and William Bissel present the model o urban/domestic
promotion and a study o the street vendors organisation in Sewanagar New
Delhi by Madhu Kishwar seres as another model o the same in a totally
dierent context. Manish Arora creates the background or International
promotion and two national revenue models are explored in Kumbham and
1oehold. Aman Nath and Nina Rao speak o the promotion o tangible
heritage through heritage hotels and conseration o heritage buildings in the
tourism circuit, while the promotion o intangible heritage is exemplied by
Sandeep Dikshit in an essay on his experience in promoting traditions o olk
dance to the urban public, and Shaguna Gahilote with the experiences o
33
IN1ACI in promoting traditional arts and crats through heritage estials. 1he
case studies o Ninasam-a unique initiatie in the promotion o literature and
perorming arts started in the orties in Karnataka and the possibilities thrown
up by the nourishing examples o culinary tourism in Kerala, sere to enhance
the idea o promotion o the intangible. 1he Lotus Bazaar o the AIl is
discussed as an example o the opportunities aorded by such Exhibitions to
the artisans and cratsmen while also creating public awareness through on-site
demonstrations. Dr Kiran Seth shares his passion by taking us on a journey o
SPIC MACA\ as an example o a unique Awareness Campaign along with
a suggested project or the promotion o India abroad in the Lotus Bazaar,
outlined by AIl.
Once again, the list is by no means comprehensie, but within dened
parameters, it is better to emulate examples already in place or the ullment
o some o the goals o the proposed NMCCI. 1he experiences shared by
experts and the case studies that hae been included hae ound a place in the
document by irtue o the act that they represent areas o unction that hae
already been tried and ound iable upon implementation.
Chapter 8
BRAND INDIA
DLLIVLR\ MLCIANISMS lOR 1IL NMCI
In order to dene the deliery mechanism o the arious projects that would
be a start o point or the proposed NMCCI, the chapter titled Brand
India celebrates a game plan by oering specic models and suggestions or
implementation during its tenure. \hile dening projects that exempliy the
potential o the sector and the methodology that would require to be set in
motion to accomplish the task, the deliery mechanism as perceied by the task
orce, could also be authenticated simultaneously.
Urban renewal and heritage rejuvenation orm a major sphere o actiity
or the creatie and cultural industries the Pilot projects include Heritage
conservation as dened in the Iampi project by Nalini Thakur. 1o understand
the ethos o a heritage area or eel the traditional pulse o a city beat strong in the
throes o modernity, requires creatie interention described in the Global Arts
Square project o the AHF in Jaipur and the setting up o Skilled artisanal
neighbourhoods - habitat solutions or displaced cratspeople and artistes to
lie in dignity, as elaborated upon with examples o the Anadgram, Nehru
Kala Kunj and Kala Neri projects. K Jayakumar speaks o the importance
o Regional centres of excellence as was enisioned in the setting up o the
Zonal Cultural Centres a precursor to the oer arching concerns the culture
and creatie Industries sector long beore the term gainedthe role o Events,
Fairs and Festivals in the presentation o India as a global player is dealt
with in city festivals through examples such as the Seher heritage estials by
Sanjeev Bhargava, the Apna Utsa experience o Rajeev Sethi and suggested
ormats such as Apon Iaat and India 60 o the AHF. Brand India products,
designed to place Indian products as leading global brands or the country to
be identied with, takes a look at the possibility o Khadi as detailed by Rta
Kapur Chisti, Craftmark by Adarsh Kumar, Ayurveda by Darshan Shankar,
and the Golden Eye exhibition o the Asian Ieritage loundation as a ew
examples. 1he South Asian Design and Arts Kendra ,SADAK, proposes to
sere as a Flagship project o the proposed NMCCI encompassing all the
aspects o the CCI in one unied project, 1he \orld Cultural lund is suggested
as an example o International interventions in the sector while Regular
programmes such as linkups with national missions - 1inoo Joshi, business
incubation models as demonstrated by the British Council and the AIl`s
National Ieritage Awards and the DDA Public arts project are brought in to
34
sere as examples o regular programmes that the proposed NMCCI should
encourage and,or initiate.
Chapter 9
PURNA KUMBHA
lUNDING 1IL lU1URL
An executie apex regulatory body such as the proposed NMCCI, must be
backed by an appropriate budgetline and autonomy. Purna Kumbha explores
the nances aailable to the sector by way o goernmental planned and non-
planned budgetary support |internal & external budgetary resources ,iebr, &
Centrally sponsored schemes ,CSP,| which can be tapped or unding the Mission
and its support actiities. 1he Mission would also raise resources and mobilise
inestments rom the state goernments, industry and corporate enterprises
through the iability gap unding ,VGl, & Public priate partnerships ,PPP,
route. 1he chapter also ocuses in detailing unding mechanisms and iability
o llagship & pilot projects discussed in Chapter 8.
Chapter 10
SHAJAR-E-HAYAT
RLCOMMLNDA1IONS, SUGGLS1IONS AND APPRLILNSIONS
Any new initiatie raises a host o questions, apprehensions and scepticisms along
with support and acclaim, suggestions and well thought out recommendations,
which still remain a work in progress.
Shajar-e-hayat- the tree of life, puts orth the recommendations o the 1ask
lorce in each area o unction as required by the creatie and cultural industry
sector, oicing apprehensions elt by the experts and practitioners and draws
out the suggestions presented through letters, notes and articles rom all those
who hae unstintingly come orward to express their alued opinion on the
subject. A number o suggestions,recommendations hae blended into those
put orward by the obserations o the task orce, while seeral apprehensions
hae been pre-empted and saeguards against the perceied problems set in
place. 1he reports o other task orces and task groups made aailable to the
task orce on the creatie and cultural industries hae also been taken into
account, their recommendations annotated and, where required, annexured or
reerence.
It must be noted here that the recommendations arise out o extensie research,
consultations with experts and obserations o the eld team, but they are by
no means exhaustie or complete in themseles. 1he NMCCI will be required
to set up consultant groups o experts and seeral public hearings in each
eld o actiity. 1hese will detail and chart out the nal recommendations and
plans o action as they deem necessary rom their position o expertise and
experience. 1he 1ask lorce recommendations may sere as the basis on which
the process is to be set in motion. 1he sector deals with a multitude o actiities
with their own inherent issues and the 1ask lorce does not proess to proide
solutions to the whole. 1he indications proided herein are releant, authentic
and signicant to the best o the knowledge o the ormulators at the time o
going to print.
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 India
On the need for out- of- the- box solutions for nurturing Indias heritage
and 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
METAMORPHOSIS: ADORNO TO 'ARTS POLICY`:
Cross cultural milestones
CREATIVITY AND CONTENT IN A KNOWLEDGE ECONOMY
Shift from Manufacturing to Services to Knowledge
INTERNATIONAL ACTION
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
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Positioning The Big Idea
Creative and Cultural
Industries
as 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
in culture specic goods. 1raditional Arts and Crats hae built ortunes or many countries oer
many centuries and hae helped dene their uniqueness. As a precursor to the Internet and now
the ubiquitous e-commerce, these ancient networks o trade routes and the eoled sharing o
artistic sensibilities through import and export have united a large part of the world in its pursuit
to become rich.
Amongst the many challenges I accepted while taking charge o the Planning Commission was
to look for contemporary ways of transforming unorganized economic talent and aspirations with
sustainable reenue models with cross-cultural modern enterprises.
1his last decade has seen India buzzing with the energy o new money mantras .. in the
backroom o I1 corporations . in the labs o bio-genetics R&D cells .. in the open elds
of agro industries; this entrepreneurial energy must now reach the threshold and transform our
depried neighborhoods, especially in the illages, lled with abundantly skilled people.
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1he phenomenon o a dynamic global business using creatiity, traditional knowledge and
intellectual property to produce products and services with social and cultural meaning,
points to the next Big Idea.
India, I eel is in a particularly adantageous position to lead this ast growing sector o
Cultural and Creatie Industries with imagination and original thinking. 1his is one eld
where we don`t hae to necessarily do other`s home work to become wealthy. \e don`t
hae to moe to crowded cities or work in cramped actories under one roo. \hat`s
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
India shine.
1he 1ask lorce on Creatie and Cultural Industries was set up under the Planning
Commission to gie us an out o the box game plan on how to get there. 1he question
that rose rst to my mind was - who would be empowered to elucidate upon the needs
o the sector as a unied whole I was relieed to read that amongst the 1ask lorce
recommendations they have suggested a more tentative mission mode composed and
managed by priate public partnership. I was a bit weary o yet another ocial department
and more white elephants, so what the Mission could do instead, in a specic time rame,
would be to help instill a culture o synergy and interaction required between dierent
departments o the goernment, NGOs and other stakeholders.
It is no easy task- this collaboration between dierse bodies, through multiarious
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
it`s potential-hitherto unaccounted or.
Culture springs from the roots
and seeping through to all the shoots
1o eaf ava forer ava bva
From cell to cell, like green blood,
Is released by rain showers,
.. fragravce frov tbe ret forer.
1o f tbe air.
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
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A lot more than is easily apparent needs to be assessed and taken into account . how, or
instance, would the elds that are recipients o subsidies already, proe their capacity to
surie without the props \hat indeed needs support to surie Iow would the dierse
requirements o dierent elds be renected in policy changes Iow would the gargantuan
task of exhaustive mapping as a start to the recommended actions, be completed in the
time period o the mission 1he questions are many, but as with eery new initiatie-all
answers may not be immediately apparent, yet the step must be taken. Most o all, let`s see
some tangible results in the eld .. and as soon as possible.
A cohesie strategy necessitates action at all leels, hope in the heart o millions who are
skilled and a sense o a mission amongst its organizers, een as the resources or their
implementation of projects and programmes suggested by them are assessed, raised and
collated.
I eel this book is only the rst step, helping us understand the background o a complex
global phenomenon. It also proides us the blue print or a deliery mechanism that
requires specic pilots to be supported by priate public partnership or a critically
important sector that has suffered enough with sentimental subsidy, little coordination,
unortunate apathy and delayed interention.
linally, I hope this eort o dressing this report so as NO1 to look or read like other
government reports, will help take it beyond the shelf, to a broader public and kick start a
dialogue or immediate action in the eld.
Culture blooms as naturally as mother earth.
In one earth grow many trees mangoes and guavas,
ive. ava oravge., forer. ava berb..
Cvtvre boov. a. vatvra, a. a forer.
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.
. bira iv figbt, avov,vov., ic. a .eea ava rbev it
drops it becomes a plant, then a tree.
Culture 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 sculpture
To be an architect one must know dance
Dance is possible only through music
And poetry therefore is essential
(Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)
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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 todays world requires more muscle than ones 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-
er. ie vt. vaira Cavabi ava bri Ra;ir Cavabi .borea bor fvia everg, carre. covvectea atbra,..
This publication is also a tribute to the indomitable courage of Indias extraordinarily gifted people whos never-say-
die, tenacious identities, coupled with their skills to make or to do, allows them to be special. We marvel at Indias
legacy of cultural industries seamlessly infusing tradition with new vitality. We bow to Indias 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
In a presentation I made to the Planning Commission last year, I stressed on the need to establish a
dialogue with related governmental initiatives running in parallel and sometimes opposite directions
with little coordination. 1he newly ormed Knowledge Commission was an ideal platorm or us to
share our concern for the future of our traditional and contemporary knowledge systems, creative
indices and cultural assets.
Consider this. More money is made by more Indians in doing what they do without ubiquitous trade
leaders or politicos, dedicated ministries or planners to help them. 1hey surie in a system some hae
termed as a unctioning anarchy.
Meeting, as we did in the Mecca o cash rich I1 companies I spoke or the small and marginalized..
lor too long India has had Commissions to look into the needs o its so called unorganized sector and
not take stock of its scale and strength as a self-organizing mechanism. \et gien an inch this sector
has 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
India`s priority. Nor do their redoubtable achieements help much to position India as an innoatie
laboratory o dynamic and innoatie ideas. Most take the pink page celebrities more seriously be-
cause they hae created a recognizable entity o new India and are seen to be modern. I the part o
India we celebrate was to get the same attention, it would make the whole system yield much more,
making eeryone shine.
With the inevitability of our future being so heavily informed and shaped by the forces of globalisa-
tion I elt the need to inorm the new Captains o our new economy about India`s rst globalisation
long beore any other.
Look at these two colours on this Banjara Lmbroidery rom a tanda not ar rom Bungaloor.1he
Red will take you back to the Indus Valley, a ciilization more than 4000 years old.
\here a small ragment o coarse cotton, dyed Aal and Manjitha or
madder Red was ound wrapped around a metal ase in Mohenjodaro.
1his is Aal`, made rom drying the roots o Rubia tinctorum, the mad-
der plant evoking sakthi, the chance discovery of which marks the begin-
nings o our incredible story as a nation that clothed the world. India`s
textiles could well be the story o India`s wealth.
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1he second colour in this embroidery. Nila`, was dyed rom indigo.
Replete with dark magical nuances, this colour takes us into the gardens o ancient alchemy.. laboratories where the search or the elixir
o lie, the reeing o the body and mind rom the onslaught o time, was the main pursuit. Like indigo, een today many plants used in
natural dying processes are ound listed and described in Ayuredic Pharmacopoeia.
1ill 199, when the Indian billionaires o I1 earned monthly salaries in our gures... think, who but the textile barons were the richest men in India
14
Much else can be read in the balanced play o madder and indigo ... Aal the
color o Ox blood, o lie-giing eternal orces . And Neel deep, elusie eoking
primordial memories ..
.. together Neil and Aal ormed the two ends o our basic colour palette and
with that, a new plant chemistry was introduced to the master dyers o India.
.. our tryst with the Rainbow dyed in the sap o nature
Now look at these specimens found in
Lower Lgypt. Made much later in the pe-
riod rom the 13th to 16th century, and
known as the Fustat fragments these
are composed largely of printed cottons
crudely dyed but xed magically with
India`s rst discoery o astening colour
with the myriad myroblam.
1he look o these early specimens
is so similar to what we nd een
today, or example, in the Ajrak
Prints o Sindh and Kucch.
Used probably as tomb cover-
ings, India`s abrics - then amous
or their quality - were carried by
Arab 1raders across the seas and
used in barter between Egypt and
Sudan.
1he Silk Route entrepreneurs to
Asia and medieal Lurope were
also a part of this intercontinen-
tal trade that was a precursor to
the internet.
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The Silk Route at Smithsonian,Washington produced in deferent
part of the world by an entirely Indian team
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Secondly, India`s neer say die capacity, has helped it lie in many centuries rolled
into one.
A past that has crumbled can only be reitalized or the present i it has
releance or the people who are liing it.
\hat am I saying lirstly, India`s 1raditional Knowledge, as a subtle warp...
....and its Iand Skills as its det wet. gae India its rst global brand.
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Old is recycled into new. Mrs Pupul Jayakar, used to say 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.
Dr. Kapila Vatsyayan describes this issue ery poetically. She says, 1be for of a traaitiov va, be covarea to a aovbereea fvte. Ove reea i. a erevvia .traiv, a tova
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.
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MODERN INDIA
Identity, memory .. Heritage = Commerce
Boats, bullock-cart rr s, bridges Transportation = ships, highways, aircraft ff
Kunds, Kollams, Cheras, Baolis, Vaavs,
Acqueducts
Irrigation=Big Dams, Canals
Cottage Industries & household manufg Large Industry = IT Telecom
Pilgrimages, dh dd ara rr msala ll s .. Travel = Tourism, hotels, resort rr s
Vernacular dialects ..Gurukuls, Madarsas ..
Craft ff 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,
fert rr ilizers..
Agriculture = Green Revolution
Water mills, manual labour Energy = Nuclear, hydel power
Handlooms & Khadi Textiles = Techno mechanized multi-fiber
Culture Science
TRADITIONAL INDIA
And this is where the 1ask lorce on Creatie and Cultural Industries takes its
cue.
While staggering statistics are being widely acknowledged in the developed
countries in this eld, their ocus has been the creatie sector`, the same ad-
vancement has not occurred in developing countries which draw more on tra-
dition, heritage and knowledge shared by communities. One must remember
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
skills, and are now attempting to nurture what is let as heritage`. 1hey are now
capitalising on the creatie design-led industries where they hae a qualitatie
edge.
India is in the eniable position o haing a large ariety o liing, skill-based
traditions and a number of highly versatile creative people capable of carry-
ing this unique legacy urther ,approximately 225-255 million skilled,potential
practitioners,.
How is this sector perceived in India today?
Lets open up the Big devide
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\et, in India`s eort to modernize, society has relegated traditional knowledge to a sun-
set sector - ridden with lip serice and made sick with sentimental subsidy, ineciently
doled out.
\e must look at the traditional sector` as sel-organized and not as an un-organized
sector. 1heir elusie eorts may not yet renect in national income accounts but they
nonetheless remain a critical human resource component. \e must acknowledge that
people still hae skills to meet their own needs and recognize the surial o such re-
sources as a tenacious symbol of enterprise which needs ground level support, similar
to that gien or I1 and other empowered initiaties - not handouts.
India`s contemporary but nascent design and media industry can help us reposition our
traditional knowledge and thereby create original inroads into the global market.
Clubbing them both together would not just bring us at par with international strategy
but innuence the conersion o a sunset` sector with an edge o the sunrise`.
\e must exploit this edge to our best adantage . to create distinctiely Indian prod-
ucts and services our heritage and the advances made in technology our own origi-
nal contribution that can hold its own against the best the world has to oer. Village
painters and animation . olk media and electronic media . crats and contemporary
architecture . ancient pharmacopia in interactie medium . traditional oods and
contemporary packaging.
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 onehalf 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 onehalf 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
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PAR1 II
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 placemany 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
Iere is the threshold o a weaer`s hut in Chinalampathi..
Once a thriing centre or handlooms. Now a thriing power mill, selling its
merchandise to big banners. 1his is a weaer`s hut in the same illage - hut ater
hut is abandoned. 1here is nothing but a graeyard o silent looms all around,
dismantled to be sold as rewood.
3,500 weaers rom Chinalampathi now lie in Delhi in slums by the
sewage drains o Karol Bagh, Janakpuri, Inderpuri...
Gopal, well versed in the art of weaving, sells balloons and his mother
Muthama and wie Radha all experienced weaers work as house maids.
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Nathilal is a displaced weaer rom UP selling ice lollies in Delhi.
Ie sings about his hunar`- his honourable ocation as a loer. longing an embrace, lie is uncertain!
Nathilal sings Mere Mehboob aaja laga loon gale, zindigi ka koi bharosa nahi`
As liing repositories o our heritage, our traditional artists are a threatened species.
Who has the time today to pause and think-could this man pulling a rickshaw, selling balloons
and egetables, or siting through garbage be a man with agile senses and a nely tuned mind
.Capable o exploring innite possibilities o one plus one minus one.
1hese are the same weaers that made India amous .strong and synonymous with quality.
Unprecedented and unchecked growth o power looms in 1989 with no meaningul incentie
In Chirala, ater the agreement o textile policies in 1985, when balances o growth was lited in aour
of powerloom,put 900,000 weaers o handloom out o work in 3 years. 80 committed suicide . 1here
were 240 staration deaths.
1he poor do not know who to turn to any longer. 1here is no Sunwai -no one is listening.
So, who in this scenario where few survive, is going to bother about the hundreds of thousands displaced
rom traditional ocations.
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\e hae raised a cry about disappearing tigers and birds. Just how are skills o the hand, the oice, the
body and the senses-nurtured by lietimes and generations o dedication-any less important
\hat will happen to the children o those who were once skilled. now bonded, growing rootless in
our backyards .seething with rustration .and perhaps iolence.
It is against this dark background that I choose to dene the conditions o the numerous cratspeople
and perorming artists. Numbering in millions, particularly around South Asia seen as a estige o the
past, they draw eebly on the minimal resources o our Goernments.
In India this suriing group constitutes the second largest workorce ater agriculture. \hat happens
to them, and to us 1o the depth o our ancient culture
1here is no census or statistical analysis: \ho do we consider skilled \hat is their role in the economy
o any South Asian country
\hat can`t be measured can`t be managed. we hae no road maps - just promises o a culture shining.
1here are no connected moements linking NGOs, producing artisans or perormers.no dedicated
ministries or departments orchestrating a synergy or cultural industries and micro-enterprises.
At a moment where eerything big is beautiul, it is depressing that not one great Centre o Learning
is committed to eoling a blueprint or the marginalized majority o the small producers and cultural
entrepreneurs.
1he uture o their skills is more ulnerable than eer beore.
As unemployment raages the countryside, the struggle o the amilies working in their scattered cottages
migrating in search o work, is not perceied as heroic reenue models by le-pushing unctionaries.
\hy blame ocial bodies, when as educationists we hae ourseles dealued the concept o Mahatma
Gandhis Buniyadi Shiksha o learning through labour with ones hand. As proessionals, e.g. we as ar-
chitects have never learnt to use traditional skills as a relevant part of our building activities around the
world.
Who then can employ the incredible science and art known to the communities of the Sthapthies, Ma-
haranas, Mahapatras Sompuras, Charis, Moosari - all castes o traditional builders
Can we aord to deskill society any longer
Ialway through the rst decade o a new millennium, nearly sixty years ater independence, these en-
erable traditions. stand ulnerably at the edge o a precipice... Challenged to ny as neer beore.
The late Zameer Khan, equally starred, stayed with
his family in a house nearby.
Zabira egvv, ari evbroiaerer of foor corerivg. for aace., ire.
here with her family of eight, three members, 3 cats and a fat goat.
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CONCLUSION
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 lets 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 Indias 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
aefvea b, it. e,e., bava. ava .irit.
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.
dover Hello, Handover
Dangers of Corporate Involvement:
Cav tbe Dbarva of Proft fva a aavce ritb Cvtvra vitiatire. tbat are votvece..ari, abovt
roft.
Culture and industry? While romantics have always lived by the notion that the two dont
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
and dusty les
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 dont 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-
nes 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 dont...it reects
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 zz 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 inuence.
2
M
a
k
i
n
g
,

D
o
i
n
g
,

B
e
i
n
g
.
.
.
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 dont come all the
time. Work doesnt depend on me. I depend on work.
Soni Ram
Stone Caring, Inlay and 1rellis, Uttar Pradesh
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 sabhyata
or civilization. A Su 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 fty 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 dees a
denition, it has no single face for the
common man and therefore no ballot
value, no ofcial 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 connes 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, ofcial 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
dilettantes whisper. Let culture be! The
people will decide. Sure! But look which
people? Look around at the greed and chaos
around you and see whos winning and at
what cost?
The mandarins in the nance and planning
mehakmas have to rst 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 dened 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 ames 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 conicts.
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 hospitals 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. Shouldnt
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 out 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 nd 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 ofcial
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 identication.
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 Cultures concern, I feel it will have very
little left to sing or dance about! I want more
teeth for culture and for it a nger 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 mans
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 patrons camel, has now to
compete with the veterinarian.
Women who sang the most telling songs
on the way to the well, sharing the days
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
nds 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 dont 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 on
them. Despite all the zz and the should
bes and shouldnt bes they are like
olives in a cocktail. Most reports concern
themselves with the ofcial 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 hasnt
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 ofcious and more inspiring
system of rewarding excellence, offering
privileges and infusing pride amongst skilled
people who feel vulnerable in this age of
ux. 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-
denition 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 nal 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 dont
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 nger 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,
re ao create tabe to. ritb tbe.e .acrea fgvre. ov it bvt
we hope that people do not put an insulting object by its
side. While making it, I dont touch it with my feet. There
is kadar and ibadat (respect and devotion). Then there
i. aa ava bvvar ;art ava riae) ava fva, tbere i.
karigari (skill). Without one the other does not come.
Shaukat Ali
Figure 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 specic 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 didnt Shri Datta Sa-
mant make a lot of noises and hasnt 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 pifing fraction of
that gure.
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 fteen 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 res, along with all oth-
ers, about hundred artists also lost all they
. Since we were more organised, we got had. S
some relief from the hotels where the artists
had performed on various occasions.The ve
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 nations 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 unscientic. This
alienation has been felt more than ever be-
fore and with much greater intensity in the
last few decades. Unprecedented changes
Of Tourist
Interest Only
THE ECONOMIC TIMES October, 1990 Artscape
SOLILOQOY RAJEEV SETHI
29
have reected 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 nownot 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 nd 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 ofcially
graded or it slips into a gutter. Tan Ras of
Delhi Gharana in Bahadur Shah Zafars 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 signicant
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 of
basic amenities
and spport never
see 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 others skill as well as the spiritual
votiratiov. 1bere bare verer beev covfict. avovg.t
our workers. Yes, we dont 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 Sayyid
Hamanullha Khan, Siddh Rama, Sidh Dayyia
On his work
I like designs that challenge the mind to invent a treatment. To-
days 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
vo.e, or e,e. - vot ovr vovtb. ravt to .ee rogre.. ava f v,
stomach by my own work. I cannot change my profession. I have
to ft ivto tbe voaerv rora ritb tbe .i. bare. 1raaivg v,
freeaov for av,tbivg ie av offce ;ob vvaer .ove bo.. i. vvtbiv-
abe, erev if it veav. vore vove,. 1be offce bo.. ri becove tbe
master of my time. If I stop doing work with my hands, my mind
will loose its ability to play as well.
Afzal Khan
Crewel and Staple Stitch, Kashmir
30
The art is alive as
long 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 nd 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 upperclasses
and le 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 benet than those practicing it.
Deterioration of tradition comes from such
economic disparity of professional pursuit.
The sense of achievement inuenced 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 ow of ofcial 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 ofcial 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.
Arent 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 nd 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 ofcial
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 dene 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
whos 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- llas
ists in every mohalla is what will nally
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 identied as cultures 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 ght-
ing for a whole generation inicted with
disease due to unscientic and exploitative
conditions of work.
Visit Moradabad and you will nd 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 nd out the T.B. rampant in
this lthy town is not just because the arti-
sans have an unbalanced diet. Have the of-
cial 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, nd 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-
cers, and 700 others co-ops 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 workshed
everyday or whether a musician can rehearse
in one place and stay in another ? Jaipurs
gunijan khanas and artisans nas mohallas are llas
an 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 musicians 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,
dont just tell us to go to the Department of
Urban Development or Ministry of Health.
The artisans and artists are seen like les that
never move. Instead you liaise with your col-
leagues from the different departments or go
back to the Planning Commission and ght
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
ofcial mass media between south-north,
men-women, dance- music; disparity of
payments between different agencies, their
dubious grading systems, the multiple us-
age of programmes 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 whats 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 others 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 abs
a 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 lasted
My feet, while they danced
My ngers, while they played
My hands, while they worked
My senses while they prevailed
Have asked you so many questions..........?
On the quality of life
av a rer, oor vav, ava bare ivfvite toeravce. f v,
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 Sadiak
Leather worker
32
PART III
S\NOPSIS o the Report ,Publication on the Cultural and Creatie Industries o India
Reports are the ineitable endproduct o a 1ask lorce. 1his one, clearly, is more oluminous than others and does
not pretend to be a mere report. Other than the oeriews that precede each chapter, we gie a synopsis o what this
whole publication is meant to be. Iow and why the 1ask lorce or Creatie and Cultural Industries in the Planning
Commission was set up is taken up in Chapter 6 and in the introduction gien by Dr. Montek Singh Ahluwalia in
Chapter 1. 1he remaining chapters o this omnibus report, anthology or publication . whateer one chooses to
call it, are as ollows:
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-
tries where it is acknowledged as the astest growing sector generating considerable employment and reenue. Com-
pilations rom reams o reports and reerences rom all oer the globe hae been presented or the rst time by the
Asian Ieritage loundation to elaborate the role o the creatie and the cultural industries in contemporary nation
states and multinational economies.
Chapter 4 brings us home with THE INDIAN SCENARIO with eminent personalities throwing light on where
we stand today, poised to take on the uture. \e hae attempted a comprehensie classication system o what cul-
tural industries constitute in the Indian context. Len an oeriew or each o the sub-sectors requires more work
and space than provided here; this gargantuan effort will continue with the development of a web portal for this sec-
tor. lor now, we hae had to diide the oerwhelming response we hae receied rom authors as material on each
sub-sector and extended the rest into Chapter 5 and Chapter 7 as well.
Are we biting off more than what one can chew by clubbing these many sectors together?
In Chapter 5 titled a INDIAS EDGE we argue otherwise and show how the traditional and the modern can help
each other to create a USP or India. So a Pochampalli weaer in a illage o Andhra shares the same space in our
project mission as a computer game designer in the city o Mumbai. Do the actors that connect their aried skills
get linked in complementary programmes that improe India`s creatie expression \ill the priorities and arying
aspirations o the modern disciplines dilute the deelopmental agenda or the more traditional and ulnerable sector
\ill the creamy layer o creatie and cultural industries grab the benets o schemes meant or the more depried and
marginalised Ideas and thoughts on an appropriately layered strategy o public priate interention are presented in
this chapter. Doetailing international norms, our intentions are to harness synergies implicit in dynamic couplings
of the old and the new, margi and i deshi, east and west, between dierent disciplines etc. ii
Chapter 6 THE WHEEL MOVES describes the one year I spent at the \ojana Bhaan in the Planning Commis-
sion, trying to negotiate the juggernaut through narrow lanes. 1he monogrammed calling card helped, access to those
33
M
a
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D
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,

B
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.
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in power became easier and the learning cure steep as challenges became more ormidable. Ater much discussion,
we felt the concept for a single Ministry grouping all connected departments from other ministries to form a whole
was too premature, Len an established Council or Commission ran the risk o becoming hierarchical and drien by
administrators. Instead, an autonomous, market drien body in a Mission Mode would oer a time- bound
agenda or action. 1his would also acilitate a more public-priate initiatie, critical or implementing interdisciplinary
as well as inter-ministerial projects and programmes in the eld. A single window orchestration implementing such a
cross - sectoral agenda puts us in a better position to articulate a meaningul inrastructure sustaining a moement.
Chapter 7 points to THE WAY AHEAD.. outlining the e kinds o serices proposed or the National Mission
or Cultural Industries - Policy & Planning Serices, Credit and linancial Serices, Capacity Building Serices, Legal
Serices and Promotion and Marketing Serices. An attempt has been made to illustrate each o these through illu-
minating case studies and inormed opinion.
Chapter 8 celebrates the making of BRAND INDIA by dwelling on specic deliery mechanisms. 1he e years
suggested as a tenure for the Mission would help it devise and implement the mixed media programme outlined in
this chapter. Public-priate partnership with concrete action in the eld would help determine the contour o an
unprecedented policy interention or the uture.
Chapter 9 A unding mechanism to support this uture is crucial or putting the whole task on track. \e hae, rather
optimistically, called it the PURNA KUMBHA, the pot of plenty, providing a blue print for sourcing resource would
make the NMCI sel sustaining, initiating all supporting reenue models across dierse sectors.
1he concluding Chapter 10, brimming with hope, is titled SHAJAR-E-HAYAT, the tree of life. We have here col-
lated oer 250 letters, articles and interiews outlining a coherent sectoral ramework and a gameplan based on which
the goernment and NGOs may take action. 1he appendices carry a miscellany o details and reerence matter
including a drat copy o the now approed Cultural Policy document rom the Goernment o Goa, showing one
model that other states o India could emulate.
PAST FORWARD is a timely reminder of what we need to do before it is too late and loosing our legecy and being
oertaken by others een in our neighbourhood. 1his publication is an ambitious but passionate oering celebrating
the uture o India`s creatiity in sectors that hae so ar lacked cohesie ocial support.
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
critici.v of va.. veaia ava tbe begviivg bvt .verfcia vacbive cvtvre it createa. De.ite tbe avtagovi.v of cvtvra vr-
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 Indias 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
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Global Phenomenon
METAMORPHOSIS :
Adorno to Art Policies
Cross-cultural Milestones
It is characteristic o the last century that culture was
embroiled in debates about its value within transitional
economies and social processes. 1his change in the
dynamic o culture was greatly innuenced by the adent
o new technologies o mass media. Culture` became
accessible to a far larger and more heterogeneous
audience, fracturing previous notions of art and its
audience. Mass media generated its own industrial
infrastructure and micro-economy; the newfound
pervasiveness of its products implied that electronic
media could sere as the oice o the people.` Lqually,
the massive capital investment and the technical expertise
it requires implied that its control lies in the hands o a
ew.
By the early 1900s, cultural theory had thus been orced
to step out o its nael-gazing mode and conront an
entire host o more material` considerations. 1he key
question was, who was going to hae control on the
beast called culture and how could they use it to their
benet
At this time, countries across the world were acing
their own internal connicts - this was an era o political
revolution, class struggles, the establishment of
capitalism and resistance towards its monopoly, the end
o colonial rule and the beginning o nation building.
Located within this framework and actively shaping and
being shaped by it, culture was becoming increasingly
specic, context drien and ideologically innected.
Culture in the free enterprise economy: Art
becomes a commodity
\hen it was inented in 194 by the German critics
1heodor Adorno and Max Iorkheimer, the now
immortalised term 1he Culture Industry` was intended
as a bitterly ironic critique o all mass media. lilms, radio
and magazines were seen as the standardized products
of a single factory system geared towards nothing more
than lling leisure time with amusements to distract
its consumers from the drudgery of their increasingly
automated work and to prevent them from recognising
the reality o their subserient existence. Mass media
was to them nothing more than an opiate.
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.
At about the same time, in newly independent India,
cinema, the latest entrant on the cultural scene, took over,
and een eclipsed, earlier orms o cultural production.
A new breed o Iindi lms exploded onto the screens
o cinema halls across the country. Abandoning serious`
detail and politically charged subjects in favour of
escapist romances, historical extraaganzas and the now
ubiquitous masala blockbusters, the production houses
of Bombay focussed on providing light entertainment
or India`s burgeoning urban population - the rural
migrants, the labour orce and, the urban poor.
The major audience for a normal Hindi commercial
fv i. eoe rbo are iv tbe viaae or orerviaae
income groups. But more important than them are the
people who live below the poverty line. Its very strange,
but most of the people who do odd jobs, or even beggars,
ri ee tbeir vove, to .ee tbe fr.t .bor of tbe ver
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 didnt have
to give it to her father or mother. She would then use
tbe vove, to .ee tbe fr.t .bor of tbe fr.t ree of av
.vitabb acbcbav fv. t rea, baev.; it`. vot a
far-fetched imaginary fantasy or some funny incident.
Its the truth.
- Smita Patil, Bombay lm actor.
1
1 1his was true o the early 0s, when Smita Patil was at her
peak. 1oday, howeer, the success o the Bombay lm industry is no
longer dependent on the poor or rural audiences.
Leryone wanted a slice o the airytale on celluloid`.
1he cultural elite, as guardians o Indian-ness,` labelled
the commercial cinema an impersonating, debased, and
parasitic orm. Although many an indignant cultural
purist seeking to maintain and police cultural boundaries
accused Iindi lms o being mere commodities that
emerged out of a system of assembly-line production
that is, a ormula - the Bombay lm industry continued
to thrie economically. 1he number o lms produced
each year had been steadily increasing and the years
following the Second World War had created a boom in
terms o the money nowing into lm production.
Ten years from now well have good roads, housing
schemes, hospitals, food, buildings, etc, but no culture.
We can import technology and know-how, but we cant
import culture
- Dilip Kumar, Hindi lm actor
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 Chaudhari
2
2 Is India a cultural acuum,` Illustrated \eekly o India,
August 15, 1954
To spin the simplest yarn on celluloid the wheels of a
arge.cae, fv, feagea ivav.tr, bare to tvrv.
- Satyajit Ray
3
Preoccupied with the task o nation building, the
postcolonial Indian state`s ocus rested on two major
goals - the construction o a unied Indian identity and
economic deelopment. In the mainrame o nationalist
planning, this translated into large-scale industrial
projects such as power plants and factories as well as
ocial recognition or high culture` and some support
or the traditional arts.` Cinema was not included in
either category. As a business, the lm industry did
not produce an essential commodity, and as a culture
industry, its products did not enhance or embody the
prestige o the new nation.
4
1he allegory o a nation
centred on reclaiming rom history an Indian past that
proclaimed a unity in diersity. Cinema was seen as
an alien imposition devoid of any organic connection
with a long and illustrious history of diverse indigenous
cultural orms and on these grounds, disqualied as an
authentically national cultural expression. 1hus, cinema
what was to become perhaps the most pervasive
innuence in Indian culture - was positioned within the
Inormation and Broadcasting Ministry.
Once popularised, cinema became an electronic extension of
folk art forms. Thus, Jhoot bole cauwa kaate, a song of
tbe Koi f.bervev, ra. .et to tbe tvve of a Coav .ovg ava
featvrea iv tbe bit ivai fv obb,`. 1be beveft. of tbe
.ovg`. .vcce.. - fvavcia ava otberri.e - go to tbe iv
Industry. The original stakeholders of its artistic property
remain marginalised.
3 Ray, Satyajit, Under western eyes, Sight and Sound
,Autumn 1982,, p. 269
4 Chakraarty ,1993: 66,
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Bobby poster
1his discomort with the new media and its system o
operation was shared by Adorno and Iorkheimer, albeit
or dierent reasons. 1hey maintained that while the
culture industry claimed to be serving the consumers
need for entertainment, it concealed the way in which it
standardized these needs, manipulating the consumers
to desire what it produces. Mass produced culture
therefore feeds a mass market where the identity and
tastes of individual consumers becomes increasingly
less important and the consumers themselves are
as interchangeable as the products themseles. All
pervasive, media culture was seen to impress its stamp
on everything until the whole world is made to pass
through the lter o the culture industry.`
5
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
tbe .ocia vtiit, of tbe fvi.bea roavct. i. revorea.
-Theodor Adorno and Max Horkheimer
1o Adorno, mass culture was essentially a means o
reinorcing the status quo o modern ciilization and its
embedded class hierarchies. And it is theory and true art`
painting, sculpture, music and dance that are deemed
the only remaining expressions of freedom, creativity
and indiiduality. \hile he takes on an anti-capitalist
position, Adorno`s conspiracy theory is nonetheless
located within a capitalist paradigm. Iis critique o
capitalism is based on a romantic Marxism untouched
by the realities o contemporary socialist states. It is
this utopian world view that he extends to his discourse
on culture, critiquing anything that may be seen as an
expression of bourgeois subjectivity and extolling
the virtues of the few cultural forms he deemed to be
untainted by commerce.
lor most o Adorno`s contemporaries, modernist art and
music represented the key sites of resistance to cultural
manipulation. In contrast, \alter Benjamin sought to
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
ormats o presentation.
5 Adorno ,194,
Coining the term mechanical reproduction` to reer to
any form of cultural production characterised by the
relatively large-scale replication of cultural artefacts
by means of technology, Benjamin acknowledges that
each product o such a process is a replica. Unlike
Adorno and Iorkheimer gloomy cultural pessimism, or
Benjamin, mass media and avant-garde art provided the
initial conditions, at least, for the creation of something
that could become a cultural democracy. It is inherent
in the techniques o lm,` he wrote, that eerybody
who witnesses its accomplishments is somewhat of an
expert..the public is put in the position o critic.`
6
A third angle in this debate was that o Jurgen Iabermas,
Adorno`s student and assistant. Iere again, the wholesale
refusal of capitalism is abandoned in favour of a
democratisation of capitalism through critical public
opinion.
Critical to Iabermas` project was his iew o society as
consisting of two distinct parts the system and life-
world.` 1he rst reerred to the sphere o the economy
and the state, of money and power; the second to the
world of everyday experience, social discourse and
cultural alues, science, politics and art. Iabermas
believed that undistorted communication between free
and equal citizens in the lie-world` would establish
values that could successfully counteract the dominative
tendencies o the system.
1he problem with this utopian model, as Iabermas
himself recognised, was that the life-world was
increasingly subject to colonisation by the system,
thus radically reducing the possibility of collective,
communicatie action. 1hus i mass media was suspect
or its submission to capitalism so was the academic art.
As the aant-garde ound their place within galleries
6 Benjamin ,193,, p. 233, as quoted in Milner and Browitt
,2003,, p. 4
40
and discourses on art, they too joined the ranks of the
colonised.
1his was the essential ambiguity o modernity - 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
on the other.
Culture in the socialist state: Art as an ideo-
logical weapon
While thinkers within capitalist Western societies were
struggling to dene culture`s role in its larger socio-
economic context, communist states, such as the Soviet
Union, China and Cuba, showed no such ambialence
to culture. Instead, they represent an extreme o state
intervention in the cultural domain whereby all art was
used as an instrument o the Communist Party. Art was
directed by state policy: not arbitrarily by diktat but by
codifying a system of artistic rules, which ensure the
continuation o a. homogenous art renecting the state
ideology.`

Unlike capitalist states where the artist is seen as a

generator o consumer goods that are prized or their
surplus alue,` the socialist artist is recognized as
a political oice and a moral orce. And yet, or just
these same reasons, artists and art in socialist states
were considered oreer questionable and controlled.
Artistic indiiduality is limited or denied. 1he artist`s
oice cannot simply be his own. Art production was
utterly subservient to the state, its progress, ideological
objectives, and creative pursuits determined by the
Party`s requirement or propaganda.
Berger ,1993 |1969|,, p. 22
To work in a factory
blacken your face with smoke
then at leisure later
to fa bear, e,eia. at
other mens 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 Mayakovsky
8
An order to the Art Army (December 1918)
1he genesis o this phenomenon goes back to the
October Reolution o 191 and the ormulation o the
Proletkut ,1he Proletariat Cultural and Lnlightenment
Organisation, within the Soiet Ministry o Lducation.
Arguing that art, like all material goods and means o
production in a communist economy, belonged to the
community as a whole and not to a specic class, the
Proletkut encouraged artists to break away rom the
bourgeois subject matter and style of art produced
under the tsars and embrace their new task as engineers
o the human soul.`
9
8 As quoted in Berger ,1993 |1969|,, p. 44
9 1he phrase engineers o the human soul` was coined
by \uri Olesha and was later popularized by Stalin, notably in his
speech at the lirst Congress o the Union o Soiet \riters in 1934:
1he production o souls is more important than the production o
tanks. And thereore I raise my glass to you, writers, the engineers
It [Russian art] concerns the value a man puts on his
own life. The Russian cannot believe that the mean-
ivg of bi. ife i. .ef.vffcievt - ava tberefore tbat bi.
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
1his newound role o the artist is most eident in
the Russian political strategy o Agitprop.` A usion
o agitation` and propaganda`, Agitprop promulgated
the use of political slogans and imagery as a means to
mould public opinion and mobilise mass support. Mass
media - pamphlets, magazines, newspapers, radio and
teleision - as well as the ne arts` and architecture
were marshalled to the cause of re-educating the entire
population in the communist mould.
Due to their lucidity and simplicity o orm, the
comparative ease of large print runs, the vividness of
its imagery and its greater accessibility, posters became
the chosen expression o the agitprop. Prominently
featured on town walls, fences, boats and special
propaganda trains, and in demonstrations, Russian
posters deeloped a language and lie o their own. 1hey
were the minutes o the most dicult three year period
of the revolutionary struggle, a record in colours and
words, enthusing those who were participating in the
Reolution on the military ront.
o the human soul.`
10 Berger ,1993 |1969|,, pp. 21-22
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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
ot., ovgbivg tbe fea, rearivg tetie., cooivg a vea. 1be
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 Moors
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
capitalism o the \est. 1he result was an enthusiastic
rediscovery of pre-European Russian art coupled with a
search for the most advanced, the most modern means of
expression.`
11
Once the revolutionary ship was stabilised,
however, state intervention in cultural production grew
more authoritarian. 1he Proletkut`s assimilation and
promotion of radical, non-traditional directions such as
impressionism, constructivism, cubism, concept art, and
perormance art now came under seere criticism. 1he
11 Berger ,1993 |1969|,, p. 30
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
nascent workers state.
1he Proletkut was disbanded in 1932 and socialist
realism was instated as the state policy on the grounds
that realist art was more popular and comprehensible
to the uneducated masses. Art was now to be ealuated
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
emulate the socialist model. In practice, this meant that
artists had to produce works that either gloried the
leaders and policies of the Soviet Union or elevated
the common worker ,whether actory or agricultural,
by presenting his lie, work and recreation as admirable.
Artistic imagery and actual content reinorced one
another, always highlighting the move towards a
progressie, technologically adanced society.
Artists who could not work within the boundaries o
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
camps in Siberia and elsewhere. \hile artists were
urged to represent realism, it was only a limited view of
reality they were permitted to represent. Any departure
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
compositions that did not appear to rouse or renect the
lie and struggles o the Proletariat.
Without wholly identifying with the Revolution, the
arti.t ri iveritab, fai to fva tbe rigbt .t,e ava tbe
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
1he Soiet Union`s policy on art production was
exported to irtually all the other Communist countries.
Although the degree to which it was enorced there
varied somewhat from country to country, socialist
realism became the predominant art form across the
communist world or nearly ty years.
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 Maos visage has
since found its way onto clocks, sold as popular memo-
rabilia.
In the case o China, art was mobilised as a medium o
class struggle and nationalistic regeneration under Maos
leadership. 1o quote Mao himsel, In our struggle or
the liberation o the Chinese people, there are arious
fronts, among which there are the fronts of the pen and
the gun, the cultural and the military. 1o deeat the enemy
we must rely primarily on the army with guns. But this
army alone isnt enough; we must also have a cultural
army, which is absolutely indispensable for uniting our
own ranks and deeating the enemy.`
In May 1942 at \an`an, in order to rectiy` the outlook
o the Chinese Communist Party`s writers and artists
and to orge a new unity o iewpoint, oer 200 writers
and artists were called upon to participate in a Party
orum on literature and art. Mao`s ideological mission
there was to transform any left-leaning liberalism and
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lingering individualism into the collective service of
reolutionary political ends. Iis practical imperatie was
to deliver control of literature and art, once in the hands
o the writers and artists themseles, into the centralized
management o the Party.
The purpose of our meeting today is precisely to ensure
tbat iteratvre ava art ft re ivto tbe rboe rerovtiov-
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
be tbe eoe fgbt tbe evev, ritb ove beart ava ove
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 Zedong
12
Mao left no doubt about the subservience of art to
politics: Reolutionary literature and art are part o the
whole revolutionary cause; they are cogs and wheels in
it.`
13
From the notion that the value of art derived from
revolutionary necessity, came a heightened esteem and
concern or artists.
12 Zedong, Mao \enan lorum`, Selected Readings, p. 251
13 1he phrase cogs and wheels` ,or screws`, was
borrowed rom Lenin`s amous 1905 article, Party Organization
and Literature, which became the cornerstone of Soviet aesthetic
theory. Down with non-partisan writers! Down with the literary
supermen! Literature must become part of the common course of the
proletariat, a cog and a screw` o one single great Social-Democratic
mechanism.. A component o organized, planned, and integrated
Social-Democratic Part work.` ,V.I. Lenin ,198, Collected \orks,
Moscow: Progress Publishers, Vol. 10, p. 45,
Mao, however, made it abundantly clear that this would
only apply to those who could adhere to the new
specications prescribed or their work: \riters who
cling to an individualist, petty-bourgeois stand cannot
truly sere the masses.No reolutionary writer or artist
can do any meaningful work unless he is closely linked
with the masses, gives expression to their thoughts and
eelings and seres them as a loyal spokesman.`
14
Mao dened the issue o style in terms o
comprehensibility to the masses. \e must popularize
only what is needed and can readily be accepted by the
workers, peasants and soldiers themseles.. Only by
starting from the workers, peasants and soldiers can we
hae a correct understanding o popularization ad o
the raising o standards and nd the proper relationship
between the two.`
15
Popular art,` dened thus, is
unambiguous, comprehensible to the audience, designed
to awaken the masses` |to| re them with enthusiasm
and impel them to units and struggle.` 1he smiling
counterpart of socialist realism, Maos aesthetic of
popularisation was designed not as a representation
o actual reality but as a depiction o an intensied`
realism in other words, idealism and not realism at
all. Popularization` makes the heroic more heroic, the
illains more illainous, the contrasts extreme. Anything
that was a departure from this approach was labelled
unpopular` or as hard or the masses to understand.`
And the one thing that was belieed incomprehensible
to the masses was any criticism directed against the Party
itsel. 1he masses incomprehension` was a censorial
shield with which the Party could deend itsel.
14 Mao Zedong, \enan lorum,` Selected Readings, pp. 260,
269
15 |Ibid, p. 264|
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 ones 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 Haraszti
in his dark-humoured account of state-directed
socialist art in Eastern Europe, The Velvet Prison
1here now arose the exing issue o how to establish
an ideologically correct art. 1raditional Chinese art and
Western-style art were both considered ideologically
tainted, the rst because o its eudalistic origins, the
second because o its Luropean bourgeois associations.
Other sources also existed as potential models for
development, including European and Soviet socialist
arts, printmaking and sculpture as well as painting.
1hese were not ideologically contaminated`, but the
very fact that they were foreign would from time to time
be detrimental to their innuence. linally, there were the
traditional Chinese olk arts, howeer limited they might
hae been in their own historical deelopment. Much
of the time, Mao seemed to favour those theories and
programs intended to cultivate indigenous national
orms.`
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 Zedong
16
Ater the \an`an lorum in 1942, socialist aesthetics
were no longer the indiidual artist`s to determine.
1he Party determined, and the artists simply ullled.
Artists were not called upon to ent their own eelings.
1hat was a role let to \estern capitalist artists, whose
visual manifestations of angst, generated by poverty
and loneliness in their lifetime, become such a valued
commodity among the wealthy and socially prominent
ater their deaths. Socialist artists were meant instead
to express the thoughts and feelings of the masses, as
interpreted for them by their ultimate supervisory agency,
the Communist Party Propaganda Departments.
Likewise, in Cuba, the other signicant socialist state o
the time, the newly established revolutionary government
enlisted the arts and architecture in a campaign to give
isual orm to a utopian social ision. Iere too art had to
negotiate ideology - neither the modernism o America
and Lurope nor Soiet Art ormed an appropriate
solution or Cuban needs.
Speaking about the conundrums in which cultures on
the periphery nd themseles when searching or their
identity, Gerardo Mosquera said: In the search or our
identity` an expression o our roots` has requently
been proclaimed which leads to a grace lack of cultural
ocus. It was belieed that the problems o our own p
16 \enan lorum, Selected Readings, p. 25
expressions could be solved by showing folklorisms,
local colours, traditions..A dangerous error, because
the solution is not in showing our identity, but in acting
rom it, rom inside towards the outside. \ole Soyinka
said, A tiger doesn`t announce its tigritude - it leaps.`
. Our dilemma is not resoled by throwing ,capitalist
instruments) into the garbage can, to then go back
to pre-capitalist options. But neither is it a matter o
arriing at the 1hird Millennium ollowing ,capitalist
culture), adapting it, or even nationalising it, which may
be a transitional solution. \e hae to make it ourseles
with our own criteria, or at least participate actively in
its eolution. Slowly and more each time. And once
this happens, it will have stopped being a Western
Culture.`
1
Culture in the postcolonial economy: Art as
identity
Although one may argue that art in communist countries
was as much about national identities as politics, in
postcolonial countries such as Mexico and India, culture
played a crucial role in the construction o a unied
nation. Unlike Luropean nationalism, where national
consciousness grew from common bonds of language
and culture, Mexican and Indian nationalism resulted
from the necessity of unifying diverse cultural groups
in the struggle against oreign domination. Prior to their
formation as independent republics, what we today call
Mexico or India were geographical areas where cultural
and social assemblies lived side by side but were deeply
dierentiated. Neither had a cultural base that was more
or less homogenous and permitted itself to extend loops
o identity in so ast a territory. 1he new nation-states
had perforce to invent a national identity that would
1 Mosquera, ,198, Identidad y cultura popular en el Nueo
arte cubano, Iaana: 1ypescript, as quoted in Luis Cannitzer ,2003,,
p. 100
create solidarity among its varied population, assimilate
their individual cultures, as well as consolidate their
position as a iable nation in the international context.
1he culmination o the Mexican Reolution ,1910-
1920, marks the beginning o relatie political stability
in the country. 1he new letist goernment o President
Alaro Obregon initiated important reorms: the eudal
land system was dismantled, labour was organised and
reformed, foreign economic despoliation were initiated,
and indigenous culture became the focus of a national
cultural program. During this period o reconstruction,
Mexican culture engaged in a search or identity. In
music, literature, theatre, dance, and painting, there
was a return to origins,` a rearmation o Mexico`s
indigenous past. Pre-Columbian art and popular art was
re-alued. Sophisticated city women began to dress in
native costumes, and painters not only populated their
works with Indian and natie arteacts, they also imitated
the olkloric style o popular art.
1he rearmation o Mexico`s indigenous culture in
the 1920s had much to do with the then Minister o
Lducation, Jose Vasconcelos. Ie launched a crusade
to educate the Mexican people and to bring the Indian
into the body politic. Realising not only that many
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
gures.`, he commissioned painters to work at mason`s
wages decorating public walls with paintings that could
teach people.
Perhaps the most signicant artists o this period were
Diego Riera, Daid Olero Siqueiros, Jose Clemente
Orozco. Lach was drien by desire to create a truly
Mexican art, one that expressed the Mexican character
and was equal to any other. Speaking about their
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artistic mission, Orozco said, \e would learn what the
ancients and the foreigners could teach us, but we could
do as much as they, or more. It was not pride but sel-
condence that moed us into this belie. Now or the
rst time the painters took stock o the country they
lied in.` Lach based their work on Mexican history,
developing an art form that was at once nationalist, anti-
colonial and oten, explicitly Marxist.
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 Riveras
work represents the pro-active peasants and workers of the
Mexican State, and Frida Kahlos work is tinged with a
1heir work, howeer, reeals their complex and oten
contradictory approaches to their subject. Riera,
returning ater a teen-year sojourn in Lurope, was
exhilarated by the beauty o his country: it was as i I
was being born anew, born in a new world.` Ie said he
wanted his paintings to renect the social lie o Mexico
as I saw it, through my ision o the truth to show the
masses the outline o the uture.` Riera`s work is at once
nostalgic, romanticising a Mexican past and prophesying,
rather optimistic, a Marxist uture.
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 Shergils
ror, i. ivfvevcea b, tbe tbev ovar vre..iovi.t .t,e bvt
is transformed by her choice of subjects and colours village
women represented with a rich palette of earthy browns, reds
and ochres.
Orozco, on the other hand abhorred Riera`s olklorism.
In 1923, he wrote, Personally, I detest representing in my
works the odious and degenerate type of common people
that is generally taken as a picturesque` subject.. \e
are chieny responsible or haing permitted the creation
and ostering o the idea that these gures represent so-
called Mexicanism. 1hese ideas induce me to abjure,
once and for all, the painting of sandals and dirty cotton
pants.` Orozco didn`t idealise the Mexican past as did
Riera. Ie said that the great dramas o humanity do
not need to be gloried, or they are like maniestations
o natural orces such as olcanoes.` lrom his point o
view, no matter how much the world changed, the same
evils war, injustice, poverty, oppression, ignorance
preailed. Ie had little aith that human beings joining
together in groups might bring about social change. Ie
joined no political party. No artist has, or eer has had,
political conictions o any sort,` he said. 1hose who
proess to hae them are not artists.` Unlike Riera,
46
whose work was full of hammers and sickles and who did
not deny heir alue as Communist propaganda, Orozco
insisted that his murals took no partisan positions. 1o
him ideologies were suspect; they all led to demagoguery
and totalitarianism.
.rt i. ove of tbe vo.t effcievt .vbrer.ire agevt..
- Diego Rivera
Perhaps what distinguished art in the postcolonial state is
the many oices that jostle or space within its parameters.
1he Mexican culture that was being inented stretched
across centuries, classes and geographies, expressing
itself in the folklorism of Rivera on one hand and the
cubistic abstraction o Orozco on the other. Both ound
alidation and patronage within the state.
Similarly, India, in her struggle or Independence, looked
towards her history, orging an image o an Indian cultural
heritage that was free, and often superior, to that of her
occidental rulers. Nationalist leaders took recourse in a
romantic reconstruction of the past to imbue a legitimate
sense o national pride` in India`s heritage as well as to
resist the social and cultural challenges posed by the
imperialists. Dramatists, noelists, and poets presented
heroes of popular legends from regional ethnic groups
with a pan-Indian consciousness, introducing local
culture of the various regions to the rest of the country
and to deelop a eeling o national cohesion.
Signicant institutions o culture were set up through
purely voluntary efforts among them, Rabindranath
1agore`s Uniersity at Shantiniketan, Rukmini Dei
Arundale`s Kalakshetra, Indian People`s 1heatre
Association, Uday Shankar Culture Centre at Almora,
Madras Music Academy. But it was the mass media o
radio, lms and phonograph records which drew artists
rom their local patrons into a wider regional,national
network o cultural perormances. By this time, the
spiritual image o India as the counterpart to Luropean
materialism had matured, nourished by western adulation
and a new perception o a historic Indian past.
\hen India achieed Independence in 194, its new
government had a mammoth task at its hands the
creation of models for a national culture and translating
that into policy. Iere, as in Mexico, the construction
o identity had three distinct strands. 1he reitalisation
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
hold its own among its contemporaries.
1he Gandhian ocus on the illage and the Nehruian
focus on the international met in cultural policy; the
traditional and the modern, the olk arts and the ne
arts, the mass media and the non-mechanical were all
included. 1he lines between them hae oten swered,
blurred, and or short periods, occasionally disappeared.
1he attempt throughout howeer has been to lie
in multiple centuries, multiple pasts simultaneously,
assimilating the best and reinenting it. Gandhi himsel
articulated India`s cultural policy ar more eloquently:
I want the cultures o all lands to be blown about my
house as reely as possible. But I reuse to be blown o
my eet by any. I reuse to lie in other people`s houses
as an interloper, beggar or slae.`
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
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illustrating childrens 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.
1o this end, new cultural institutions were established-
the Sahitya Akademi, the Lalit Kala Akademi, the
Sangeet Natak Akademi and the National School o
Drama. Cultural institutions that were already actie in
the preservation, fostering and dissemination of culture
were urther strengthened. 1extbooks were published
in arious regional languages, Iindi and Lnglish to
enable Indian citizens to retain their indigenous roots
while equipping themseles with the tools o progress.
1he goernments also saw to the extension o mass
media organisations such as AIR, teleision networks
and lms, the rehabilitation o traditional artists and
cratsmen, and projecting India`s culture abroad through
international cultural cooperation networks.
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 Chattopadhyay
18
Cultural policy as understood in the 1950s at the Planning
Commission ,through Kamaladei Chattopadhyay and
Maulana Azad`s work amongst others, was essentially
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
sectors within the gambit o culture. Iere the diision,
to begin with, was not between ne arts and mass culture
but between ne arts ,as based on western academy
models, and traditional arts ,assumed to hae a limited
market and accordingly granted strong state support,.
Culture in the postmodern era:
Art as economic policy
lrom the 190s onwards, the popular has been the
cultural hub in many countries. A whole new spate o
theory was borne of this boom, spreading to theory on
high art` as a renexie application. Not only is most o
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
18 Chattopadhyay ,1980, India`s Crat 1radition, New Delhi:
Publications Diision, GOI
in the marketplace o the global illage.
In this milieu, earlier notions o culture began to be re-
ealuated and more oten than not dismissed. Adorno`s
account of the culture industries, for instance, has
been critiqued rom a number o perspecties.
19
1he
rst o these is that it presents an exaggerated iew o
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
elite, wilully submitting to their own stupeaction.
Adorno and Iorkheimer`s theory also entirely negated
the overall dynamics of the industries that provided mass
communication and cultural goods and services to an
increasingly wide cross-section of the public,
20
choosing
instead to see these industries as the eradicator of an
idealized true culture` that was too closely connected
with nostalgia for a cultural experience untainted by
technology.`
21
Although Adorno and Iorkheimer`s concept o the
culture industry is now deemed an overly dismissive
account of capitalist economies and their dynamics,
it was the rst to discuss the erosion o the hitherto
rigid boundaries between high art, mass culture and
the economy. \hile academic writing on the cultural
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
deelopment o cultural industries as a sector.
19 ,Bennet, 1982, Mattelart and Piemme, 1982, 1hompson,
1991, Sinclair 1996,
20 llew ,2002: 9,
21 Mattelart and Piemme ,1982: 52,, as quoted in llew
,2002:9,
48
Drien by knowledge intermediaries` outside academia
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
o alue. Swinging between claims as to the external
benets o culture and equally passionate attacks on the
attempted reduction o art and culture to unctional,
economic alue, the specic weighting and trajectories
o these debates renect the dierent structures, priorities
and constraints faced by subsidy and arts policy systems
in the dierent national,regional ormations.
Early forms of arts policy in many countries mirrored, to
some extent, the disdain for mass media and commercial
culture ound in Adorno and Iorheimer`s ideology in that
they strictly demarcated publicly supported excellence
in the cultural realm, and popular arts and cultural forms
that were primarily commercial in orientation. Arts policy
models promoted by governments therefore supported
the production and exhibition of traditional arts and
ne arts` such as crats, opera, orchestras, theatre,
literature, the visual arts, classical dance and music on
the basis o:
1. A discourse o social improvement, based
on the belief that such cultural forms are of
intrinsic worth to the community;
2. Systems o public subsidy, whereby
goernment nancial support was proided
on the grounds that these forms were not
otherwise commercially viable;
3. Promotion o national culture, and the
belie that elite`, classical` arts were
the true representations of national
character and cultural aspirations.
22
22 llew ,2002: 10,
1his approach created a paradox in that cultural actiities
became the focus of arts policy only to the extent that
they either ailed to reach suciently large audiences
or were not commercially iable. National cultural
policies thus promoted state-funded cultural activities
with limited impact, while largely ignoring and often
condemning their commercialisation.
In contrast to the idealist` tradition in cultural analysis,
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
a more descriptie denition o the cultural industries
as those institutions in our society which employ the
characteristic modes o production and organization
of industrial corporations, to produce and disseminate
symbols in the forms of cultural goods and services,
generally, although not exclusiely, as commodities.`
23
1his denition then includes what hae been called the
classical` cultural industries - broadcast media, lm,
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
eligible or public unding as art`. 1here are certainly
divisions between these two categories but a line
between art and commerce is ideological and not
analytical.
1here is no way in which the classical music world,
though in receipt of enormous public subsidy, cannot
be considered deeply commercial. It merely responds to
commerce in a particular way. Similarly, though aiming to
make it at some point, calling struggling pop musicians
commercial` is to misunderstand a lot o what they do.
1he distribution o unds in these two areas is dierent
23 Garnham, 198: 25 as quoted in llew 2002: 11
one relies on the market, the other on a bureaucratic
system o attributing alue, and thus money. But the
dierence is not as undamental as has been claimed.
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
as meaningul, pleasurable, and beautiul.
24
1hose inoled in contemporary cultural production
increasingly moe between these systems. \e cannot
therefore presume that they are two separate sectors
diided by cultural alue` ersus commercial alue`. As
noted above, the commercial sector provides wealth and
employment ,as do the arts,, but it is also a prime site o
cultural use or the ast majority o the population.
With the erosion of the cosy separations of art and
mass culture set up by early policy systems, the role
o the arts` in this conguration began to be rethought
instead of merely being defended against new forms of
cultural production, consumption and distribution.
1hese analytical rameworks were rst drawn upon in
Britain by let leaning Labour administrations in the 1980s,
who promoted a more populist orientation of cultural
policy. 1hey maintained that the practice o supporting
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
in terms o those who consumed them.
25
In a scenario
where most peoples cultural needs and aspirations are
being, for better or for worse, supplied by the market
as goods and services,
26
they argued for an analysis of
that dominant cultural process.
24 O`Conner ,1999 :5,
25 llew ,2002: 11,
26 Garnham ,198: 24-25,, as quoted in llew ,2002: 11,
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One o the most signicant such endeaors, a study
commissioned by the Greater London Council ,GLC,
in the early 1980s, ound that the media sectors were
far more important as employers of labor, objects of
consumption, and areas of public intervention, than the
traditional performing and visual arts, which received
support through goernment arts unding.
2
1he GLC`s study made two crucial points. lirstly, that
those cultural activities which fell outside the public
funding system and operated commercially were
important generators o wealth and employment.
Secondly, a more directly cultural,political point - that
of a whole range of cultural goods and objects which
people consumed, the ast majority ,1V, radio, lm,
music, books, adverts, concerts) had nothing at all to do
with the public unding system. 1he GLC cultural strategy
involved an alternative economic line, concerned with
both, the promotion and democratization o cultural
production and distribution, as well as unding.
A similar process was initiated in Australia, where
cultural industries research was developed through
the Australian Key Centre or Cultural and Media
Policy, and inormed the Keating Labor Goernment`s
Creatie Nation cultural policy statement, released in
1994 ,DoCA, 1994,.
28
The Creative Nation viewed cultural n
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
distributed and marketed to audiences and consumers.
In line with shiting notions o culture rom aesthetic
excellence to the whole way of life of a community, this
2 llew 2002:11
28 llew ,2002:12,
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
emergent sectors such as multimedia.
29
1hese second stage analyses o the cultural industries
broadened and enriched debates about the role of
cultural policy quite considerably. At the same time, a
number o abiding problems emerged.
1he rst was denitional. I cultural industries were
dened in general terms as those sectors inoled in
the production of symbolic goods and services, was
it then possible to exclude any activity of industrial
production that had a symbolic dimension \as the
design and branding o a Coca-Cola can a part o the
cultural industries, or the use of aborigine artwork on
a QAN1AS jet, or the design o mobile phones, or the
use of music by artists such as Moby or Fatboy Slim to
promote the sale o those phones
30
1he denitions o culture drawn rom cultural theory
were of little help in making these distinctions, divided
between an aesthetic denition which tended to equate
culture with the subsidized arts, and an anthropological
denition o culture as a way o lie that was so all-
inclusive as to prevent almost any realm of human
actiity orm being dened as cultural`.
31
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
29 llew ,2002:12,
30 llew ,2002: 13,
31 O`Regan ,2001,, as quoted in llew ,2002: 13,
from other manufacturing industries, but the fact that
the cultural industries as a concept offer an alternative
interpretation of value generation.
- Asia-Pacic Creative Communities Symposium
Jodhpur, (February 2005)
1he second problem, essentially an extension o the
rst, was that, in practice, cultural industries tended to
be largely dened as those actiities that were under the
policy purview of those areas of government that were
already dened as responsible or the administration o
culture.
1he Australian Creatie Nation statement, to take one
example, identied cultural policy as being responsible or
such areas as: perorming arts, orchestras, contemporary
music, literature, dance, isual arts and crats, lms,
television, radio, multimedia, built heritage, cultural
property, indigenous cultural heritage, open learning and
libraries ,DoCA, 1994,. \ithin this list there were areas
that more obviously attracted governmental support than
others orchestras rather than contemporary music,
and lm and teleision rather than radio - but the point
remains that the bases o support were dened primarily
by the areas that were within the policy domain of the
Department o Communication and the Arts. Indeed,
in an earlier policy statement ,DASL1, 1991,, media
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,
responsible or transport and communication.
32
Similarly, in Britain, the mapping document prepared in
199 by the then newly created Department o Culture,
Media and Sport ,DCMS, set about identiying current
activity in the cultural industries and policy measures that
32 llew ,2002: 14,
50
could best promote their urther deelopment. Dened
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,
33
the now titled
creatie industries` included the ollowing sectors:
1. Adertising
2. Architecture
3. Arts and antique markets
4. Crats
5. Design
6. Designer ashion
. lilm
8. Interactie Leisure Sotware
9. Music
10. 1eleision and radio
11. Perorming arts
12. Publishing
13. Sotware
Although apparently targeted at deising appropriate
mechanisms to support both the traditional arts and
emergent cultural sectors, such listings inherently carry
a pragmatic element to them. In the case o the UK, the
inclusion o sectors such as architecture and antiques is
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
that Britain is a world leader in this area. Despite the
widening o the policy arena, the DCMS initiatie seems
to revert to the demarcation between areas involved
with mass production and distribution ,and hence more
directly connected to the market), and the more artist-
centred areas of culture, which can retain a focus upon
quality` instead o economics. 1his distinction has been
attributed to the institutional divide between those areas
33 www.culture.go.uk,creatie,creatie_industries.html
of the performing and visual arts whose development
remains predominantly associated with Arts Council
subsidy, and those sectors that are associated with the
new DCMS.
1his ad hoc element in dening the cultural industries
or policy purposes should not be seen as accidental.
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
or arts subsidy.
34
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
sectors.
As a result, they were not seen as willing to address the
limitations of traditional forms of cultural policy, such
as the diculties aced in broadening the audience,
consumption base beyond higher-income earners with
the requisite leels o cultural capital
35
and a tendency
for peer assessment to encourage familiar patterns of
unding based on pre-existing anity networks.
36
Later justications or the continuation o existing
forms of arts and cultural funding while broadening
the denition o the cultural industries were based on
statistical debates around the cultural industries, usually
34 Craik ,2000,, as cited in llew ,2002: 14,
35 Gibson ,1999,
36 Court ,1994,, Madden ,2001,
concerning employment leels, labour market proles,
training needs and increasingly, contribution to local,
regional and national GDP.
The role of creative enterprise and cultural contribu-
tion... is a key economic issueThe value stemming
from the creation of intellectual capital is becoming
increasingly important as an economic component of
national wealthIndustries, 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 Smith
Minister for Culture and Heritage (1998)
37
1he numerous mapping documents` commissioned by
city,national authorities certainly ull a need to back up
argumentation with hard fact but they have riddled with
three recurring problems.
lirstly, the arying denitions o cultural industries
in different countries and regions have meant that the
statistics compiled for each are not necessarily based
on the same parameters. \hile some denitions o the
cultural sector include the traditional arts sector along
with commercial cultural activities, others are directly
concerned with original production or technological
reproduction`.
In some instances the denition o the cultural
industries sector has been expanded to include related
manuacture ,such as electronics,, reducing original
production` ,including classic cultural industries such as
3 As quoted in llew ,2002: 3,
Culture Industry Incompatible
Companions?
!baterer tbe aefvitiova ava ivgvi.tic aiff cvtie., tbe v.e of cvtvra
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.
1bi. i. vot vre, ceebrator, - tbat f va, ecovovic. i. ravivg
bvvav creatirit, ava reai.ivg bvvav otevtia - vor i. it tbe f va
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)
Def e vitiov of Cvtvra vav.trie.` ff
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broadcast media, music recording and lm, to less than
1,6th o the total sector employment.
1he Department o Culture, Media and Sport in the
U.K., which ery quickly raised the nag o the cultural
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
branding etc. In Lurope, the term cultural enterprise`
is sometimes preferred, with the distinction between
private sector-driven activities and those associated with
culture in a more traditional sense continuing to inform
cultural policy.
Secondly, statistics in these areas tend to be collected
differently in different countries and regions, making
comparisons dicult and rustrating. \hile this is true
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
workers` or creaties` or production` or distribution.`
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
the last decades. 1he way in which primary and secondary
employment, non-paid jobs and self-employment
has restructured the cultural labour market has made
statistical analysis useless without an accompanying
detailed inestigation o the sector at a qualitatie leel.
Although deising a ramework or the cultural
industries does present numerous organizational and
administrative problems, many of them stemming from
conceptual and denitional baggage, the policy space
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
the global economy, society and culture.
At stake here is a new relationship between culture and
ecovov,. 1bi. i. vot vre, ceebrator, - tbat fva,
economics is valuing human creativity and realizing in-
airiava otevtia - vor i. it tbe fva .vb.vvtiov of
culture within the productive base of capitalism; it is
partially both, but it is also a different dynamic which
needs to be faced.
-Justin 0Conner
frov 1be Defvitiov of Cvtvra vav.trie.` ;2000)
52
LETS GET
CREATIVE
INDIAS 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 worlds factory, Indias become the worlds
outsourcing center. Its software industry is the worlds 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 Indias 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, nance and law.
India is well-positioned to compete. Bollywood, which
makes over 9000 lms a year, is the worlds largest lm-
making centre. Indias 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 rms 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 rst 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 Bachelors degree. It rank 39th on the third
T, Tolerance openness to self-expression and a wide range
of social groups.
But Indias 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.
Indias growth is premised on the success of a handful of
regions. Virtually all signicant 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 Indias 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 Indias 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 inuence and trade have pro-
vided this ecosystem with a constant inux of new ideas
and people.
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Pochampalli and Mobile Gaming Design:
Whats the connection?
What are the Cultural & Creative Industries but industries of the
imagination, content, knowledge, innovation and creativitythey 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 cultural t
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
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A global phenomenon
Creativity and Content
in a Knowledge-based
Economy
The shift from manufacturing
to services and then to knowledge
1he emergence o a knowledge based economy has
been identied as a central trend in modern economies,
in recognition of the increasingly important role of in-
formation, technology and learning in economic perfor-
mance.
1
1he rise o the cultural and creatie economy is
rooted in this growing signicance o knowledge to all
aspects of economic production, distribution and con-
sumption, a phenomenon linked to the new economy
whose form is increasingly informational, global and
networked.`
2
1he role o knowledge in the new economy has been
dened in these terms: In the new economy, more o
the value of manufactured products will come from the
.intelligence they embody, and more o what we con-
sume will be in the orm o serices. Across all sectors
the knowledge content of products and processes is ris-
ing.knowledge push and market pull hae made know-
how the critical source of competitive advantage in the
modern economy.
3
1he concept o knowledge push` reers to the growth in
outputs in education and scientic research arising rom
public and private investment, and the ways in which
speedy production, collection and dissemination of re-
search outcomes has enabled more rapid transformation
into new products, serices, actiities and processes.
4
Market pull factors that promote the rise of a knowl-
edge economy include economic globalization, increased
competition, greater sophistication in consumer demand,
and the growing importance of intangible assets, such as
1 OLCD ,1996,
2 llew ,2002:1,
3 Leadbeater ,1999: 39,, as quoted in llew
,2002: 16,
4 Leadbeater ,1999: 4,, as quoted in llew
,2002: 16,
branding and know-how, to competitie adantage. 1his
phenomenon is not conned to the high-tech industries
or elite knowledge workers. Rather, the increased supply
of know-how and the growing demand for innovation
affect virtually every part of the economy and all orga-
nizations within it, large and small, manuacturing and
serices, high-tech and low-tech, public and priate.
5
Within contemporary models of production, the sys-
tematic application of knowledge and information to
the production of knowledge and information itself has
become the central element. 1his mode o production
relies on global networks made possible by information
and communication technologies.
Another major trend in adanced capitalist economies
has been the rise o the serice industries. In terms o
both employment and the share of total output, the ser-
ice industries hae grow in signicance or most o the
20th century, and especially in the period ater 190.
1here has been a signicant shit in G ,group o seen
leading industrial economies,, especially in USA and UK,
to predominantly serice-based economies. Any discus-
sion o the size and signicance o the serices sector
raises a number o conceptual and analytical problems.
1he rst is that any attempt to measure the size o the
serices sector comes up against the inadequacy o ex-
isting data. 1his renects the tendency o the Standard
Industrial Classication system ,SIC, categories, deel-
oped in the heyday of manufacturing industry, to make
detailed classication within industry, but to treat seric-
es as a residual category, comprising of all those activi-
ties that are not agriculture mining, construction, utilities
or manuacturing.
6
As a result, simply obsering the growth o serice in-
5 Leadbeater ,1999: 4,, as quoted in llew ,2002: 16,
6 llew 2002: 20
56
dustries employment may be in part a statistical illusion,
generated by inadequate classicatory systems. It may
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
may be hard to determine.
Castells and Aoyoma ,1994, hae suggested the ollow-
ing disaggregating of the services sector-
1. Producer serices - business and proessional
serices, nancial and insurance serices
and real estate
2. Distributie serices- those serices associated
with transportation and communication
3. Social serices- goernment serices, and
other health, education and welfare services
4. Personal serices- tourism and recreation,
entertainment and hospitality, domestic,
retailing, and services associated with personal
appearance and well-being ,e.g. hairdressing,
tness serices,
Another issue arising rom consideration o serices
is their relationship to industrial production. 1here
has been a tendency, rst emerging in classical political
economy, to see the production of physical output as
constituting the real economy and to see services as es-
sentially deriatie actiities.

A contemporary ariant o this argument sees serices

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
ulnerable to economic nuctuations, such as economies
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
llew 2002: 21
Coast region in Australia.
8
Such negative perceptions of the service sector have
obscured some important points. Most crucial amongst
these is the growing convergence between manufactur-
ing and serices.
Such developments are particularly relevant to the cul-
tural and creatie industries. Andy Pratt ,199, has ar-
gued that the nature of cultural industries value chain
is such that clear distinctions between content creation,
manuacture and distribution, and nal deliery o a
product or serice, are dicult to make, and are becom-
ing more dicult as new media technologies are increas-
ingly applied at all stages o the alue chain.
Scott Lash and John Urry hae argued that contrary to
the dire predictions about the industrialisation of culture
in advanced capitalism, the manufacturing and service
industries are becoming more and more like the produc-
tion o culture.
The cultural industries are irretrievably more
innovation intensive and more design intensive
than other industriesOur 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
1heir argument is that contemporary models o nexible
production are not merely more knowledge intensive,
8 llew 2002: 21
with increased nexibility being associated with the need
to incorporate more detailed information about cus-
tomers, serice and product quality into the production
process. 1hey are also more design intensie, and hence
more explicitly cultural, since inputs are not only infor-
mational, but also aesthetic, and value adding involves
the acquisition o sign-alue properties associated with
the brand and the image o the product.
9
1here is also a growing signicance attached in all sec-
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
and marketing it to identiable sections o the commu-
nity.
1he relationship o creatie and cultural industries to
the knowledge economy, and the service industries sec-
tor, is central to understanding the dynamics of the new
economy. As new growth` economics identies innoa-
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
markets.
Cultural processes such as design and signication today
impact on all aspects of everyday life, particularly those
related to the consumption o commodities. Culture is
thus recast from being a distinct sphere of social life,
to something that permeates everything from the design
o urban spaces, oces, means o transport and com-
9 Lash and Urry 1994: 123 as paraphrased by llew
2002: 22
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munication ,e.g. the design o cars and mobile phones,,
the way in which clothing signies an identity to both its
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-
ture.`
10
1his phenomenon is tied to the growing aestheticisation
of everyday life, connected to consumer society and the
blurring of lines between art, aesthetics and popular
culture.
11
In trying to explain the rise o this phenom-
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-
come.
A more sophisticated argument is the shit rom the
mass consumption pattern o the 50s,60s to that o
niche markets o the 0s,80s. 1he notions o personal
expressivity, of the breaking of rules, of the explicit re-
jection of the established social order were central com-
ponents o the 1960s bohemian aant-garde. 1hrough
this counter culture, the values of personal creativity and
choice, continual transformation and innovation entered
the mainstream culture o the 190s and 80s, paralleled
by transformations in cultural consumption and increas-
ingly, cultural production. 1he changes in demand, in
other words, led not just to an expansion of the market
but to the prolieration and segmentation o markets.
12
1hese new orms o consumption - ast moing, highly
segmented, and increasingly cultural have placed the
cultural component of many consumer goods at the
oreront o their economic alue. 1he design input
of manufactured goods as well as services, has become
10 llew ,2002: 2,
11 leatherstone ,1991,
12 O`Conner ,2000:6,
increasingly important. 1his extends beyond design in-
dustries where traditional artisan skills and business
knowledge has now to be linked to ever faster and ever
more olatile circuits o cultural alue.
1he progressiely more cultural and positional nature
of consumption suggests that the tastes of the con-
sumer market were changing in signicant ways. Pierre
Bourdieu, in Distinction` ,1984,, attempted to map taste
cultures directly onto class, or class fractions, with these
latter representing a differential mix of economic and
cultural capital. Ie identied a new taste group,class
fraction he called the new middle class, a new urban
service class who mixed cultural and economic capital,
high and popular` culture in new ways. Central to this
was a more sel-conscious or renexie` approach to
identity construction through consumption.
13
Since Bourdieus research, this line of argument has be-
come central to the sociology of consumption and to
market research. 1he role o consumption in the con-
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-
tural eld highly unpredictable and dynamic. Material
consumption has become increasingly cultural, central
to the construction of individual and social meaning and
identity.
Due to this consumption drien shit, companies had to
radically restructure their operations in order to be able to
detect and respond to these increasingly niche and vola-
tile markets. Lash and Urry also obsere that specialized
consumption and increasingly nexible production entail
knowledge intensive production,
14
dened not only in
13 O`Conner ,2000:,
14 Lash and Urry ,1994: 60,
terms of the capacity to creatively understand and re-
spond to aesthetic signiers and their non-inormational
- principally cultural - symbols.
15
Ience the operations
o companies such as Benetton, characterized by a high
level of market knowledge and stock control, short pro-
duction runs and nexible labor orce, coupled to a highly
sophisticated and marketing strategy.
In Liing on 1hin Air: 1he New Lconomy ,Leadbeater,
1999,, Leadbeater links the creatie industries to new
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
largely resides, with large cultural organizations - both
public and private that can provide national and in-
ternational distribution network to realize commercial
alue rom this creatiity.
Creative industries, such as music, entertainment
and fashion, are driven not by trained profes-
sionals but cultural entrepreneurs who make the
most of other peoples 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
It has become an orthodoxy to think o culture and
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
15 llew 2002: 1-3
16 Leadbeater, 1999: 49
58
populism, cultural policy and management, enacted by
culturepreneurs`.
1he importance o people as creators and carriers o
knowledge is orcing organizations to realize that knowl-
edge lies less in its databases than in its people.`
1
1he
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
is characterized by its embeddedness in people, loca-
tions, networks and institutions. Cultural actiity and
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-
tional innoation.
1he recognition o this phenomenon has led to an em-
phasis upon locational geography, and particularly the
formation of creative cities and regions in the knowledge
based economy. Michael Porter ,1988,, an economist at
the Iarard Business School, denes these geographic
concentrations of interconnected companies and insti-
tutions in a particular eld` as clusters.
1he elements o a cluster can include suppliers o spe-
cialized inputs, proiders o specialized customers, and
universities and research institutions that provide spe-
cialist knowledge, training, information, education and
technical support. New \ork`s Silicon Alley`, the San
lrancisco Bay Area`s Silicon Valley` and India`s Silicon
Valley`, Bangalore are three examples o clusters in the
high-technology sector. Others include the Caliornian
wine industry, the Italian leather ashion industry, the
German chemicals industry, the Chinese electronics and
garments industries and the Iollywood lm industry.
1 Brown and Duguid 200:121, as quoted in llew
2002: 1
Clusters generate competitie adantage or those within
them in three ways. lirst, they increase the productiity
o rms within the cluster through access to specialist
inputs, labour, knowledge and technology. Second, they
promote innovation by making all forms aware more
quickly o new opportunities, as well as enhancing the
capacity or rapid and nexible responses to new oppor-
tunities. 1hird, they promote new business ormations
in related sectors, through distinctive access to necessary
labor, skills, knowledge, technology and capital.
1he signicance o clusters to the deelopment o in-
formation and communication technology and creative
industries is at rst glance paradoxical, since a charac-
teristic of economic processes that are increasingly in-
formational, global and networked would seem to point
to the declining signicance o geographical location to
economic actiity.
In contrast to traditional perorming arts and cultural in-
dustries, where consumption in real time in dened geo-
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-
tion. 1he deelopment o the Internet as a global con-
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-
rial rom many o the globe. 1his is in contrast to tradi-
tional national cultural policies, where national cultural
authorities have sought to use funding to direct cultural
production towards particular national cultural goals.
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
18 Castells 2001:112
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A global phenomenon
An Overview of
Multilateral Mechanisms
in Place
INTERNATIONAL
ACTION
Beore an in-depth study o the International Action
in the Creatie Cultural Industries is undertaken, it
is important to identify the various globally active
Multilateral, Goernmental & Non-Goernmental
stakeholders in the sector. \hile there are hundreds o
organizations and institutions working in this eld, the
following are noteworthy on account of their immense
contribution in mobilizing international support and
generating awareness among the various governments
globally.
UNITED NATIONS EDUCATIONAL,
SCIENTIFIC AND CULTURAL
ORGANIZATION (UNESCO)
Global Alliance on Cultural Diversity
1
\ithin the ramework o the Uniersal Declaration
on Cultural Diersity, UNLSCO created the Global
Alliance or Cultural Diersity, yy 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
society.
1he aims o the Alliance are to: Strengthen local cultural
industries through:
1. Proiding technical expertise, resources and
training, particularly in business-related elds
such as marketing, nance, sales and copyright
management, elaborating cultural industry policies,
1 UNLSCO - GACD : Aailable at - http:,,portal.
unesco.org,culture,en,e.php-URL_ID~24504&URL_
DO~DO_1OPIC&URL_SLC1ION~201.html
developing legislation and regulatory frameworks;
2. Increasing awareness o aailable or potential
local and international opportunities for business
development;
3. Lnhancing cooperation amongst public and priate
sectors in areas relating to culture;
4. Broadening capacity or cultural enterprise
development, entrepreneurship, long-term planning
and inestment in R&D.
5. Preention o piracy, by assisting goernments in
deeloping, updating and,or enorcing copyright
legislation, as well as organizing anti-piracy training
programs.
1he Global Alliance Special lund, to address the
potential needs of participating developing countries
and countries in transition. 1he lund will nance the
development of policies and regulatory frameworks
necessary or domestic cultural industries to benet
and build on partnership agreements. Sector analyses,
design o tax reduction programs and scal incenties,
development of regulatory mechanisms and copyright
enforcement training for judges, lawyers and customs
ocers will be some o the actiities supported by the
lund. Particular ocus will be placed on the reision and
updating of legislation pertaining to targeted cultural
industry sectors as well as to copyright.
THE WORLD INTELLECTUAL PROPERTY
ORGANIZATION (WIPO)
2
1he \orld Intellectual Property Organization ,\IPO,
2 \olrd Intellectual Property Organisation ,\IPO, :
http:,,www.wipo.int,about-wipo,en,what_is_wipo.html
60
is a specialized agency o the United Nations. It is
dedicated to developing a balanced and accessible
international intellectual property ,IP, system, which
rewards creativity, stimulates innovation and contributes
to economic development while safeguarding the public
interest.
\IPO was established by the \IPO Conention in
196 with a mandate rom its Member States to promote
the protection o IP throughout the world through
cooperation among states and in collaboration with
other international organizations. Its headquarters are in
Genea, Switzerland.
Strategic Direction and Activities
\IPO`s ision is that IP is an important tool or the
economic, social and cultural development of all
countries. 1his shapes its mission to promote the
eectie use and protection o IP worldwide. Strategic
goals are set out in a our yearly Medium 1erm Plan and
rened in the biennial Program and Budget document.
1he e strategic goals dened in the 2006 - 200
Program are:
1. 1o promote an IP culture,
2. 1o integrate IP into national deelopment
policies and programs;
3. 1o deelop international IP laws and standards,
4. 1o delier quality serices in global IP protection
systems; and
5. 1o increase the eciency o \IPO`s
management and support processes.
UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT (UNCTAD)
3
Lstablished in 1964, UNC1AD promotes the
development-friendly integration of developing
countries into the world economy. UNC1AD has
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
about sustainable deelopment.
1he organization works to ulll this mandate by
carrying out three key unctions:
1. It unctions as a orum or intergoernmental
deliberations, supported by discussions with experts
and exchanges of experience, aimed at consensus
building.
2. It undertakes research, policy analysis and
data collection for the debates of government
representaties and experts.
3. It proides technical assistance tailored to the
specic requirements o deeloping countries, with
special attention to the needs of the least developed
countries and o economies in transition. \hen
appropriate, UNC1AD cooperates with other
organizations and donor countries in the deliery
o technical assistance.
Inperorming its unctions, the UNC1AD secretariat
3 UNC1AD : Aailabe at : http:,,www.unctad.org,1emplates,Page.aspintItemID~1530&lang~1
works together with member Governments and
interacts with organizations o the United Nations
system and regional commissions, as well as with
governmental institutions, non-governmental
organizations, the priate sector, including trade
and industry associations, research institutes and
uniersities worldwide.
INTERNATIONAL NETWORK ON CULTURAL
POLICY (INCP)
1he International Network on Cultural Policy ,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
inormal enue.
1he INCP aims to strengthen cultural policies so that
governments, together with civil society, can create an
international environment that values diversity, creativity,
accessibility and reedom by:
offering a means through which countries
can share their expertise, exchange views and
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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
international, national and local ora.
As the INCP eoles, the scope o issues that ministers
address continues to broaden.
Among those issues, INCP members are discussing
and examining how to address the many challenges
and opportunities associated with the growing issues
of cultural diversity and identity in an increasingly
globalized world. Although globalization -- through the
increasing mobility o people, trade liberalization, new
communication technologies and industry consolidation
-- offers great opportunities for cultural expression, it
also poses fundamental challenges to governments, civil
society and the priate sector in nurturing this diersity.
1he policy challenge is to nd the means by which
to remain open to the best the world has to offer,
while nurturing domestically rich and diverse cultural
expression. INCP members are exploring how diersity
can be integrated into a common approach to global
development, including the challenges and opportunities
of promoting and protecting cultural heritage for social
and economic deelopment.
INCP members strie to:
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
unique identities are not lost,
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
organizations through continuous dialogue,
contribute to an inclusive broad based dialogue on
issues related to culture
ORGANISATION OF ECONOMIC CO-
OPERATION AND DEVELOPMENT (OECD)
1he Organisation or Lconomic Co-operation and
Deelopment is a unique orum where the goernments
o 30 market democracies work together to address
the economic, social and Governance challenges of
globalization as well as to exploit its opportunities.
1he Organization proides a setting where goernments
can compare policy experiences, seek answers to
common problems, identify good practice and co-
ordinate domestic and international policies.
It is a orum where peer pressure can act as a powerul
incentive to improve policy and implement soft law
non-binding instruments, such as the OLCD Corporate
Goernance Principles - and can on occasion lead to
ormal agreements or treaties. Lxchanges between
OLCD goernments now rom inormation and
analysis proided by a secretariat in Paris. 1he secretariat
collects data, monitors trends, and analyses and forecasts
economic deelopments.
It also researches social changes or eoling patterns in
trade, environment, agriculture, technology, taxation and
more.
1he OLCD helps goernments to oster prosperity
and ght poerty through economic growth, nancial
instability, trade and investment, technology, innovation,
entrepreneurship and deelopment co-operation.
It is helping to ensure that economic growth, social
development and environmental protection are
achieed together. Other aims include creating jobs or
eeryone, social equity and achieing clean and eectie
goernance.
1he OLCD is at the oreront o eorts to understand,
and to help governments to respond to, new
deelopments and concerns. 1hese include trade and
structural adjustment, online security, and the challenges
related to reducing poerty in the deeloping world.
lor more than 40 years, the OLCD has been one o the
worlds largest and most reliable sources of comparable
statistical, economic and social data. OLCD databases
span areas as diverse as national accounts, economic
indicators, the labour force, trade, employment,
migration, education, energy, health, industry, taxation
and the enironment. Most o the research and analysis is
published. Oer the past decade, the OLCD has tackled
62
a range of economic, social and environmental issues
while further deepening its engagement with business,
trade unions and other representaties o ciil society.
Negotiations at the OLCD on taxation and transer
pricing, for example, have paved the way for bilateral tax
treaties around the world.
1he OLCD is a group o like-minded countries.
Essentially, membership is limited only by a countrys
commitment to a market economy and a pluralistic
democracy. It is rich, in that its 30 members produce
almost 60 o the world`s goods and serices, but it
is by no means exclusie. Non-members are inited to
subscribe to OLCD agreements and treaties, and the
Organization shares expertise and exchanges iews on
topics o mutual concern with more than 0 countries
worldwide, rom Brazil, China and Russia to least
deeloped countries in Arica.
OLCD Members include : Australia, Austria, Belgium,
Canada, Czech Republic, Denmark, linland, lrance,
Germany, Greece, Iungary Iceland, Ireland, Italy,
Japan, Korea, Luxembourg, Mexico, Netherlands, New
Zealand, Norway Poland, Portugal, Sloak Republic,
Spain, Sweden Switzerland, 1urkey, United Kingdom
and the United States o America.
4
ASIA PACIFIC REGIONAL CENTRE FOR
CULTURELINK NETWORK (APRCCN)
Following the recommendation at the First World
Culturelink Conerence, held in Zagreb in June 1995,
the Asia-Pacic Regional Centre o the Culturelink
Network ,APRCCN, was established in 199 by the
Korean National Commission or UNLSCO under the
auspices o UNLSCO and the Ministry o Culture and
4 http:,,www.oecd.org,dataoecd,15,33,34011915.
pd Member Countries page 28.
1ourism in Korea, in accordance with an agreement with
the world ocal point o the Clturelink Network.
APRCCN aims at encouraging an exchange o
information, research and cooperation among those
institutions concerned with cultural development
throughout the Asia-Pacic Region. It also seeks to
strengthen regional participation in the Culturelink
Network and serve as a catalyst for co-operative research
in the eld o cultural deelopment at regional leels.
APRCCN proides inormation serices through
Internet web sites, and also organizes regional gatherings
and joint research projects in order to promote cultural
deelopment in the region.
APRCCN collects & disseminates data on regional
cultural deelopment, with a ocus on Cultural Policy,
Cultural Law, and Cultural Institutions.
APRCCN launched the Joint Study Project on Culture
and Deelopment in 1999, and conened the Asia-
Pacic Symposium on Cultural Deelopment under the
title New Strategy o Cultural 1ourism in the Regional
Deelopment` in 2000. 1he results o these projects,
along with other reports on cultural development, are
made available to researchers, scholars and experts in the
region through the Internet.
CULTURELINK
Culturelink, is a Network o Networks or Research and
Cooperation in Cultural Deelopment, was established
by UNLSCO and the Council o Lurope in 1989.
1he main purpose o the Network is to acilitate the
speedy and reliable exchange of information among
cultural and research institutions all over the world,
and to stimulate their ever-growing and increasingly
intensie cooperation. 1he Network is headquartered at
the Institute or International Relations ,IMO, ormerly
IRMO,, in Zagreb, Croatia. 1he Network started with 25
members, and today counts more than 1,000 members
,networks, institutions, organizations and oundations,
rom oer 100 countries worldwide.
Actiities o the Culturelink Network include:
international research in the eld o cultural deelopment
and cooperation, the organization o conerences, and
the development and regular updating of the databases
and publication o the quarterly reiew Culturelink,
the Culturelink Directory Series and Culturelink Joint
Publications Series.
GATT/WORLD TRADE ORGANISATION
GENERAL AGREEMENTS ON TRADE AND
TARIFFS (GATT)
Brought into orce rom January 1, 1948 the GA11
,General Agreements on 1rade and 1aris, proided
the basis o member countries` negotiations on Customs
taris, ree trade agreements, quotas and other terms
and conditions governing trade and commerce of goods
and serices.
lrom 1948 to 1994, in the absence o any other regulating
multilateral body, the GA11 proided rules or much
o world trade. Until the \orld 1rade Organisation
,\1O, replaced it in 1994, the GA11 was a proisional
agreement and organization. During this period the
GA11`s basic legal text remained much as it was in
its inception, though there were additions in the form
of multilateral agreements as and efforts to reduce
custom duties and other barriers to trade continued.
Much of this was achieved through a series of eight
multilateral negotiations known as trade rounds, the
most recent being the Uruguay Round. \hile the GA11
no longer exists as an ad hoc organisation, the GA11
Agreement lies on. 1he old text is now called GA11
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194, the updated ersion incorporated into the new
\1O agreements is called GA11 1994.
1he WTO ,\orld 1rade Organization, is a permanent
intergovernmental body that deals with the global
rules of trade between nations through multilateral
agreements. 1he 1986-94 Uruguay Round o world
trade talks led to the creation o the \1O and its
replacement o the GA11. It was decided that the new
organization would deal not only with trade in goods,
as the old GA11 used to, but also with trade in serices
and intellectual property. 1he main unctions o the
\1O are to oersee the implementation o the trade
agreements adopted by member states, serve as a forum
for trade negotiations, handle trade disputes, monitor
and reiew national trade policies.
Signed in April 1994, the Marrakech Declaration
endorsed the results of the Uruguay Round and the
establishment o the new trade organization. 1he \1O
was ocially created on 1 January 1995. 1oday it has 150
member states, accounting or 9 o world trade.
GENERAL AGREEMENT ON TRADE IN
SERVICES (GATT)
1he GA1S was adopted by the Uruguay Round and
coers all internationally traded serices. It is also the
rst multilateral agreement to proide legally enorceable
rights to trade in all serices including cultural ones.
1he agreement denes our ways o proiding an
international serice:
1. Serices supplied rom one country to another
,e.g. banking or architectural serices proided
through telecommunications or regular mail),
known as cross-border supply`.
2. Consumers or rms using a serice in another
country ,e.g. tourism or aircrat or ship
maintenance work), known as consumption
abroad`.
3. A oreign company setting up subsidiaries or
branches to provide services in another country
,e.g. Insurance companies or hotel chains,
ocially known as commercial presence`.
4. Indiiduals traeling rom their own country
to supply serices in another ,e.g. auditors,
physicians, teachers, etc.,, known as presence
o natural persons`.
TRADE-RELATED ASPECTS OF
INTELLECTUAL PROPERTY RIGHTS (TRIPS)
1he 1RIPS is an instrument adopted by the Uruguay
Round to bring intellectual property rights ,copyrights,
trademarks, patents, etc., under common international
GA11,\1O rules.
1he agreement requires \1O member countries
to adhere to minimum standards for protection of
intellectual property rights essentially, the standards
laid out in the main conentions o the \IPO, the Paris
Conention or the Protection o Industrial Property
and the Berne Conention or the Protection o Literary
and Artistic \orks. 1he agreement sets up proisions on
how best to protect IPR`s through proisions to enorce
those rights and to repress countereiting and piracy.
linally, it makes disputes between \1O members
concerning the respect o the 1RIPS obligations subject
to the \1O`s dispute settlement procedures.
1o proide sucient time or Member States to
introduce the system and adapt their laws and practices
to conorm to the agreement, the 1RIPS set up special
transitional periods. 1he deadlines or compliance are:
1 January 1995 or deeloped countries, 1 January 2000
or deeloping countries and ,under certain conditions,
transition economies and 1 January 2006 or least
deeloped countries.
1ypes o intellectual property ,coered by the 1RIPS
Agreement,
1. Copyright and related rights
2. 1rademarks, including serice marks
3. Geographical indications
4. Industrial designs
5. Patents
6. Layout-designs ,topographies, o integrated
circuits
. Undisclosed inormation, including trade
secrets
1he agreement coers e broad issues:
1. Iow basic principles o the trading system
and other international intellectual property
agreements should be applied;
2. Iow to gie adequate protection to intellectual
property rights
3. Iow countries should enorce those rights
adequately in their own territories
4. Iow to settle disputes on intellectual property
between members o the \1O
64
5. Special transitional arrangements during
the period when the new system is being
introduced.
TRADE RELATED INVESTMENT MEASURES
,TRIMS)
1he Agreement on 1rade Related Inestment Measures
,1RIMS, applies to any measure that discriminates against
oreigners or oreign products. Like the GA11, it applies
only to measures that aect trade in goods. It recognizes
that certain measures can restrict and distort trade, and
states that no member shall apply any measure that
discriminates against oreigners or oreign products ,i.e.
iolates National 1reatment,. It also outlaws inestment
measures that lead to restrictions in quantities ,iolating
another principle in the GA11,.
An illustratie list o trade-related inestment measures,
agreed to be inconsistent with these GA11 articles, is
appended to the 1RIMS. 1he list includes measures
that require particular leels o local procurement by
an enterprise ,local content requirements`,. It also
discourages measures that limit a companys imports or
set targets or the company to export ,trade-balancing
requirements`,. Under the agreement, countries must
inorm the \1O and ellow-members o all inestment
measures that do not conorm to the agreement.
Deeloped countries had to eliminate these by the end
o 1996, deeloping countries had until the end o 1999,
and least deeloped countries were gien until 1 January
2002. In addition, \1O members were to consider by 1
January 2000 whether there should also be proisions on
inestment policy and competition policy.
SOME CONCEPTS AFFECTING FLOW OF
GOOD, SERVICES AND INVESTMENTS
BETWEEN COUNTRIES IN THE WTO
REGIME
FREE TRADE:
In ery simple terms ree trade can be dened as the
absence o taris and import quotas. 1his denition is
based on the notion that consumers can access good
products at the best prices and increase global wealth.
1he nal goal o eliminating tari barriers and national
protection mechanism is to allow the market to operate
with no constraints. Ioweer this approach to ree
trade takes no account of the fact that not all trading
partner,s are equal and neither are all products and
serices. 1hereore, in an integrated global economy
the conentional denition o ree trade will no longer
do, as trade in services is surging exponentially and
new barriers are replacing conventional barriers such as
taris and quotas.
1he principal obstacles to international trade can be
classied as:
1. 1ari barriers ,scal measures iz. customs
duties, box oce tax on oreign media
productions)
2. Non-tari barriers ,quotas - screening quotas,
textile quotas etc.,
3. Inestment barriers ,restriction o oreign capital
or equity participation, control o the nationality
of directors, restriction of repatriation of
capital, taxation on oreign companies etc.
MOST FAVOURED NATION (MFN)
Most aoured nation` ,MlN, means that eery time a
member state improes the benets that it gies to one
trading partner, it has to give the same best treatment
to all other \1O members, so that they remain equal.
Countries are to grant equal treatment - not more
favourable or discriminatory to goods and services
rom all \1O members. 1his principle is ound in
the rst article o the GA11. It is also a priority in the
General Agreement on 1rade in Serices ,GA1S, and in
the Agreement on 1rade-Related Aspects o Intellectual
Property Rights ,1RIPS,, although in each agreement
the principle is handled slightly dierently.
Ioweer some exceptions are allowed. lor example,
countries within a region can set up a free trade agreement
that does not apply to goods rom outside the group,
blocs eg. NAl1A, MLRCOSUR, CUSl1A, SAl1A
5
etc.. Alternatiely, a country can raise barriers against
products rom specic countries that are considered
to be traded unairly ,Antidumping duties, Screening
1axes etc.,. In serices, countries are allowed, in limited
circumstances, to discriminate. But the agreements only
permit these exceptions under strict conditions.
5 Most actie regional blocs - Luropean Union
,LU,, Luropean lree 1rade Association ,Ll1A,, Caribbean
Community ,CARICOM,, Lconomic Community o
\est Arican States ,LCO\AS,, Lconomic and Monetary
Community o Central Arica ,CLMAC,, Last Arican
Community ,LAC,, South American Community o Nations
,CSN,, Gul Cooperation Council ,GCC,, Southern Arican
Customs Union ,SACU,, Common Market or Lastern and
Southern Arica ,COMLSA,, North American lree 1rade
Area ,NAl1A,, Association o Southeast Asian Nations
,ASLAN,, Lurasian Lconomic Community ,LurAsLC,,
Central American Common Market ,CACM,, Pacic Regional
1rade Agreement ,PAR1A o PIl,, Arican Lconomic
Community ,ALC,
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NATIONAL TREATMENT
1he National 1reatment principle means that imported
and locally produced goods should be treated equally.
1he same should apply to oreign and domestic serices,
as well as to foreign and local trademarks, copyrights
and patents. 1his principle o giing others the same
treatment as ones own nationals is also found in all the
three main \1O agreements ,Article III o GA11,
Article 1 o the GA1S and Article III o the 1RIPS,,
although it is handled slightly dierently in each o these.
National treatment only applies once a product, service
or item o intellectual property has entered the market.
CULTURAL EXCEPTIONS
During the nal negotiations o the Uruguay Round,
some countries expressed concern that enforcement of
the GA11 principles - in particular MlN and national
treatment rules on goods and services as well as on
copyright protected products would undermine their
cultural specicity ,and unique status,, in aour o
their commercial aspects. Indeed, quite oten cultural
industries, , lm and audioisual ones in particular,
survive due to import restrictions and other support
mechanisms facilitated by certain public administrations,
which consider it a priority to preserve domestic cultural
industries. I subject only to commercial considerations,
many local cultural industries would be quickly
replaced by those with greater nancial muscle due to
their multinational presence and monopoly position.
Negotiators felt mechanisms were needed to maintain
and develop a viable degree of domestic production to
renect local cultural orms o expression and aoid the
standardization o tastes and behaiour.
Ater much debate, these concerns were addressed in
the Uruguay Rounds concluding negotiations, which
did not insist on applying all the GA11 rules to lm
and audioisual goods and serices. Since then, this
tacit understanding has been known as the cultural
exception`. As a doctrine, ,it does not hae any legal
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
coney ideas, alues and ways o lie which renect the
creatie diersity o its citizens.
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, Brazils Culture Minister
A global phenomenon....
Status Of Cultural &
Creative Industries
INTERNATIONAL
ACTION
1he emergence o Creatie & Cultural industries as a
distinct area of interest for economists, statisticians,
cultural specialists and public-policy makers renects
a growing awareness of their economic potential
and their role in fostering cultural diversity through
the market. 1he concept o Creatie Industries`
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-
tiaties. \ith the adent o `new` technologies in
the last 20 years such as the internet, e-commerce
and electronic les that make sharing, trading and
consuming cultural goods and services easier than
eer beore, globalization has had a proound im-
pact on the Cultural & Creatie industries.
Global Alliance or Cultural Diersity ,GACD, un-
derlines that during the last decade a number of
goernments around the world hae recognized this
act and started to deelop specic policies to pro-
mote these Industries. 1his mainstreaming o what
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
to gie ocials in these countries the raw data they
need to make policy. Ioweer, the sector is still re-
mains poorly understood by policymakers.
According to UNLSCO, as momentum builds to
prioritize this eld o actiity within economic de-
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
in this eld.
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.
Asia Pacic Creatie Communities
a joint mission o UNLSCO, UNIDO, \IPO, \orld Bank and the
Asian Deelopment Bank on Creatie Industries
66
In the 1980`s, cultural accounting, that is, the collec-
tion of statistics on a wide range of arts and cultural
industries, began to be done, stimulated initially by
UNLSCO and supported in \estern Lurope by the
Council o Lurope. lrom the diersity o data that
emerged from this process, it became obvious that
one countrys cultural industry was anothers sub-
sidised art sector and that any attempt to compile
internationally comparable statistics required expert
knowledge of each participating countrys cultural
perceptions and policies.
Despite the growing ocus on creatie industries
as a specialized eld o interest or both ocials
and academics many governments remain uncon-
inced o the importance o prioritizing this sec-
tor and creative industries still do not rank high in
the competition for public funds within their bud-
gets. Progress on mainstreaming creatie industries
within policy-making is further hampered by an un-
certainty as to whether ministries o art & culture
or ministries o commerce & economy should take
the lead in coordinating goernment action.
Ioweer, some recognizable eorts hae been
made by many governments to develop the creative
industries systematically through a mapping of the
industries within this sector.
Although most o these eorts are
stand-alone and largely un-coordinated
internationally, they have nevertheless
demonstrated the strength and depth of
the sector within their economies. In the
ollowing section we analyze the Status
o the Creatie Industries in a ew de-
veloped and emerging economies of the
\orld.
Internationally oer 40 countries hae
initiated programmes, policies and plan-
ning exercises in the Cultural and creatie
industries sector and we would analyze
some of the most prominent ones in de-
tail in this section.
1IL UNI1LD KINGDOM
1he United Kingdom is widely recognized as ha-
ing played a groundbreaking role in developing ana-
lytical models on creative industries from an eco-
nomic perspectie. It was indeed one the rst ,an
arguably the rst, to ocially demarcate the sector
and to associate creatie actiities adequately with
economic actiity. It recognized Creatie industries
as all industries along the value added chain related
to cultural and artistic products and services as well
as the public cultural sector. 1his set o industries
were originally referred to as cultural industries
in economic policy circles in the UK and in the
1980`s it was used by the Greater London Coun-
cil ,GLC, as a polemical deice to emphasize that
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
democratize cultural production and distribution. It
was also observed by many as a device to differenti-
ate Mass Culture` and Iigh,Niche Culture` in
their demand or public unds and subsidies. 1his
system was adopted by many other cities in UK &
Europe though it constantly a subject matter of
large debates and immense controersies.
1he ormal origins o the concept o the creatie in-
dustries were found in Blairs Labour Governments
establishment o a Creatie Industries 1ask lorce
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.
,Smith, Chris 1998- Minister or Cultural Ieritage,.
Asian Deelopment Bank on Creatie Industries
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Countries with unorganized ocial policies or Cultural & Creatie Industries
upon its election in Britain in 199,
where the newly-created Department
o Culture, Media and Sport ,DCMS,
set about mapping current activity in the
creative industries, and identify policy
measures that could promote their fur-
ther deelopment. 1he Creatie Indus-
tries Mapping Document, prepared by
the UK DCMS in 1998, dened creatie
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
1
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-
ment or public sector drien. UK has built its arts
and cultural policies on our key building blocks.
,1, Lxcellence - the need to sustain and encourage
the ery best in arts and culture. ,2, Access - the
wish to make cultural quality aailable to the great-
est possible number o people, ,3, Lducation - the
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-
rience, and ,4, Creatie economy - the recognition
that creativity and those enterprises that rely on cre-
ative ideas for their added value are an increasingly
ital part o the national economy.
1 www.culture.go.uk,creatie,creatie_ industries.
html
lRANCL
Closely ollowing the cue
gien by UNLSCO n the
emergence of the creative
economy and alongside the
deelopments o GLC in
UK, France
2
was one of the
rst Luropean countries to demonstrate an actie
interest in gaining a better understanding of the
economics of culture and in the development of a
solid` cultural statistics ramework. 1hrough the
support o the Ministry o Culture and Communi-
cation and other government bodies, France partici-
2 Statistics Directorate: Organisation or Lconomic
Co-operation and Deelopment, Paris- John C. Gordon
and Ielen Beilby-Orrin :International Measurement o the
Lconomic and Social Importance o Culture. Aailable at :
http:,,www.oecd.org,dataoecd,26,51,325281.pd
pated in a series of international conferences on the
economy and culture during the 1980s. 1he process
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-
count ramework by INSLL`s ,National Institute
or statistics and Lconomic studies, MaryVonne
Lemaire. 1he proposal was neer implemented
due to diergences oer the denitional coerage
,or example whether or not to include communi-
cations,, conceptual and practical diculties with
data aailability and a realization o the resources
required. Ioweer, Lemaire`s rigorous approach to
analysing the processes involved in the production
of cultural goods and services served as a major
contribution to the identication and deelopment
o the creatie chain` approach in lrance.
NL\ ZLALAND &
AUS1RALIA
In Australia,
3
cultural indus-
tries research was developed
through the Australian Key
Centre or Cultural and Media
Policy,
4
and informed the Keat-
ing Labor Goernment`s Cre-
ative Nation cultural policy statement, released in
1994.
5
1his approach highlighted cultural industries
as being important in terms of their contribution to g p
3 Beyond ad hocery: Dening Creatie Industries -
1erry llew, Creatie Industries laculty, Queensland Uniersity
o 1echnology.
4 Bennett, 1998
5 DoCA, 1994
o the creatie chai
In recognition of their (cultural industries) essential role in our na-
tions 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-
.vre. are iv art tbe fvfvevt of tbe Corervvevt`. rovi.e to brivg
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
Creatie Nation: Commonwealth Cultural Policy, October 1994
Asian Deelopment Bank on Creatie Industries
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
and consumers.
1he approach also enabled media policy to be seen
as a form of cultural policy, in line with shifting
notions of culture from aesthetic excellence to the
whole way o lie o a community. Cultural policy
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-
timedia.
6
1he ocus on the arts and cultural industries as ha-
ing economic importance also led to a burgeoning
literature on the economic value of the arts, that
identied a new role or arts and cultural industries
as generating now-on and multiplier eects or oth-
er industries, and as important to quality o lie, the
image of cities and regions, tourism, and ancillary
serice industries.
Closely ollowing Australia, New Zealand was also
in the race to realize the potential and impact o the
Cultural and creatie industries within its economy
and social eco-system and had allocated an exten-
sive administrative, regulatory and monitoring sys-
tem within its goernment. Statistics New Zealand
had borrowed the UK Model per-se and added key
elements o Maori Culture within it and adapted it
6 Breen 1999, Comonos 1996.
to their Industrial Classication system.
Australia on the other hand relies both on the UK
and the US models and adapted the Copyright Ap-
proach with cultural sector as a sub-domain of the
copyright industries. Recognizing the alue o mea-
surement, quantication o the economy or eec-
tie management Australia proided or a satellite
accounting eature or the Creatie and Cultural In-
dustries to assess and analyze these industries.
IONGKONG SAR &
SINGAPORL
Among the South Last Asian
Lconomies Iong Kong,
Special Administratie Re-
gion o China, and Singa-
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
mainland China. Both Countries hae made exten-
sie analysis o their Creatie economies and hae
detailed statistics o the In-
dustry.
Iong Kong borrowed exten-
sively from UK with respect
to mapping the Creatie In-
dustries with changes to suit
their local economy and its
strengths.
Singapore followed the US
model and adopted the Copyright Approach but
hybridized it with the Creatie Cluster model where
Cultural, Creatie, Copyright Industries and Distri-
butions Industries oerlap upon one another and
create an interdependent economic and social eco-
system.
Singapore & Iong Kong hae both cared out ex-
tensive policy spaces within their governments for
the Creatie Industries sector and hae clearly spelt
out their ision or the sector or the next 10 years.
CIINA, INDIA & BRAZIL & O1ILR LA1IN
AMLRICAN COUN1RILS
Iome to hal o the \orld`s Population and the
oldest ciilizations, both China & India has yet to
undertake a comprehensie reiew o the sector.
Ioweer, a ew indiidual proinces in China hae
started to concentrate on statistical data collection
and focus on the creative industries to drive forward
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their already remarkable economic growth.
It is also being noticed rom analysis that most
countries which have not taken this sector seriously
hae primarily done so due to the large size o their
domestic markets and have overlooked the impor-
tance of a sustained program to target high-value
international markets. In eect, cultural deelop-
ment and cultural industry strategies have prevailed
and these hae been mostly inward looking.
India on the other hand rich in traditions, crats,
ne arts and perorming arts is yet to recognize this
highly synergetic cluster of activities as an industry
or economy. 1hough a ew component industries
such as the lilm Industry ,Producing the maximum
number o lms in the \orld,, Ii tech isual and
graphic arts ,animation industry & adertisement,
digital entertainment, etc. hae on the back o re-
cent facilitative action from the government have
nourished and hae been recognized worldwide, a
comprehensive and cohesive policy framework is
still lacking.
KORLA & 1AI\AN
Close to heels o Iong Kong and Singapore the
other Asian Lconomies to quickly realize the po-
tential o this sector were South Korea ,reerred as
Korea in this article, and 1aiwan. Sti competition
from these economies also in way expedited gov-
ernmental action in this sector. 1oday both these
countries hae well dened policies or Creatie In-
dustries and are working on detailed statistics pro-
grammes within their countries.
1aiwan liberally borrowed the denition o the
Creatie Industries rom UK and hae made their
own realignments within, while Korea adopted the
Cultural Industries Model. One reason or Korea
to adopt the `Culture` track could be the realization
of the fast eroding cultural frameworks within the
society in a ast-tack industrialization mode which
it adopted after the Korean
partition.
UNI1LD S1A1LS
Ol AMLRICA
1he largest Creatie Lconomy
o the \orld realized its po-
tential as the fastest growing
and wealth creating sector in
the knowledge economy. 1he
American model o Creatie
Industries hoered around the Intellectual Proper-
ties created by these industries and their economic
alue addition.
1he US Goernment also regards the Cultural sec-
tor as a key drier o the Creatie or Copyright
Lconomy and brought in legislations such as 1he
Arts And 1he Iumanities Act O 1965 used to
promote progress & scholarships, 1he President`s
Committee On 1he Arts And 1he Iumanities Lx-
ecutie Order, 1982 which carries out comprehen-
sive gamut of activities from research to advisory to
assistance in policy ormulation and 1he Arts And
Artiacts Indemnity Act which increased the grants
by a sizeable nancial amount. 1hese statues along
with considerable Copyright protection legislations
and International negotiations gae a big boost to
the industry in the 90`s. 1he US administration has
recently constituted a working group to restructure
and revamp the administrative mechanisms govern-
ing the Creatie sector and simpliy the ragmented
beauracratic and administratie ramework. ,More
details in the next section,.
JAPAN
1hough Japan has not adopted any ormal deni-
tion of creative industries, promotion policies do
in fact exist in various forms, including the arts and
cultural policy o the Agency or Cultural Aairs,
and the Ministry o Lconomy, 1rade and Indus-
trys content industry policy and promotion policy
or Japan as a nation built on intellectual property.
Starting from these policy trends, below we consid-
er ways to urther promote creatie industries.
Recently, attention has often focused on creative in-
dustries such as animation, 1V games, and cartoon
character merchandising. \hile these industries
have enjoyed remarkable success internationally,
they inevitably leave a biased impression when the
creatie industries are taken as a whole. 1he cre-
ative industries essentially need to be nurtured from
a more dierse and broader scope o creatiity.
From this perspective, some areas have not ap-
pealed for funding agencies in the market econo-
my. One such area is culture and the arts, including
performing arts such as theater and dance, music
,classical and other genres that do not produce hit
70
CDs,, isual arts, and particularly contemporary art.
An important trend in the promotion o creatie
industries is the governments concerted efforts in
establishing Japan as a nation built on intellectual
property. Ater the Strategic Council on Intellectual
Property was set up in March 2002, a comprehen-
sie strategy was adopted in July, and the Basic Law
on Intellectual Property was implemented in March
2003.
\hen the basic law was implemented, a headquar-
ters for intellectual property strategy was also es-
tablished, and in July 2003, a plan was ormulated
to promote the creation, protection and use of
intellectual property. 1he plan contains policies to
drastically expand the content business by enhanc-
ing the creative environment and protection system,
and promoting distribution.
NOR\A\
1he Ministry o 1rade and Industry is inoled in
the drafting of a parliamentary document on this
new industry, a report that will be adopted by the
Parliament this year. A working group has also been
commissioned to do a research report on the topic,
one o the rst in its kind in Norway. 1he work on
cultural industries policies is carried out by the Min-
istry in collaboration with Innoation Norway.
EU
In Lurope, it is obsered that creatie industries`
is not a term that is widely used. One reason or this
could be that is seen as being associated so strong-
ly with British branding. In the policy literature in
Europe we notice an emphasis on broader issues,
o creatiity, as an input into innoation systems.
1erms which are used include Cultural industries,
Leisure industries, content industries` & digital
cultural industries and the acronym 1IMLS, which
stands for telecommunications, information, me-
dia, entertainment and software, which is certainly
a very broad series of sectors - broader than the
creatie industries.
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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.
Todays 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
INTERNATIONAL
ACTION
Administratie rameworks constituted by dierent go-
ernment across the world for the industries cubbed un-
der the Creatie, Cultural Industries boquet dier widely
and renects their domestic priorities and existing tradi-
tional regulatory mechanisms before the widespread re-
alization o the knowledge,creatie sector as a predomi-
nant economic participant.
1raditional rameworks like ministries, departments o
culture, Iumanities, Arts etc. which were dealing with
various sectors of the creative, cultural industries soon
seemed like fragmented monoliths which were no-lon-
ger in control` o the creatie eco-system as a whole.
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
was widely recognized as a priority. Countries are still
grappling with this issue of overcoming political and
beaurocratic compulsions. Bridges in the orm o task-
forces, working committees, special cells, subsidiary de-
partments, missions, councils and commissions started
appearing across committed goernments to ulll the
void that was created by this lack of holistic understand-
ing,control. \e hae examined the administratie setup
that various countries have put in place for the creative,
cultural or copyright industries.
UNI1LD S1A1LS Ol AMLRICA
Departments,Organizations which support programs
and make policies in the Creatie economy and cultural
sector are :
Government Departments :
1he Departments o State, Commerce, Interior, Ldu-
cation, Iousing and Urban Deelopment, Agriculture,
Iealth and Iuman Serices, Labor, Deense, Justice,
1reasury, 1ransportation, Lnergy, and Veterans Aairs,
Major Institutions supporting the Creative/Cultur-
al Sector:
1he Smithsonian Institution, National Lndowment or
the Arts, National Lndowment or the Iumanities, In-
stitute of Museum and Library Services; National Gal-
lery o Art, Library o Congress, National Archies and
Records Administration, National Iistoric Publications
and Records Administration, General Serices Admin-
istration, Adisory Council on Iistoric Preseration,
Corporation or Public Broadcasting, Oce o the U.S.
1rade Representatie, President`s Committee on the Arts
and the Iumanities, Small Business Administration, led-
eral 1rade Commission, U.S. Patent and 1rademark O-
72
ce, Oce o Management and Budget, Lnironmental
Protection Agency, National Science loundation, and
Oce o Science and 1echnology Policy.
In addition to the aboe there are arious SAAs ,State
Arts Agencies, that are unctioning at the state leels
that in turn promote arious creatie Industrial initia-
ties by leeraging on each state`s unique demographic,
economic & o course cultural tastes & prociencies.
Recently there is a growing recognition that a new
ramework or cultural policymaking in America is
needed to provide greater coherence and coordination
for cultural policies currently spread widely throughout
some 30 ederal agencies. 1his includes recommenda-
tions for a mechanism to advise and coordinate cultural
aairs in the Lxecutie Oce o the President and an
Under Secretary o Cultural Aairs be established, and
that the Congress and the President create a national
orum on Creatiity and Cultural Ieritage. 1hese rec-
ommendations would raise the agenda of the arts and
cultural sector to a signicantly higher policy ,including
oreign policy, and political leel than beore.
PIILLIPINLS
1he National Commission or Culture and the Arts is
the overall coordinating and policymaking government
body that systematizes and streamlines national eorts
in promoting culture and arts. 1his is done in coordina-
tion with both the concerned government agencies and
the non-goernmental organizations and priate sector.
All the adocacy o the NCCA are coordinated or ap-
proal in both the Iouse o Representaties and the
Senate o the Philippines.
Department o 1ourism ,DO1, ormulates policies and
promotes encourages, deelops, and manages Philippine
tourism as a major tool in nation building and sustain-
able deelopment. 1he DO1 recognizes tourism s con-
tributionto world pence, cultural enrichment, and socio-
economic deelopment.
National Commission on Indigenous Peoples ,NCIP,
formulates and implements policies, plans, and pro-
grams to promote and protect the rights and well-being
of the indigenous cultural communities and indigenous
peoples, and National \outh Commission ,N\C, pro-
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-
mental and non goernmental programs and projects
and activities, harness and develops the full potential of
the youth as partners in nation-building.
lRANCL
Responsibility for research and production of statis-
tical information on culture in France lies with the
Dpartement des tudes et de la prospectie ,DLP,,
o the Ministere de la Culture et Communication. 1he
DLP works closely with the lrench national statistical
agency, l`Institut National des Statistiques et des Ltudes
Lconomiques ,INSLL,, and the Serice des tudes et
des statistiques industrielles ,SLSSI, the statistical sec-
tion o the Ministere de l`Lconomie, des linances et de
l`Industrie.
1IL UNI1LD KINGDOM
1he principal policy making and regulatory structure
is proided by the Department or Culture, Media and
Sport ,DCMS, and Department o 1rade and Industry
,UK 1rade & Inestment ,1PUK,,. 1hese Departments
had in turn created 1he Creatie Industries Lxport Pro-
motion Adisory Group ,CILPAG,, with a joint secre-
tariat rom the DCMS and 1PUK. 1his group ormed
four sub-groups to look into the different sectors of the
creatie industries diided into ,1, Content, ,2, Design,
,3, Ieritage & 1ourism and ,4, Perorming Arts. Since
CILPAG ceased operation in 2002, the our sub-groups
which re-established themseles as ,1, Creatie Lxport,
,2, Design Partners, ,3, Cultural Ieritage and 1ourism
,CI&1, and ,4, Perorming Arts International Deel-
opment ,PAID, continue to monitor and regulate the
Creatie and Cultural Industries in the UK
Statistics & Planning
1
:
1he DCMS has undertaken the work o collating and
publishing statistics on what is referred to as the creative
industries.
2
1 Data can be ound in Creatie Industries Lconomic
Lstimates: Statistical Bulletin, October 2005 ,reised Version,:
www.culture.go.uk,NR,rdonlyres,8B1842A1-1D0-464C-
9CCACD1C52A4D4L1,
0,CILconomicLstimatesRLVISLD24OC1.pd
2 A more detailed summary o the DL1 and other
DCMS actiities can be ound in the
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CANADA
1he apex organization or most the industries under
the Culture industries umbrella is the Department o
Canadian Ieritage, it is supported by the Culture Sta-
tistics Program o Statistics Canada in the planning,
monitoring and studying the culture industries. Other
Administratie mechanisms are Ministry o Industries,
Department o loreign Aairs and International 1rade,
Industry Canada and Statistics Canada.
Other major institutions supporting culture industries
are - L`institut de la statistique du Qubec, Canadian
Conerence o the Arts, the Canada Council or the
Arts, cultural departments o proincial goernments
and agencies, and many culture associations.
Statistics and Planning:
Statistics Canada is the principal organization in charge
o collecting and analyzing the data and statistics related
to the Cultural industries. SC discharges its unction with
the assistance o the ollowing Programs
Cultural Statistics Program (CSP)
3
Canada`s Culture Statistics Program ,CSP, was created
in 192 within Statistics Canada in order to collect and
DCMS Lidence 1oolkit - DL1: 1echnical Report aailable
at: www.culture.go.uk,NR,rdonlyres,4B026ACA-025C-
4C2l-A86L-
4A96L406180L,0,DL11echnicalReport1August2004.pd
.
3 Statistics Directorate: Organisation or Lconomic
Co-operation and Deelopment, Paris- John C. Gordon
and Ielen Beilby-Orrin :International Measurement o the
Lconomic and Social Importance o Culture. Aailable at :
http:,,www.oecd.org,dataoecd,26,51,325281.pd
publish better statistics on the culture sector. Preiously,
much of the sectors data were inextricable from other
industry data. 1he ormation came as a result o pres-
sure from both the policy departments and the culture
sector itsel.
\here possible, the Program also makes use o other
Statistics Canada sureys and has been able to hae
changes made to these sureys to the benet o the cul-
ture sector. One surey in particular, the General Social
Survey, includes a time-budget module from time to time
and the CSP has been able to include a cultural actiities
module in the same survey instrument in order to obtain
a measure of participation in cultural activities that are
less likely to be undertaken on a daily basis ,e.g., mu-
seum attendance,. 1he CSP has also had some success
in adjusting the expense categories o the Iousehold
Expenditures Survey to gather more detail on culture
expenditures.
The National Advisory Committee on Culture Sta-
tistics (NACCS)
4
As with many other areas in Statistics Canada, the Cul-
ture Statistics Program ,CSP, benets rom the inormed
adice o an external adisory committee. 1he National
Adisory Committee on Culture Statistics ,NACCS,
was created in 1984 with a mandate to proide adice
to the Chie Statistician or the deelopment o statisti-
cal activities related to all aspects of culture and the arts
in Canada. Committee members represent a range o
constituencies, and their two-year terms are staggered to
proide continuity.
4 Statistics Canada - National adisory Committee
on Cultural Statistics - Aailabe at : http:,,www.statcan.ca,
english,reepub,8-008-GIL,cult,naccs.htm
SINGAPORL
Creative Industries in Singapore are primarily gov-
erned by the following ministries:
Ministry o Inormation, Communications & the Arts,
Ministry of Education, Ministry of Manpower Ministry
o 1rade & Industry, Singapore Broadcasting Author-
ity, 1he Lconomic Deelopment Board, 1he Singapore
1ourism Board, Standards, Productiity & Innoation
Board, Urban Redeelopment Authority.
Principal autonomous bodies that co-ordinate proj-
ects and missions on cultural and Creative Indus-
tries within Singapore are:
1he National Arts Council, 1he National Library Board,
1he National Ieritage Board, International Lnterprise
Singapore.
JAPAN
1he Agency or Cultural Aairs conducts o two main
types o policy: protection o cultural properties ,de-
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
promoting arts and culture ,the New Century Arts Plan,
holding arts festivals and similar events, development of
the New National 1heatre, promoting regional culture,
and development and operation of national art galler-
ies,. lor a long time, most o the agency`s budget had
been dedicated to the protection o cultural properties.
Ioweer, in recent years, the agency has expanded its
programs and budget for creative activities such as con-
temporary perorming arts, music, and isual arts.
74
Since the late 1990s, the Ministry o Lconomy, 1rade
and Industry has targeted the content industry-which
includes moies, music, game sotware, and animation-
as a promising industry, and has been analyzing the is-
sues and studying promotion policies.
In particular, the New Century Arts Plan has been sig-
nicantly expanded in scope and budget since its launch
in 1996. 1he program has become ital to the promotion
o perorming arts and music in Japan, and as a result, is
also playing a growing role in nurturing creative indus-
tries. Ioweer, the agency`s policies do not constitute an
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
cultural policies at the local goernment leel. 1he basic
policy stance is to support and nurture performing arts
and ,classical, music, isual arts, and other actiities that
are not commercially iable as industries in the market.
NIGLRIA
Ministry o Culture and Social \elare has two depart-
ments responsible for administering and implementing
cultural policies. 1he lederal Department o Culture is
responsible for the formulation and execution of the na-
tional cultural policies, or the nancing and promotion
o all national cultural organizations and or internation-
al cultural relations. 1he National Council or Arts and
Culture encourages and deelops all aspects o Nigerian
cultures and interacts with priate or public organiza-
tions. Other ederal bodies partly inoled in cultural lie
and policies are Ministry o Inormation and Ministry
o Lducation.
Dierent cultural sectors are coered by the statutory
bodies at the ederal leel, such as: National Commis-
sion for Museums and Monuments, National Library of
Nigeria, Center or Black and Arican Arts and Ciili-
zation, National Gallery o Modern Art, lederal Radio
Corporation o Nigeria, Nigerian 1eleision Authority,
lilm Corporation o Nigeria.
1he lederal Ministry o Culture and Social \elare is
in charge of cooperation and coordination among vari-
ous bodies at the national, state and local government
leels.
1he promotion and deelopment o culture is the exclu-
sive responsibility of each Nigerian state, although the
lederal Goernment nances and oers administratie
support or culture to each state. State or proincial au-
thorities hae all established State Art Councils set up
by law. 1hese art councils hae the responsibility to de-
elop, administer and promote state cultural policies.
AUS1RALIA
Statistics
5
:
Iistorically, the ocus o Australian culture` statistics
has been on those relevant to arts and cultural heri-
tage`. In September 1991, the National Culture,Leisure
Statistics Unit was created by the Australian Bureau o
Statistics ,ABS,, and has since deeloped into the Na-
tional Centre or Culture and Recreation Statistics ,NC-
CRS,. Its ormation was based on a number o actors,
including the demand for authoritative statistics on the
sector from government policy makers as well as de-
mand rom the sector itsel. 1he NCCRS also includes
coverage of statistics relevant to sport and recreation,
but this component of the program is not normally re-
5 Statistics Directorate: Organisation or Lconomic
Co-operation and Deelopment, Paris- John C. Gordon
and Ielen Beilby-Orrin :International Measurement o the
Lconomic and Social Importance o Culture. Aailable at :
http:,,www.oecd.org,dataoecd,26,51,325281.pd
erred to in Australia as culture` statistics.
1he NCCRS works within the wider ABS statistical sys-
tem in an effort to add items of interest to existing col-
lection ehicles. In addition, the NCCRS works in part-
nership with key government clients, including those
agencies inoled in arts,cultural policy, and maintains
an ongoing relationship with these key clients to assess
their statistical needs and deelop the eld o arts and
cultural heritage statistics. In some cases, external und-
ing has been obtained to carry out specic sureys in the
cultural sector.
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A global phenomenon....
Ofcial Denitions,
Policy Frameworks
& Mapping Of The Cultural
& Creative Sector
INTERNATIONAL
ACTION
1he denition o the cultural industries has been the
subject of intense debate over the last few years, espe-
cially within the framework of local, national and Eu-
ropean policy deelopment. 1hough there is great and
growing interest in this subject there are currently few
real theoretical or policy models aailable. A policy
framework for the cultural industries does present real
organisational and administrative problems, but many
o these stem rom conceptual and denitional prob-
lems, renecting proound transormations in the role o
culture` in contemporary economy and society.
1his can been seen in the way in which any debate on
Culture quickly turns to the alue` o culture - con-
stantly shifting between economic, social and aesthetic
understandings o alue`. Couching discussion around
the alue` or benets` o culture has been a major theme
in the world of publicly funded arts and culture since the
growing threat o budgetary cuts. Claims as to the ex-
ternal benets o culture ,the cultural industries adding
large scale and dignied employment, hae been met by
equally passionate attacks on the attempted reduction o
art and culture to their unctional ,in this case econom-
ic, alue. 1he specic weighting and trajectory o these
debates usually renect the dierent structures, priorities
and constraints faced by the subsidy systems in the dif-
erent national, regional ormations. Ioweer, here the
intent is not to deny the need of a debate on the value
o art, culture, but the need to step back and look at the
whole issue of the cultural industries as a fundamental
transormation o economy, society and culture.
Role o UNLSCO in acilitating a policy enironment
Legal instruments enable States to more effectively
protect all orms o culture. UNLSCO elaborates legal
instruments in the form of declarations, recommenda-
tions or conentions, which are adopted by UNLSCO`s
Member States.
1hrough the ollowing methods UNLSCO has been try-
ing to achieve the goodwill and co-operation of member
states in the Cultural Industries sector :
Declarations: a purely moral or political commitment,
linking States on the basis o good aith.
Recommendations: Addressed to one or more States,
a Recommendation is intended to encourage them to
adopt a particular approach or to act in a given manner
in a specic cultural sphere. In principle, a Recommen-
dation does not create a legally binding obligation on
Member States.
Conentions: Synonymous with treaty, this term reers
to any agreement concluded by two or more States. Such
an accord implies the joint will of the parties upon whom
the conention imposes binding legal commitments.
\ith the adoption o the Conention on the Protec-
tion and Promotion o the Diersity o Cultural Lxpres-
sions, UNLSCO now possesses a comprehensie series
o standard-setting instruments comprising seen Con-
entions:
1. Protection and Promotion o the Diersity o
Cultural Lxpressions ,2005,
2. Saeguarding o the Intangible Cultural
Ieritage ,2003,
3. Protection o the Underwater Cultural
Ieritage ,2001,
4. Protection o the \orld Cultural and Natural
Ieritage ,192,
5. Prohibiting and Preenting the Illicit Import,
Lxport and 1ranser o Cultural
Property ,190,
76
6. Protection o Cultural Property in the Lent
o Armed Connict ,1954,
. Uniersal Copyright Conention ,1952, 191,
DIllLRLN1 VIL\ POIN1S :
Culture, Creative Or Copyright Industries:
Many countries especially the developed ones which have also been
tbe fr.t to offciai.e tbe Creatire or Cvtvra ractitiover.
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
beev ov a fa.t trac voae to qvavtif,, av, regvate ava aefve
oicie. for tbi. .ector. 1be Defvitiov. aaotea b, aifferevt gorerv-
ments though not free from political interventions have more or
e.. refectea tbe aove.tic .tatv. of tbe.e rofe..iov. ava ractice.
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
ei.tevce tbe ca..ifcatiov ra. offcia, recogviea a. a Creatire
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
rorivg arovva tbe cvtvra ivav.trie. ava iaevtifea tbat cv-
ture as a common thread connecting all the industries that could
be clubbed under the head of creative, leisure or heritage industries
ava .tvc to tbe aefvitiov of Cvtvra vav.trie..
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
UNLSCO
Cultural industries can be dened
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
and serices ,both traditional and contemporary,. \hat
cultural industries have in common is that they all use
creativity and cultural knowledge to produce products
and serices with social and cultural meaning.`
Depending on the context, cultural industries may also
be referred to as creative industries, sunrise or future ori-
ented industries in the economic jargon, or content indus-
tries in the technological jargon. 1he notion o cultural
industries generally includes printing, publishing and
multimedia, audio-visual, phonographic and cinemato-
graphic productions, as well as crats and design. lor
some countries, this concept also embraces architecture,
visual and performing arts, sports, manufacturing of
musical instruments, adertising and cultural tourism.
With its cultural mandate and a dedicated statistical unit,
the Institute or Statistics ,UIS,, UNLSCO is uniquely
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
prioritize this eld o research.
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
,UNLSCO 1999,
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UNLSCO`s role has not been to seek to impose stan-
dards and nor can it force countries to collect these
statistics. Ultimately countries must see the alue in do-
ing so themselves at national and sub-national level and
statistical standards emerge organically through a long
process o deelopment. Ioweer UNLSCO can and
should be an active advocate of studying this growing
eld o research within the cultural domain and could
contribute signicantly to seeking out and
disseminating best practice in the collection of data and
development of indicators as well as supporting coun-
tries in their eorts to work in this area.
Framework of Cultural Statistics (UNESCO)
1
In 1986, UNLSCO published its landmark lramework
or Cultural Statistics ,lCS, which was the rst compre-
hensive attempt to develop common methodologies to
capture information about cultural activities, but it des-
perately needs updating. O course, UNLSCO`s man-
date goes far beyond an economic evaluation of cultural
actiities and the lCS seeks more broadly to proide a
common structure to collect data on cultural activities
that could be ultimately lead to cross-national compari-
sons o cultural statistics. 1his ramework was subse-
quently adopted by arious national institutions which
then adapted and modied the methodology to renect
the specic cultural realities o their country.
1he lCS denes ten distinct categories:
cultural heritage;
printed matter and literature;
music and the performing arts;
visual arts;
1 Source UNLSCO: Aailable or Download at :
http:,,portal.unesco.org,culture,r,ile_download.php,
be9238c699d83606ed20114b996cultural_stat.pd4searc
h~22international20understanding20o20creatie2
0industries20unesco20cs22
audiovisual media
cinema and photography;
radio and television);
socio cultural activities;
sports and games;
enironment and nature.
1he ramework also proposes cross-category matrices
such as creation,production, transmission,dissemina-
tion, consumption, registration,protection and partici-
pation. \ith the speed o technological change and the
emergence of the creative industries as a distinct area
o specialisation since the rst lCS was deeloped, this
framework needs updating to capture the new and varied
ways that culture, and particularly cultural goods and ser-
ices such as music, lm and books, are now produced,
distributed and used. 1he dramatic deelopment o the
internet, e-commerce and digital le ormats in particu-
lar has profoundly changed the way people create, work
in and consume` culture oer the last 20 years and any
new methodologies must take this into account.
1he UIS is thereore launching a thorough reiew o the
lCS which will in time lead to a complete updating o its
methodology, with particular attention devoted to cre-
atie industries among other issues. 1he UIS has already
commissioned the London School of Economics, the
Uniersity o Leeds and the Burns Owens Partnership,
a private British consultancy specialising in cultural sta-
tistics, to review the intellectual framework that under-
pins the lCS and to look at existing indicators that are
used by a range o UNLSCO member states within their
national ocial statistics systems. 1his rst preparatory
phase o the lCS reiew is due to start in March 2006
and gien the complexity o the task, a nal ersion o a
new lramework is likely to take 2-3 years to produce.
ASIA PACIlIC CRLA1IVL COMMUNI1ILS
2
lrom 22 to 26 lebruary 2005, UNLSCO, in coopera-
tion with the United Nations Industrial Deelopment
Organization ,UNIDO,, the \orld Intellectual Proper-
ty Organization ,\IPO,, the Asian Deelopment Bank
,ADB,, the \orld Bank, and the Indian National 1rust
or Art and Cultural Ieritage ,IN1ACI,, conened a
senior expert symposium on cultural industries: Asia-
Pacic creatie communities - a strategy or the 21st
century.
1he goal o the Jodhpur Symposium was to support the
creative sector as a key driver for socio-economic de-
elopment in the Asia-Pacic region by identiying and
establishing a policy framework and an accompanying
action strategy or the promotion o cultural industries.
A key outcome o the symposium was the Jodhpur
Consensus, a statement and call to action. Aside rom
appealing to creative communities, policy-makers, civil
society and the private sector to cooperate to ensure the
ull realization o the potential o the rich cultural re-
sources o the Asia-Pacic region, the document calls
upon international agencies, national and local authori-
ties, non-prot organizations, and the cultural industry
sector to adocate and support a proposed 10-year plan
o action, consisting o e key technical assistance ac-
tivities designed to support the development of cultural
industries.
1IL JODIPUR INI1IA1IVLS
1he Jodhpur Initiaties or Promoting Cultural Indus-
tries in the Asia-Pacic Region that were debated and
endorsed at the symposium, establish a policy frame-
2 Richard Lngelhardt Aailable at :
h t t p : , , w w w. i n d i a - s e m i n a r . c o m , 2 0 0 5 , 5 5 3 ,
55320richard20a.20engelhardt.htm
78
work and a long-term plan o action. 1his plan o ac-
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-
ment in key areas such as: human resource deelopment,
inormation and communication technology ,IC1, in-
frastructure, intellectual property rights regimes, small
and medium size enterprise ,SML, support policies, and
targeted promotional and export measures.
1he e actiities that make up the proposed inter-agen-
cy technical assistance programme outlined in the Jodh-
pur Initiaties are as ollows:
1. Coordination:
Support for a regional, integrated policy development
coordination mechanism to promote cultural industries
as a strategy for poverty alleviation and socio-economic
deelopment.
2. Best Practices:
1he compilation o a compendium o best practices in
the cultural industries sector rom the Asia-Pacic re-
gion.
3. Networking:
1he promotion o networks that will boost awareness,
research and proactive policy development pertaining to
cultural industries as a strategy to strengthen the cultural
industries sector. 1hese networks will primarily aim at
supporting the deelopment o institutionalized training
and research.
4. Creativity Matrix:
1he establishment o an Asian Cities Creatiity Matrix,
to track and measure the effectiveness of policy initia-
ties in support o cultural industries.
5. Data:
Implementation o a regional data collection model
project, for the establishment of baseline data pertain-
ing to the socio-economic development potential of the
cultural industries in specic countries.
MAPPING Ol 1IL SLC1OR :
1IL UNI1LD KINGDOM
1he UK Goernment Department or Culture, Media
and Sport ,DCMS, dene the Creatie Industries as:
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-
ploitation o intellectual property.` 1he DCMS category
list consists o production in the ollowing sectors:
Culture & Creative Industries
1. Adertising
2. Architecture
3. Art and Antiques Market
4. Crats
5. Design
6. Designer lashion
. lilm and Video
8. Interactie Leisure Sotware
9. Music
10. Perorming Arts
11. Publishing
12. Sotware and Computer Serices
13. 1eleision and Radio
1IL UNI1LD S1A1LS Ol AMLRICA
lor dening 1he Creatie Industries USA ollows the
Copyright approach. 1he Industry called 1otal Copy-
right Industries is sub-classied under lour Major heads
i.e. Core-Copyright, Partial-copyright, Distribution and
Copyright-related Industries. 1he Cultural Sector nds
its place under all the our heads and the ocial map-
ping is detailed in the annexure.
Core Copyright Industries
1. Press and Literature
2. Music, 1heatrical productions, Operas
3. Motion Pictures and Video
4. Radio and 1eleision
5. Sotware and Databases
6. Visual and Graphics Arts
. Adertising Serices
8. Copyright collecting Societies
Partial Copyright Industries
1. Apparel
2. 1extiles and lootwear
3. Jewelry and coins
4. Crats, lurniture
5. Iousehold goods, China and Glass
6. \all coerings and carpets
. 1oys and games
8. Architecture
9. Lngineering
10. Sureying
11. Interior design
12. Museums
Distribution industries
1. Actiities is related to acilitating broadcast,
2. Communication,
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3. Distribution o Copyrighted material,Subject
matter
4. Sales o works and other protected subject
matter,
Copyright-related industries
1. 1V Sets, Radios, electronic game Lquipments
2. Computers and equipments
3. Musical instruments
4. Photographic and Cinematic instruments
5. Photocopiers
6. Blank recording material
. Paper
Cultural Sectors :
1. Museums & Collections
,Zoological & Iistorical,,
2. lood,
3. Perorming Arts
,Music, 1heatre, Dance, And Opera,,
4. Visual Arts ,Photography, Crats,,
5. Crats, 1extiles, Jewllery,
6. lilm Radio 1 ,Motion Pictures Ltc,,
. Design & Publishing
,Architecture, Adertising,, And
8. Arts Schools & Serices.
NL\ ZLALAND
,lOLLO\S 1IL UK MODLL CLOSLL\,
New Zealand Denes Creatie Industries as those in-
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
intellectual property.`
Creative Industries
1. Adertising
2. Architecture
3. Art & antiques market
4. Crats
5. Design
6. Designer ashion
. lilm & ideo
8. Interactie leisure sotware
9. Music
10. Perorming arts
11. Publishing
12. Photography
13. Sotware & computer serices
14. 1eleision & radio
AUS1RALIA ,lOLLO\S A I\BRID Ol 1IL US,
UK MODLL,
Creatie industries are taken to include all industries that
generate copyrights, patents, designs or trademarks
3
.
Copyright Industries/Creative industries
Core Copyright industries
4
1. Newspaper printing or publishing
2. Other periodical publishing
3. Book & other periodical publishing
4. Recorded media manuacturing & publishing
5. Internet serice proiders
6. Data processing serices
. Commercial art and display serices
8. lilm and teleision production
3 Iowkins, 1he Creatie Lconomy, Allen Lane, 1991.
4 Allen Consulting, 1he Lconomic Contribution o
Australia`s Copyright Industries, 2001.
9. Radio serices
10. lree to air teleision serices
11. Pay teleision
12. Music and theatre productions
13. Creatie arts
14. Sound recording studios
15. Photographic studios
Partial Copyright Industries
1. Printing
2. Serices to printing
3. Paper stationery manuacturing
4. 1oy and sporting goods manuacturing
5. Architectural serices
6. Computer consultancy serices
. Sureying serices
8. Adertising serices
Distribution Industries
1. Photographic equipment wholesaling
2. 1oy and sporting good wholesaling
3. Book and magazine wholesaling
4. Paper product wholesaling
5. Recorded music retailing
6. Computer and sotware retailing
. 1oy and game retailing
8. Newspaper, book and stationery retailing
9. Photographic equipment retailing
10. Inormation storage and retrieal serices
11. lilm and ideo distribution
12. Motion picture exhibition
13. Libraries
14. Museums
15. Perorming arts enues
16. Serices to the arts
1. Video hire outlets
18. Photographic lm processing
80
IONGKONG SAR
Iong Kong`s creatie industries is dened as a group
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
wealth generation and job creation are realized.
1he Iongkong study regards the ollowing underpin-
ning concepts as the yardstick o dening and ealuating
the creative sector, namely - creativity, intellectual prop-
erty, the production and exchange of social or symbolic
meanings and the idea of creative industries production
system ,CIPS,
5
. A detailed breakup o the CI o Iong-
kong is in annexure.
Creative Industries
1. Adertising
2. Architecture
3. Art and antiques
4. Comics
5. Design
6. Designer ashion
. lilm
8. Game sotware
9. Music
10. Perorming arts
5 Iongkong`s concept o CIPS is deried rom Andy
Pratt`s original idea o cultural industries production system`.
Pratt ,199, denes the system into original production`,
production of the means of production, reproduction and
mass distribution and sites of
exchange o rights to consume`. Pratt`s model has been
applied to a number of studies on creative industries, for
example, Dominic Power
,2002,, CURDS ,2001, and COMLDIA ,2001,.
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11. Publishing
12. Sotware and I1 serices
13. 1eleision
Creative Industries Production System (CIPS)
SINGAPORL
Copyright Industries
Core Copyright Industries
1. Recorded media
2. Printing & publishing o newspapers
3. Printing o periodicals, books and magazines
4. Publishing o books and periodicals
5. Publishing o books, brochures, musical books
and periodicals
6. lree to air 1V , Pay 1V , Internet serices
. Data processing serices ,I1 consultancy, I1
deelopment and I1 serices,
8. 1eleision serices
9. Radio serices
10. lilm and ideo production
11. Music and theatre production
12. Commercial art and display serices
13. Photographic studios
Partial Copyright Industries
1. Printing o cards, stationery etc.
2. Serices to printing
3. Architectural serices
4. Sureying serices
5. Adertising serices
6. 1oy and sporting good manuacturing
Distribution Industries
1. Newspaper, book and stationery retailing
2. Paper product wholesaling
3. Book and magazine wholesaling
4. Computer and sotware retailing
5. Photographic equipment wholesaling
6. Photographic equipment retailing
. 1oy and sporting good wholesaling
8. 1oy and game retailing
9. Recorded music wholesaling
10. Recorded music retailing
11. Libraries
12. Motion picture exhibition,distribution
13. Photographic lm processing
14. lilm and art enues,sound recording studio,
services to the arts
15. Museums,arts galleries
16. Video hire outlets
1. Inormation storage and retrieal systems
18. New agency actiities
82
NL1\ORK AMONG 1IL CRLA1IVL CLUS1LR ,
1IL CRLA1IVL LCO-S\S1LM
,Showing the interdependence and co-existence o the
traditional and new industries in the knowledge econo-
my,Creatie eco-system.,
1AI\AN
Cultural-Creative Industries
1) Publishing
a, Books and Printing Materials
b, Magazine and news publishing
c, Audio publishing
d) Records
e, Video-cassette, audio-cassette, records,
CD, DVD
f) Other publishing
g) Software publishing
2) Film & Video
,incl. local comics and animation Industries,
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-
trie.`. orerer, recevt, tbe, bare ivcvaea ca..ifcatiov
such as social education centre (museums, galleries and
cultural facilities) and Creative Living Industries (tea
house and wedding photography etc.)
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e) Recorded programme production and
distribution
, Videotapes and VCD
g, Video-recording serices
3) Craft products and materials
a, Crat products and materials
b) Sculptures
4) Antiques
a) Stamps and coins collection
b, Antique painting and calligraphy
c) Mediaeval collections
d) Stamps and coins collection
e, Antique painting and calligraphy
5) Broadcasting
a) Broadcasting industry
6) Television
a, 1eleision industry ,incl. wireless teleision
stations, Cable teleision stations, Other
1eleision industries,
7) Performing Arts (Music, Drama, Dance,
Traditional Performances and Circuses),
Festivals
a, Perorming Industries
b, Drama and dance companies
c) Other performing companies
d) Live music performances
e) Management of concert halls
, Coordination o programmes and
performance agents
g) Music agents
h, Agency o composition and lyric copyrights
i) Literature and arts industries
j, Arts serices industries
8) Social Education Services (Museums,
Galleries and Cultural Facilities)
9, Adertising
a, Adertising industry
b, Adertising design and production
c, Construction o adertising displays boards
d) Other advertising
10) Design (commercial furniture, Fashion,
Landscape and Interior, Product and
Packaging, Industrial)
a, Design industries
b, Product Design
c) Monopoly commercial logo design
d, Packing design
e) Landscape design
, Interior design
g) Garden design
11) Architecture (incl. Design, Publication)
a, Architecture and engineer serice industries
b, Architecture design serices
c, Construction and structural engineering
d) Electrical circuit design
12) Software and Digital Games (Computer
programming)
a, Inormation serice industries
13) Creative Living Industries Tea Houses,
Wedding photography
KORLA
Creatie Industries: Actiities and creatiities oriented
towards the utilization o cultural technologies`.
1he Korean Culture and Arts Promotion Act denes
Cultural Industries as:
1, Cultural Ieritage
2, Arts
3, Literature,
4, line arts,
5, Music, dance, theatre,
6, lilm,
, Lntertainment,
8, traditional music,
9, Photography,
10, Language and publishing.
JAPAN
Although the Goernment o Japan has not approed
any ormal system o classication, a proposed rame-
work has been developed by working groups for con-
sideration. 1he Mapping ollows the Creatie Industries
model of UK to a great extent but selectively limits or
enlarges the scope of some component industries de-
pending on the prealent Standard industrial classica-
tion ,Lstablishment and Lnterprises Census, in Japan.
1, Adertising
2, Architecture and engineering serices
3, Antiques market
4, Lacquer ware
5, Design
6, lilm & ideo
, Production, sales & rental o audio & ideo
recordings
8, Music, perorming arts
9, Publishing
10, Computer sotware
84
11, 1eleision and radio
12, Artists, academic &cultural organizations
CANADA
\hile dening the 1erm Culture Industries the Cana-
dian Government has given priority to practical aspects
such as measurement of statistics, their conformity to
NAICS ,North American Industry classication system.
Statistics Canada has taken the ollowing approach :
Culture is a alue-laden term. Broadly dened, culture
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-
ties. Ioweer, these notions o culture are too broad to
be useul in delineating the scope o the Culture Statis-
tics Program. A denition o culture or statistical pur-
poses, establishes boundaries around what is included
and excluded. As such, a narrower denition o culture
is adopted that does not embody other elds that are
generally accepted as distinct within the national statisti-
cal system ,or example ethnicity, which is currently co-
ered in the socio-demographic statistics program within
Statistics Canada,.` \ith this iew the Canadian Goern-
ment has the ollowing industries mapped under Culture
Industries :
Culture is dened as: Creatie artistic actiity and the
goods and services produced by it and the preservation
o human heritage.` Lxamples o cultural goods in-
clude: books, newspapers, ideos, compact discs, sculp-
tures, paintings, etc. Lxamples o cultural serices are
lm production and post-production serices, broad-
casts, lie artistic perormances, etc.
Core Culture Industires
,measures the entire creatie chain,
1. Broadcasting programming and serices ,radio,
teleision, cable, satellite and Internet,
2. lestials
3. Ieritage serices
4. Library and archie serices
5. Motion pictures, lms and ideos
6. Perorming arts ,lie perormances and artistic
support services)
. Printed music
8. Sound recordings
9. Visual arts ,original art and crats,
10. \riting and published works ,books,
newspapers and periodicals)
Non-core Culture Industries
,measures only part o the creatie chain,
1. Adertising serices
2. Architectural plans
3. Copyrights and related serices
4. Design plans
5. Lducational serices
6. Mass produced isual art
. Photography
8. Support serices
LUROPLAN LCONOMILS
NOR\A\
Denitions and actiity around the creatie and cultural
industries are still deeloping. In the process o import-
ing new terms to describe the industry, Norway has so
far chosen to employ the term cultural industries rather
than creatie industries.
Although many o the sectors,industries included in the
denition are the same as UK, the Norwegian deni-
tion emphasizes the cultural integration into industry
rather than a broad denition o creatiity. In Norway,
the ollowing sectors are dened as part o the cultural
industries:
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1, Computer-games
2, Design and ashion
3, lilm and Video
4, Publishing
5, Arts and Crats
6, 1he Music Industry
, Sales o antiques and arts
8, Sotware and data serices
9, 1V and Radio
10, Perorming arts
lINLAND
Cultural Industries
1, Adertising
2, Amusement parks, games and other
entertainment and recreation
3, Architectural and industrial design and art
4, Art and antique shops and second-hand
bookshops
5, Libraries, archies and museums
6, Photography
, Production and distribution o books,
newspapers and periodicals
8, Production and distribution o motion
pictures and videos
9, Production and distribution o music and
sound recordings
10, Radio and teleision
SPAIN
Culture and Leisure Industry
1, Adertising
2, Iistoric Ieritage
3, Amusement parks
4, line Arts, paintings and sculpture
5, Libraries and Museums
6, line Arts, Photography
, lilm
8, 1eleision
9, Perorming arts and musical perorming arts
10, Sports
11, Bullghting
12, Shows and lairs
13, Lotteries and Gambling
86
A global phenomenon....
THE CULTURAL &
CREATIVE ECONOMY:
Size, Contribution To GDP,
Growth Rate, Employment
& Funding
INTERNATIONAL
ACTION
UNLSCO
In an attempt to better un-
derstand the value of the in-
ternational trade that cultur-
al industries give rise to, the
UNLSCO Institute o Sta-
tistics ,UIS, has published a
report, International llows
o Selected Cultural Goods
and Serices, 1994-2003`,
that analyses cross-border
trade data rom about 120
countries on selected prod-
ucts, such as books, CDs, id-
eogames and sculptures. 1hough it presents new meth-
odology to better renect cultural trade nows, the authors
o the report neertheless draw attention to the di-
culty of collecting complete information and concede
that the report gies only a partial picture.
lor example, lms are typically exported to destination
markets as a single master copy and then reproduced
and distributed locally. As a consequence the leel o
exports may bear little relation to the volume distributed
in the receiing country. 1he exported lm considered
as a good has an almost negligible value at customs,
mainly based on the alue o the recording ormat used.
1he alue o a moie increases howeer once the lm
is copied and distributed and this value is captured by
the services data through the balance of payments as
royalties and licenses ees. A case that can come handy
to illustrate the above is of - India, whilst being a major
fv roavcer, i. vot cov.iaerea avovg tbe to eorter. ba.ea ov
customs statistics.
1o address these shortcomings, UIS is planning to re-
launch and update its biennial survey on the Statistics
o lilms and Cinemas, which was discontinued in 2000.
1he project will reiew past methodology, current inter-
national analysis, sureys in the eld and will identiy key
`new` indicators related to cultural diersity.
In doing so, UNLSCO will study and adapt methodolo-
gy and indicators rst deeloped by the LU in two Luro-
barometer surveys for their two studies titled - Euro-
pean`s Participation in Cultural Actiities`, which was
conducted by 1he Luropean Opinion Research Group
& Gallup Organistion, Iungary.
1he UIS Study & UNC1AD obseres that the Creatie
Industries are one o the astest growing sectors o the
global economy contributing oer o the global
GDP with a orecast o growing at 10 pa..
Market values of these outputs have been estimated at
US> 1.3 trillion up rom US> 831 billion in 2000. Ac-
cording to the report, between 1994 and 2002, interna-
tional trade in cultural goods increased rom US> 38 bil-
lion to US> 60 billion
1hree countries hae dominated the trade scenario - the
United Kingdom, United States and China - produced
40 percent o the world`s cultural trade products in 2002,
while Latin America and Arica together accounted or
less than our percent.
1he UK was the biggest single exporter o cultural goods
in that year ,USD 8.5 billion, ollowed by the USA ,USD
.6 bn, and China ,USD 5.2 bn,.
1he USA was the biggest importer o cultural goods
in 2002 ,USD 15.3 bn,, ollowed by the UK ,USD .8
bn,, and Germany ,USD 4.1 bn,. It is important to note
that the data presented are based mainly upon customs
declarations, and do not renect oreign sales.
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Latin America and the Caribbean accounted or only
three percent of the total trade of cultural goods in
2002, one point more than in 1992, though ar behind
other world regions. Oceania and Arica hae not shown
any progress, with a combined share of less than one
percent in 2002.
Ioweer`, says UNLSCO Director-General Kochiro
Matsuura while globalization oers great potential or
countries to share their cultures and creative talents, it
is clear that not all nations are able to take advantage of
this opportunity. \ithout support to help these coun-
tries participate in this trade, their cultural voices will
remain marginalized and isolated.`
Printed media - books as well as newspapers, periodicals
and other printed matter - accounted or 31 percent o
cultural trade in 2002. 1he world`s largest book exporters
are: the USA ,18,, UK ,1,, Germany ,12,, Spain
,6, and lrance ,5,. 1he main destinations or books
were the USA, UK, Canada, Germany and lrance.
Recorded media - primarily consisting of music, sound
recordings and related sotware - represented 32 o
global cultural trade in 2002. 1he e main exporters
are: the USA ,1,, Germany ,12,
1
, Ireland ,12,,
the UK ,9,, and Singapore ,8,. 1he largest importers
o recorded media are the UK, Germany, lrance, USA
and Canada.
In the isual arts, including paintings, engraings, prints,
original sculptures and statuary, the UK, China, USA,
Germany and Switzerland accounted or 60 o all ex-
ports in 2002. \ith the exception o China, they are
also the world`s largest importers. 1he UK is the single
largest importer ,42, and exporter ,23, o the global
1 Lxports primarily consist o CDs and related
sotware.
trade.
1he trade in audioisual media
2
is dominated by video
games. 1he top e exporters are: China ,32 percent,,
Japan ,1 percent,, Mexico ,11 percent,, Iungary ,9
percent, and Germany ,just under 9,. 1he USA alone
imported 42 o these products, ollowed by Germany,
the UK, Iong Kong and lrance.
1his study is a step orward in measuring the nature and
direction o international cultural trade nows. Ioweer
the lack of data, particularly for cultural services, togeth-
er with the complex nature of cultural products, means
that the Report oers only a partial picture.
Iere we analyze the size and contribution o Creatie &
Cultural Industries in the arious global economies.
1IL UNI1LD KINGDOM
Size of Economy and Employment:
1hese industries accounted or _56.5 billion, or .8, o
the Gross Value Added ,GVA, in 2003
3
. Between 2001
and 2004 these industries grew by an aerage o 9 per
annum, which was higher than the average growth of
3 or the entire economy. Arts and Antiques ,-9
p.a.,, Sotware ,-11 p.a., and Radio and 1V ,-8 p.a.,
were the astest growing creatie industries.
2 Lxports and imports associated with the lm and
broadcasting industries are not accurately renected by customs
data that only renects the declared customs alue o a master
copy.
3 Source: UK DCMS, Creatie Industries Lconomic
Lstimates Statistical Bulletin October 2005 - Reised Version,
pp.5 and 10.
Lxports in the sector also grew by a record 13 p.a. or
the year 2001-2004, compared to the 5 o the whole
economy. Creatie industries employs oer 1,825,000
employees which is 6.25 o total employment ,exclud-
ing software )
4
Funding :
Funding reforms undertaken by the present government
hae dramatically increased nancial support to support
the aboe objecties. By 2003,4, the Arts Council o
Lngland`s grant-in-aid will hae grown to _336m, rom
_186m in 199,8 - an increase o 80.
NESTA : 1o directly support indiiduals and organi-
zations in the innoation process and unding o new
entures, in 1998, the goernment created 1he National
Lndowment or Science, 1echnology and the Arts ,NLS-
1A,. NLS1A was gien a core endowment o _200 mil-
lion |raised in 2003 to _250 million| rom the National
Lottery loundation ,NLl, and charged with using the
income rom it to drie innoation across the UK.
NLS1A now relies on its strong eidence base and ex-
perience with dierent models o support to innuence
UK policy making. NLS1A is currently working on pro-
gramme design, although a number of areas of its work
will eole to orm a new set o actiities. 1he rame-
work will be around three key areas o actiities:
Innovation programmes: transforming the
UKs capacity for innovation focusing on
the skills and attitudes required or innoation
4 Original Source: ONS Labour lorce Surey.
Source: UK DCMS, Creatie Industries Lconomic Lstimates
Statistical Bulletin October 2005 - Reised Version, pp.8 and
11, and Oce or National Statistics ,ONS, Labour lorce
Surey database at www.statistics.go.uk,.1he employment
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
to nourish.
Financial programmes: to increase the
aailabil ity o risk nance and bring greater
co-ordination to the development of early
stage companies.
Policy programmes : 1o strengthen and en
rich innovation policy, making it dynamic and
responsive
Other sources of Funds :
include Local Regeneration Companies, Regional De-
elopment Agencies, Small Organizational Credit pro-
grammes and National Programmes such as 1he Princ-
es 1rust. 1hey are particularly attractie to early stage
creatie businesses.
Micro-credit :
\ithin the UK as a whole, community nance initia-
ties aimed at social enterprises sere around 100,000
people and control around _10 million o capital.
Micro-credit provides loan and sometimes savings ser-
vices to entrepreneurs at either start-up or growth stag-
es. Most projects ocus on group-lending techniques as
a way o achieing the high repayment rates.
1hese are based on unding deliery mechanims where
donations or investments are made by organisations
and institutions ,mainly banks,. A typical model is the
Deutsche Bank Micro-Credit Deelopment lund, a reg-
istered charity seeded by Deutsche Bank with _500,000.
- Deutsche Bank sta and contacts gie charitable do-
nations to the fund, which is then distributed to a local
micro nance institution ,such as Street UK,, which is
then transferred to businesses as micro-credit or banks
as collateral.
A micro-credit initiatie that targets the Creatie Indus-
tries sector has been launched by Culture linance North
\est. Iere, micro-credit loans are deliered through
Bolton Business Venture ,a recognised micro-credit
fund manager), providing small business development
opportunities or creatie SMLs. 1he und helps to
bridge the gap in seed and deelopment nance or the
sector, providing a useful stepping stone towards larger
nance opportunities that Culture linance North- \est
is seeking to leer.
1he SFLG is a Small Business Serice ,SBS, initiatie
that proides guarantees on loans to small rms o up
to 5 per cent o the loan. 1his mechanism is designed
to proide debt nance opportunities to businesses that
lack security ,such as property or personal equity,, yet
hae a commercially sound business proposition. In cas-
es where a retail bank is unable to invest in a proposition
due to the lack of security, though favourable otherwise,
it can administer the SlLG ,Small lirms Loan Guaran-
tee Scheme , as security.
Business angels: are priate indiiduals, oten operating
within syndicates, who seek investment opportunities in
priate companies in return or a minority equity stake:
OLBAN is a long-standing not-or-prot Business An-
gel Network that operates within Greater London En-
terprise. It has access to oer 500 Business Angel ines-
tors across London and the South Last.
Business angels often commit amounts of between
_10,000 and _100,000 in a single inestment ,ew com-
mit more than _50,000 to a single inestment,
Venture Capitalists: 1he Creatie Industries sector is
very service based and thus people-centered and reli-
ant. 1his presents new risks. lurther, there are ew spe-
cialist investors in the sector, which does not breed con-
dence or enture capitalists.
\ith inestments normally well in excess o _1 million,
ew early stage creatie businesses require enture capital
support. Ioweer, Venture Capital 1rusts ,VC1s, and
Regional Venture Capital lunds ,RVCls, do hae rel-
evance, because they provide opportunities for smaller
inestments through enture capital. In addition, VC1s
are being established in partnership with Business Angel
syndicates in ways that collectively raise investments be-
yond the _1 million upper limit.
1here are estimated to be approximately 18,000 Business
Angels in the UK actiely looking or inestments. 1hey
inest around _500 million a year in 3,500 companies
1IL UNI1LD S1A1LS Ol AMLRICA
Size of Economy and Employment :
In 2002, the U.S. total` copyright industries accounted
or an estimated 12 o the U.S. gross domestic product
,>1.25 trillion,. O this the core` copyright industries
accounted or an estimated 6 o the U.S. gross domes-
tic product ,>626.6 billion,.
1he total` copyright industries employed 8.41 o
U.S. workers in 2002 ,11.4 million workers, o this the
core` copyright industries employed 4 o U.S. work-
ers ,5.48 million \orkers,
Between 199-2001, the core copyright industries grew
at an annual growth rate o 3.19 per year, a rate
more than double the annual employment rate ,1.39,
achieed by the economy as a whole. In 2002, the U.S.
copyright industries achieved foreign sales and exports
estimated at >89.26 billion.
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Funding :
1he US Goernment uses two ways o supporting the
Creatie Industry. lirst is the DIRLC1 SUBSID\ PRO-
GRAM which proides grants or non prots arts, cul-
tural heritage & humanities. Second are the 1AX POLI-
CILS that make way or inestments rom indiiduals,
charitable organizations, oundations & businesses. 1he
funding takes place from local to state all the way to the
federal level as a matter of concern for the policy mak-
ers.
1ax incenties are granted to oundations, priate indi-
viduals and corporations which support arts and cultural
actiities. Beyond tax incenties, there is now recogni-
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
airwaes, the Internet and cable, and our relations with
other countries.`
In addition, public unding or the non-or-prot arts
has won greater support in recognition of the enormous
economic benets it yields, particularly the high returns
on inestment. Annual direct appropriations o unds
to ederal agencies totaled approximately >2bn in recent
years. Such ederal agencies include the Smithsonian In-
stitution, the National Lndowment or the Arts ,NLA,
and the National Lndowment or the Iumanities. \hile
unding ia the NLA has allen rom US>158.8mn in
1996 to US>9.6mn in 2000, total state expenditures in-
creased rom US>262.2mn in 1996 to US>396mn in 2000,
and local goernments spent in excess o US>800mn. In
1995, the return on an estimated >61mn public spend-
ing on the arts in the state o New \ork alone resulted in
an economic gains amounting some US>13.4bn.6
Other Investments
in the Arts Culture & Humanities:
1he broad appeal and substantial impact o America`s
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-
search at American colleges and uniersities. Arts and
cultural activities are often embedded in the education
industry.
It is an established practice or American corporations
to inest in the arts and culture or prestige. Large cor-
porations, such as the Rockefeller Foundation, Forbes,
PepsiCo and Sara Lee hae extensie priate collections
or are commonly associated with arts and cultural eents.
Even smaller companies have active arts and sponsor-
ship schemes as part of their community and staff wel-
are programme.
Nationally, an estimated US>10bn rom indiidual do-
nors, foundations and corporations go towards support-
ing arts and cultural actiities8. 1ogether with state &
federal sponsorship, and other funding from founda-
tions, this accounts or 50 o all unding or arts and
culture organisations. Business support or the arts in
America reached a record US>1.56bn in 2000 among
members o the Business Council or the Arts ,BCA,.
O this amount, some 0 were attributed to small and
mid-sized companies with annual reenues o between
US>1mn and US>50mn. 1he most requently cited rea-
sons BCA member companies inest in the arts are to
enhance the quality o lie in operating communities, to
stimulate the local economy, to attract visitors to the area
and to provide entertainment experiences for employees
and the community.
NOR\A\
1he Creatie Industries contributes aboe 43 billion
NOK to the GDP o Norway, and the total amount o
people employed in these sectors ,in priate companies,
amounted to 4.2 per cent o all employees in 2004.
KORLA
Size of Economy and Employment:
Cultural and Creatie Industries directly and indirectly
contributes an estimated 4.1 per cent o production and
oer 5.5 employment, 2.5 per cent o Value added
component representing oer 3.5 o the GDP o Ko-
rea.
Funding :
Finance for the arts and culture comes from both the
public and priate sector. 1he major unding source
in the public sector are central and local governments
and the Korea Culture and Arts loundation and in the
private sector corporate members of Korean Business
Council or the Arts ,KBCA,.
1he budget or culture and arts o the central goern-
ment in 199 was 43.3 billion won ,US > 459 million,
which accounted or 0.62 per cent o the total goern-
ment budget. 1he cultural budget o the local goern-
ment increased to 1.86 per cent in 1996 rom 1.5 per
cent in 1995.
1he total amount o the und mobilized by 1he Korea
Culture and Arts Promotion lund until 2004 was 365.6
billion won ,US > 386 million, with > 231 million rom
national und and > 155 million rom public monetary
und ,KOBACO,.
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Korea Business Council or the Arts, ormed in 1994, is
another important nancial source sponsoring cultural
actiities at a priate leel. It has currently 161 corporate
members with its annual budget o 00 million \on ,US
> 0. million,. 1he total amount o nancial aide made
rom corporate members o KBCA was respectiely
2.9 billion won,US > 92.4 million, in 1994, 92.6 bil-
lion won ,US > 119.5 million, in 1995 and 11.8 billion
won ,US > 146.3 million, in 1996. 1he expenditure on
investment for cultural infrastructure such as building
libraries, cultural centres, museums was 42.3 billion won
,US> 52.5 million, which amounts or 36 per cent o
the total amount to be used. In 1996 45 per cent o cor-
porate cultural spending is allocated to the own cultural
projects and 30 per cent o the grants is allocated to sup-
porting the artistic activities including art, music, theatre,
dance, literature, etc.
IONGKONG
Size of Economy and Employment:
1he creatie industries as a whole account or 3. o
Iong Kong`s total employment, 3.1 o serices ex-
ports and 2 o GDP ,IK> 46.09, in 2001. 1he break-
up o the Creatie economy as per the CIPS is illustrated
below.
In 2000, creatie industries exported a total o IK> 10.0
billion in serices, equialent to 3.1 o total exports o
serices ,or 0.5 o total exports o goods and seric-
es,. Iong Kong is a marginal net exporter o creatie
services
Creatie industries as a whole hae proided
oer 18,000 jobs till 2002 ,90,000 jobs in 2001
alone, ,3.1 o 1otal Lmployment, .
1he I1-related serices` sector is the largest,
with 95 o the employees being engaged in
software development and maintenance, followed by
publishing` and adertising`. 1he radio & 1V sta-
tions & studios` and lm` industries had a combined
employment o almost 15,000. 1his accounted or 3.
o total employment in March 2002, and 4.5 o total
serices employment.
Oer the past e years, total employment in creatie
industries grew by an aerage o 3. per year, which
compared with total employment growth o - 0.8 per
year was a major drier o the economy. I1-related ser-
ices employment grew by a strong 22. per year oer
the past e years.
JAPAN
Data rom the 2001 Lstablishment and Lnterprise Cen-
sus indicate that the creatie industries contain 16,000
establishments ,2.8, and 1.88 million ,3.5, employ-
ees, Since 1996, creatie industries hae grown by 3.8
p.a. despite the recession which hit the country. 1he
number of establishments and employment has also
grown by .9 compared to an oerall decline o 5.5
and .9 percentage points respectiely or other indus-
tries.
According to the 1999 Surey on
Serice industries, Creatie Indus-
tries accounted or \35.35 trillion
,>35 Billion, in reenue, compris-
ing 1.5 o the total or all ser-
ice industries. In the decade since
1989, while serice industries as a
whole increased reenue by 69.1,
creatie industries grew at 88.5.
1wo creatie industries-architec-
ture and engineering services, and music and performing
arts-outperormed the serice industries, while com-
puter sotware tripled in size.
CANADA
Cultural industries contributed C>40 billion ,3.5, to
Canada`s GDP in 2002 alone.
5
1he growing importance
5 Sources: Statistics Canada. Culture GDP in Lxcel
[Hong Kong] Employment in CI 1996-2002
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of the cultural sector is also evidenced by its contribution
to Canadian employment. Cultural industries in Canada
were responsible or directly employing 59,000 Cana-
dians in 2002 or 3.9 o Canada`s workorce. Between
the years o 1996 and 2001, employment in the cultural
sector grew at an annual rate o 3.4, aster than the
oerall Canadian employment growth rate.
6
In 2001, one in our workers in the cultural sector was
sel-employed ,26, compared with 16 across all in-
dustries.
Cultural goods and serices accounted or >4.63 billion
worth o exports in 2003 ,2.46 in cultural goods and
2.1 billion in cultural serices,, a decrease o >156 mil-
lion, or 3, rom >4.80 billion worth o cultural exports
in 2002. 1his decrease was likely due to a weakened US
dollar against Canadian currency and domestic shocks
such as SARS.
NL\ ZLALAND
1he creatie industries are estimated to account or
3.1 o New Zealand`s GDP and 3.6 o employment.
1he Growth o Creatie Industries in New Zealand is
oer 8 p.a. well aboe the 2.5 growth or the oerall
economy.
le at www.statcan.ca,english,reepub,8-008-GIL,them,
economiccont.htm. 1otal GDP in current
Canadian dollars at www.statcan.ca,english,nea-cen,index.
htm.
6 Sources: Statistics Canada. Culture GDP in Lxcel
le at www.statcan.ca,english,reepub,8-008-GIL,them,
economiccont.htm. 1otal GDP in current Canadian dollars at
www.statcan.ca,english,nea-cen,index.htm.
AUS1RALIA
1he creatie industries as a whole accounted or > 18
billion in the year 2000-01

,roughly 3.3 o GDP,,

up rom 2.2 in 1994-95. 1hese industries employed
420,063 employees, or 5.1 o total employment
8
.
Goernments is a signicant contributor to the support
or Arts & Culture. Among the most signicant inter-
entions was the establishment o the Australian Coun-
cil or the Arts - which later on became the Australia
Council. Since then, the role o the Commonwealth has
expanded dramatically. In 1994-95, through the Depart-
ment o Communications and the Arts, direct Common-
wealth expenditure is estimated to be over one billion
dollars. Additional unding or Australian cultural deel-
opment is provided through other portfolios, including
loreign Aairs and 1rade, Lmployment, Lducation and
1raining, Prime Minister and Cabinet, and Lnironment,
Sport and 1erritories.
1he cultural portolio includes a dozen agencies and
statutory authorities. A ariety o mechanisms are em-
ployed to achiee the Commonwealth`s objecties. 1hese
include, for example, limited investment and loans pro-
grams requiring high leels o priate sector participa-
tion, such as the lilm linance Corporation, an indemni-
cation scheme which assists exhibitions to the alue o
Creatie Industries Cluster Study ,Stage One Report,
- Department o Communication, Inormation 1echnology
& 1he Arts. Aailable at : http:,,www.dcita.go.au,__data,
assets,pd_le,2105,cluster_study_report_28may.pd
Sources: ABS, Arts and Culture in Australia, 2004, 1able 5.2
p.35 and ABS, Lmployment in Culture, Australia, 2001 ,cat.
no. 623.0,, 1able 1.1 p.14.
8 Sources: ABS, Arts and Culture in Australia, 2004,
1able 5.2 p.35 and ABS, Lmployment in Culture, Australia,
2001 ,cat. no. 623.0,, 1able 1.1 p.14.
>500 million to tour, the Public Lending Right Scheme,
which compensates the creators of works used in public
libraries; and programs which fund companies and in-
diiduals directly, such as the Australia Council and the
Australian lilm Commission.
1he Goernment ulls its responsibilities through ari-
ous means: direct Commonwealth expenditure, indirect
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,
and local content requirements or radio and teleision.
SINGAPORL
lor 2000 ,latest data aailable,, the creatie industries
contributed a total alue-added ,VA, o S>2.98 billion, or
about 1.9 per cent o GDP. Distribution industries asso-
ciated with these core creative industries added a further
S>2.02 billion, bringing the total VA o the copyright
industries to S>5.00 billion, or 3.2 per cent o GDP.
In 2000, employment in the creatie industries was
4,000 ,2.2 per cent o nation-wide employment,, with
an additional 32,000 persons employed in distribution
industries. 1he total number employed in the creatie
cluster was 9,000 or 3.8 per cent o total employment
in 2000. 1he sector with the highest VA and employ-
ment was the I1 sector, which accounted or 38 per cent
o the creatie industries` VA and 31 per cent o em-
ployment in 2000.
1he labour productiity o the creatie industries, at
S>63,543 per worker, was close to the aerage seric-
es labour productiity ,estimated to be S>68,850 per
worker , in 2000. 1he VA per worker o the distribution
industries was lower at S>63,452. 1he aerage VA per
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worker in the creative cluster amounted to about
S>63,500.
Lxports o the creatie industries, at S>536 million
in 2000, are modest as many o these industries
produce serices catering to Singapore residents.
Ioweer, the downstream distribution industries
hae a relatiely high export content, totaling S>3.13
billion in 2000. 1he total exports o the creatie
cluster in 2000 were S>3.6 billion.
lrom 1986 to 2000, the creatie industries grew by
an aerage o 1.2 per cent per annum, as compared
to aerage annual GDP growth o 10.5 per cent.
Growth of the creative cluster during this period
was 14.0 per cent per annum. 1he creatie indus-
tries had consistently grown faster than Singa-
pore`s oerall GDP in the periods. Growth in the
creative industries had maintained a relatively high
rate o around 12.9 per cent per annum between
1995 to 2000, as compared to 5.8 per cent or the
oerall economy. I the distribution industries,
which have grown more weakly in recent years,
are taken into account, the growth of the creative
cluster, at 8.6 per cent per annum, still exceeded
GDP growth during the period 1995-2000.
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A global phenomenon....
Special Efforts &
Government Policies And
Programmes
INTERNATIONAL
ACTION
DLSIGN 2005! ,lINLAND,
1he Design 2005! programme sets the objecties or the
public sector in the development of Finlands design
system, which is to enhance competitiveness through
the development of education, training and research in
the design eld and the integration o design into the
deelopment o the national innoation system. It also
seeks to develop a national design culture of interna-
tional renown to strengthen the national identity and
cultural image o linland. Design policies are jointly
crated by the linnish Ministry or 1rade & Industry,
the National lund or Research & Deelopment, the
Ministry o Lducation, the Ministry o loreign Aairs
and the Ministry o Culture.
DLSIGN IRLLAND
Lnterprise Ireland, a national economic deelopment
organization, launched Design Ireland to brand` Irish
design and promote the value of design in all aspects of
the Irish economy. It has embarked on trade missions to
pursue new international partnerships in design.
1IL GLASGO\ COLLLC1ION ,SCO1LAND,
1he Glasgow Collection was created as part o the city`s
eorts to promote Glasgow as a centre o design. Lach
year, the Glasgow Collection will und the design o at
least 15 exciting and innoatie new products, with the
aim of taking a number of prototypes to production and
working with local manufacturers to create products that
help local businesses become more competitie.
SINGAPORL
The Opportunities and Challenges to the Creative
cluster in Singapore
Opportunities :
1. Strong supporting actors such as good I1
and telecommunications infrastructure,
2. Its reputation as a regional nancial hub
and stable governance, etc, stand Singapore
in good stead to develop the creative
industries.
3. A cosmopolitan and well-educated popula
tion can serve as a test-bed for innovative
products and services
4. 1he Goernment has already inested more
than >1 billion in deeloping world class
arts and cultural infrastructure
Challenges:
1. Singapore`s limited local market size means
that industry growth will have to be driven
94
by an export-driven approach targeting
global markets
2. 1he lack o nancing options or creatie
industries limits industry growth.
3. 1he high business costs in Singapore puts
off potential investors
4. 1he relatiely low leel o priate sector
partnership and sponsorship for arts and
cultural events in Singapore limits the growth
and ibrancy o the and cultural scene.
Singapores Targets for 2012 include:
1. Double GDP contribution o the
creatie cluster rom an estimated 3 in
2000 to 6 in 2012, and
2. Lstablish a reputation or Singapore as a
New Asia Creatie Iub. 1he industry-spe
cic isions are to deelop Singapore into:
3. A Renaissance City - a highly innoatie
and multi-talented global city for arts and
culture` |Renaissance City 2.0|
Strategy 1: Build Creatie Capabilities
1.1 Lmbed Arts, Design and Media within All
Levels of Education
1.2 Lstablish a llagship Art, Design and
Media Uniersity Programme
Strategy 2: Stimulate Sophisticated Demand
2.1 Lstablish a Percent-or-the-Arts` Scheme
to Promote Public Art
2.2 Deelop lusion Library Space or the
People
2.3 \ork with CDCs to Deelop Creatie
1owns`
2.4 Deelop a Virtual Cultural Resource Net
work
2.5 1ransorm Singapore Art Series into
Singapore Biennale to Enhance Singapores
International Prole
2.6 Deelop a New Museum o Modern and
Contemporary Art
Strategy 3: Deelop Creatie Industries
3.1 Promote Arts and Cultural Lntrepreneurship :
- MI1A agencies to work with Singapore
1ourism Board to deelop cultural tourism
- National Arts Council to deelop arts and
design industries
- National Ieritage Board to exploit Singa
pores 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]
Strategy 1: Integrate Design in Lnterprise
1.1 Identiy and Deelop Iconic Singapore
products and Services
1.2 Promote Design in the Public Sector
1.3 Raise Business Awareness o Design
Excellence
1.4 lacilitate Use o Design by Businesses
Strategy 2: Deelop a Vibrant & Proessional Design
Community
2.1 Lstablish a llagship Uniersity Program in
Art, Media and Design
2.2 Lnhance Design Lducation in Secondary
Schools, Polytechnics & Arts Schools
2.3 Lstablish Design 1estbeds
2.4 Lnhance Proessional Standing o
Designers
Strategy 3: Position Singapore as a Global
Design Iub
3.1 Lstablish a National Design Council
3.2 Anchor International Design Companies
and Actiities in Singapore
3.3 A National Marketing and Branding
Strategy
Strategy 4: loster a Design Culture & Awareness
4.1 Lmbed Design in All Leels o Lducation
4.2 Bring Design Lerywhere
4.3 Design in the Mass Media
A Global Media City with a thriving media ecosystem rooted in
Singapore with strong international extensions [Media 21]
Strategy 1: Deelop a Media City in Singapore
1.1 Deelop Mediapolis One North
1.2 Lnhance Applied Research in Digital
Media
1.3 Specialise in Digital Post-Production
1.4 Lxpedite National Deployment o Digital
Media Services
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Strategy 2: Position Singapore as a Media
Exchange
2.1 Introduce 1ax Incenties to Attract Media
Inestments
2.2 Lstablish a Loan lund or Copyrighted
Media Materials
2.3 Attract Media linance Companies and VCs
2.4 Create and Manage a Registry o Media
Copyrights
2.5 Grow Media Markets Singapore
Strategy 3: Lxport Made-by-Singapore Content
3.1 Lstablish a Content Deelopment lund
3.2 Deelop Niche Genres
3.3 Increase Bilateral Co-Production
Agreements
3.4 Increase Lxports Promotion
Strategy 4: Augment the Media 1alent Pool
4.1 Lstablish a Media Academy
4.2 Lnhance Specialist Skills
4.3 Create Opportunities or Lxposure
to Worlds Best
4.4 Lmbed Media 1raining into School Curricula
4.5 Lnhance Knowledge o Intellectual
Property Rights
Strategy 5: loster a Conducie Regulatory
Lnironment and Culture
5.1 Lnsure Policies and Procedures meet
International Best Practices
5.2 Lnsure Regulatory Consistency and Clarity
5.3 lacilitate a Production-lriendly
Environment
5.4 Lncourage Industry Responsibility and
Responsiveness
5.5 Increase Public Lducation and
Empowerment
IONG KONG
Developing Hong Kongs creative industries
An action-oriented strategy
Institution building: establishing a ocal point: Currently
no single body is representative of creative industries as
a whole. A ocal point needs to be established to engage
various stakeholders in a productive dialogue, so as to
achiee consensus oer strategy. Should this body be an
inormal ,albeit high-leel, coordinating task orce, like
the coordinating group o the nine proessions ,the pre-
decessor to the Iong Kong Coalition o Proessional
Serices,, or an adequately-resourced promotional agen-
cy with a well-dened mission, such as Creatie Business
Network in the UK \e are inclined to support the lat-
ter, which should be launched as a joint venture between
government and the business sector; however, we draw
no conclusion yet and we remain open-minded.
Whatever model is adopted, the key is for clear leader-
ship to be displayed. An important mark o leadership
is to have a clear vision and strategy, and an actionable
plan. Below are some ideas on a possible package o
actions.
Brand-name projects
Any initiatie to promote creatie industries will hae
to materialize in the orm o some eents and actiities.
It will be particularly useul to deelop representatie
brand-name projects`. 1wo types o such actiities can
be contemplated.
(a) A Major Conference :
A major conerence can be organized as an eent to
draw together stakeholders and the wider community.
A conerence is a ery appropriate means
to launch a new initiatie. \hat is needed
is not a one-off event, but a more lasting
orum which is recognized as the repre
sentatie eent or the creatie industries.
1hus it should be dierent rom the ideas-
seminar currently being organized by the
CPU.
1hat conerence should be a signature eent`
or the creatie industries. It will hae to be
very well prepared if it were not to become a
one-o. 1he UK`s Creatie Conerence could
be one useul model or reerence. It could be
held once a year or once eery two years.
1he ambition should be or Iong Kong to
deelop this eent into Asia`s creatie
industries conerence`.
(b) Flagship projects.
Singapore is developing MediaLab as one of her
showcase projects or creatie industries. Iong Kong
should hae our own nagships. 1hese do not hae to
be created anew; instead they can be built upon some
existing projects.
1he \est Kowloon art and cultural district
can be promoted well in advance, to height
en expectation. Ioweer, it will take many
years to materialize, so other nagships with
more immediate results should also be
deeloped.
96
A possibility is to assist the newly created
Design Centre to become a renowned
institution among similar organizations in
Asia. 1here is much motiation and drie
among practitioners to help the Design
Centre excel, and this should be leeraged
upon. A more ambitious strategic plan and
a marketing plan or the Design Centre
would be a good rst step.
Another possible project is to build upon
the Cattle Depot Art Village and to take it
to a higher leel`, making it a unique icon
o Iong Kong.
(c) Regular programmes :
Apart rom big eents, the creatie industries initiatie
should be supported by a series o regular programmes.
Already many actiities are being organized by indiidual
sectors on their own, but the challenge is to coordinate
and sustain these activities to build up a cumulative im-
pact. 1his, again, highlights the need or a body to act as
ocal point to lead the initiatie and coordinate eorts.
1he ollowing are some o them:
1. A job-placement scheme or indiidual
creative industries practitioners, such as
artists and designers, to undertake small-
scale jobs required by the business or
public sectors. 1he Design Centre could
be inited to administer this project.
2. A public art initiatie with the District
Councils.
3. Blending in with the local industries`.
Creatie industries can be made a theme in all
related schemes, e.g. establishing a creatie
industries corner with an emphasis is on
creatiity, district character and local context.
1he support and inolement o NGOs rom
the third sector` should also be sought.
4. Promoting creatie industries to youngsters,
starting with the C Generation` workshop
on creatie industries organized by the Iome
Aairs Bureau.
5. Lxternal promotion: 1here is not yet any
overseas outreach programme for our
creatie industries. A useul rst step would
be to arrange an informal roundtable discus
sion with the ollowing:
1rade Deelopment Council, or export
promotion;
Inest IK, or reputation` promotion,
Iong Kong 1ourism Board, or promotion
to tourists.
(d) Development projects
Indiidual sectors o the creatie industries should be
encouraged to plan and execute their own development
programmes, making use of existing funding schemes
such as that o the Art Deelopment Council, the SML
Deelopment lund, and the Community Deelopment
lund. 1he bureaucracy around these unding 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
o these schemes.
lor the longer term, a major groundwork required is to
dene the needs and identiy opportunities and challeng-
es or the sector as a whole. Besides the current study by
the Central Policy Unit, a ull-scale research is needed
on the market opportunities, the needs of the respective
sectors, and the role o dierent stakeholder groups.
As regards strategies specically based upon the indus-
tries themselves, the scope of regeneration could be
classied in three categories as ollows: 1, Clustering o
industries or themed deelopment, 2, Ieritage,tour-
ism related, 3, llagship project.
Clustering Of Industries For
Themed Developments
Following the preliminary spatial mapping of the cre-
ative industries, certain clustering effect could be identi-
ed in some o the creatie sectors. lor example, art and
antiques shops hae deeloped certain regional base with
galleries, there is also anity between architecture,inte-
rior design companies with the distribution of retailers
and suppliers of building materials and products; cer-
tain publishers ,newspapers and magazines, are in close
proximity to concentrated areas o printers. Regenera-
tion of these districts should therefore take into account
the existence of these patterns of business activities as
perhaps a theme or deelopment. \here co-location has
not happened spontaneously, it is worthwhile to study
whether a clustering strategy would provide synergy for
those industries, e.g. adertising, design and media re-
lated businesses, as in the concept of art or artist village,
currently under study by IAB ,Iome Aairs Bureau,
to develop such clusters in disused factory buildings in
arious districts. Reerences are the cultural creatie in-
dustries park,hub being explored in 1aiwan and Singa-
pore, the Malaysian Multimedia Super Corridor in Kuala
Lumpur and the cultural industries satellite centers such
as Puchon in Seoul, South Korea.
Heritage/tourism Related Developments
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Ieritage and historic buildings are cultural resources to
be deployed in urban regeneration programmes. 1hese
will be indispensable in developing cultural tourism as
aliated creatie industries and the multiplying eects
to the whole economy cannot be underestimated. 1he
identication o these resources and their strategic com-
bination with business development plans are currently
in the portolio o the Urban Renewal Authority which
works closely with Lands and the Planning Depart-
ment, in addition to the 1ourism Board. More proposals
such as the Marine Police Ieadquarters Redeelopment
should be organized along this line o thinking to amal-
gamate planning deelopment with tourism eorts.
Flagship Projects
In connection with culture and creatie industries, nag-
ship projects become symbols of cultural status, and have
enormous appeal in branding and identity. 1he Gug-
genheim Museum in Bilbao o Spain, the 1ate Modern
Gallery in London and the Esplanade in Singapore are
recent nagship deelopments that help market the cities
as icons o contemporary culture. 1he \est Kowloon
Cultural Centre Deelopment has the potential to be a
major nagship project on the world stage.
1he ultimate orm o synergy between culture and ur-
ban deelopment is perhaps maniested in nagship proj-
ects, which has since the late 190s been a major strategy
in the marketing and branding o cities. In Iong Kong,
nagship deelopments are not unamiliar to the citizens.
1he building o the Conention & Lxhibition Centre
Lxtension and the Chek Lap Kok International Airport
are just two well-known nagship projects to be complet-
ed in time or the 199 Iandoer o Iong Kong to the
Mainland. 1he building o Disneyland and Cyberport
are two recent examples yet to be completed.
1o urther promote and galanise the design industry in
Iong Kong, the Iong Kong Goernment, in particular
the 1echnology and Innoation Commission, supported
the setting up o the Iong Kong Design Centre in the
Ieritage Building as the home to the new Iong Kong
lederation o Designers.
1AI\AN
1he deelopment o the cultural and creatie industries
is a new policy. 1o lead in the deelopment, the Coun-
cil or Cultural Aairs specially planned nagship plans
according to the actual needs for the purpose of dem-
onstration during the promotion process. In 2003 two
nagship plans were launched. 1hey are themed on the
ceramic arts` and Clothing Party`.
The Ceramic Project Flagship Plan:
1hrough promotions o the 1aiwan ceramic market,
rooting of ceramic culture, ceramic product annual re-
iew, and upgrades o the international image o 1ai-
wan ceramics and design abilities, this plan is expected to
solve the problems faced by the ceramic business opera-
tors in 1aiwan, enlien the ceramic trading market, and
uplift the general energy level of the cultural and cre-
atie industries. 1he ollowing e projects are included
in the plan :
1, Orchid Planter Design Deelopment
Project
2, 1aiwan Brand, Dazzling Ceramics` - line
Ceramic Dinner \ear Design,
Deelopment, and Promotion Project
3, Ceramic Product Annual Reiew Project:
4, 1aiwan Contemporary Ceramic Dinner
\ear Deelopment Inormation Collection
and Promotion Project:
5, Lncourage Measures or Creatie Ceramic
Product Deelopment Project
Taiwan Culture Style Fashion Design:
Clothing Party:
In seeking and exploring the cultural characteristic o
1aiwan ashion, upgrading the cultural contents o tex-
tile, fabric, and fashion in the country, and open a new
way or the new style 1aiwan ashion, the Council has
planned to hold a lashion Show titled Clothing Party
- the laces o the 1imes` & 1aiwan Clothing Party
- lashion and Styles` at the national Palace Museum.
1hrough brainstorming and exchanges, the designers
joined to open the international market or 1aiwan ash-
ion. Promotions o 1aiwan Clothing Party` include
formation of a fashion designer team, international ex-
change - 1hinking Globally`, and actiities o 23 de-
signers to Paris or bilateral exchanges on ashion de-
sign.
1hrough the our sub-projects - Deelopment o ab-
ric production in 1aiwan`, lashion Innoation Brain-
storming Session`, 1hinking Globally`, and lash-
ion Shows`, the Council attempts to inspire designers`
creativities and coagulate a consensus in the industry
through various aspects of the culture and actively seek-
ing outlets or 1aiwan style ashion and products.
Metal/Jewellery and Paper Arts
Promotion Project:
Following the effects of special projects in upgrading
the ood, ashion, and liestyle arts o the citizens in 1ai-
wan through demonstratie nagship plans, the Council
or Cultural Aairs continues to launch and plan the
Metal,Jewelry and Paper Arts Promotion project which
will eature the ollowing programmes:
98
Complete public listings or an alliance ormed
between product deelopment projects and 50
crat workshops and shops.
Deelop and promote 630 pieces o metal art
at the presentation show lashion Arty`.
Conduct inestigations o the paper industry
and carry out traditional paper reial plan.
Conduct paper crat competitions ,includ
ing paper packaging, cross-eld paper
lighting decoration, and opera styles,.
Conduct pan-Asia paper crat industry
series publications, seminars, demonstration,
and obseration conerences.
SOU1I AlRICA
South Arican administration will ocus on the ollow-
ing interentions relating to Arts, Culture and Ieritage
within the Creatie Industries Sector during 2006,.
A SAR100 million inestment will be chan
neled into the creatie industries: lm, crat,
music, television, books, publishing to make a
major contribution in closing the gap between
lirst and Second Lconomies.
We have found new ways to increase our par
ticipation in these markets. In act, it is our
responsibility to accelerate growth in these
sectors.
Launch Hubs in craft and music
industries.
Boosting publishing through promoting lit
erature in the indigenous language:
A National Book and Publishing Strategy, is at
an adanced stage o nalization,to stimulate
the publication and export onocal literature.
Black Lconomic Charter or the
Publishing Industry:
1hrough the Moshito Music Market and the
South Arican Music Lxport Council ,Samex,,
an enabling environment is being createdfor
small scale music recording labels to grow their
artist rosters. 1his is intended to, ultimately,
break up the monopolies in the industry.
1hese deelopments hae the potential to create em-
ployment or oer 5000 people in the next 3 - 5 years.
1) Local is Lekker! :
Intensiy the deelopment o local, South Arican con-
tent in the creatie industries. 1his is to promote growth
and to enable export o Proudly South Arican` prod-
ucts and thus ignite national pride.
2) Closer collaboration within government
and associated institutions:
1he deelopment and promotion o indigenous artis-
tic products requires synergies with other organisations
that share our ision. Oer the last ew years we hae
strengthened relations with the D1I, Department o
Communications, National lilm & Video loundation,
the International Marketing Council, Independent De-
elopment Corporation and the South Arican Broad-
casting Corporation, to name a ew.
3) Employment through Skills Empowerment:
Inesting In Culture` programmes continue to pro-
vide opportunities to train cultural workers such as tour
guides, musicians, dancers, choristers in groups, orators
as well as artists in the tourism sectors. 1his is a strategic
intervention that adds value to this industry and brings
more poor people into the economic mainstream.
4) Training Opportunities in Design, Fashion
& Film-making:
Partnering with the Media Adertising, Publishing, Pack-
aging and Printing MAPP-Seta to acilitate training.
5, 1raining programmes to showcase the essential
link in the chain joining artistic practice and economic
actiity in 1he eld o Crat and lilm.
6, 1he DAC has a partnership with Australia`s
Monash University satellite campus in Sandton to train
young lm makers in lm techniques, or example, cam-
eramen and lighting designers and lm editors and sound
recorders.
, 1hrough Inesting in Culture` programme
links have been developed with a United States-based
company to market SA products in selected exhibition
platorms oerseas.
8, 1he National Archies building in Pretoria is
being reurbished and new inrastructure deeloped. In
act, a whopping R00 million extension to the National
Archies has been approed and is in the design phase.
9, A massie R1-Billion will also be made aailable
oer the next three years to und public libraries. 1his is
to ensure the transformation of the sector and promote
o a reading culture.
10, Signicantly, a charter similar to that or the
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Books and Publishing Industry is also being prepared
or the libraries.
11) Launch of African World Heritage Fund:
In 2005 South Arica hosted the \orld Ieritage Com-
mittee Session in Durban. Arising rom that coner-
ence, SA will launch the Arican \orld Ieritage lund
to maintain and presere heritage sites on the continent.
1his will, ineitably, promote tourism and encourage
economic actiity.
12) Sustainable income for Artists:
Establishment of four ensembles that provide sustain-
able jobs or artists. 1his is important, not only to high-
light world class talent but to nurture and keep South
Arican musicians here at home.
13) An Art Center in Every Locality:
1urning Community Arts Centres into centres o ex-
cellence`, which oer training in nancial management,
marketing and labor relations to emergent and estab-
lished artists. 1his will open up new aenues to youth
and women.
14) Promote National Identity & Pride:
1he campaign to deelop and popularize National Sym-
bols to galanize South Aricans into deeloping a sense
o nationhood will be intensied this year.
15) Youth & Vuku-Zenzele:
SA has won the bid to host the world 16th \orld Coun-
cil Assembly in conjunction with the Arica Alliance
o \oung Men`s Christian Association. 1his will be an
opportunity to involve youth volunteers as helpers and
workers or the \orld Council.
16) Renaming Programme:
\e will continue to popularize procedures and policies
that goern the naming o geographical eatures. 1his
will be done in the spirit of the building of a new nation
with a new sense o identity.
17) Training in Indigenous Languages:
Language Research and Deelopment Centers will im-
part skills to local communities in research methods,
lexicography and terminography.
18) Anniversaries and Special Projects:
llagship projects or the year 2006 shall be the celebra-
tion o a number o signicant dates and the eents
around them. 1hese include:
a, 1he centenary o the Anti-Poll 1ax
Uprising o 1906 ,also known as the Bham
batha Rebellion);
b, 1he 50th Anniersary o the \omen`s
Anti-Pass March o 1956.
c, 1he 30th anniersary o the Soweto
Students Uprising
d, 1he 20th anniersary o the death o
President Samora Machel in Mpumalanga
e, Centenary Celebrations o Mahatma
Gandhis Satyagraha
, 10th anniersary o the SA Constitution
g, 10 anniersary o the 1ruth and
Reconciliation Commission
h, 50th anniersary o the 1956 1reason 1rial
i, South Arica will also play host to: An
International Conerence o Arican
Intellectuals co-sponsored with the Arica
Institute o SA, the SABC and the DOC
j, 1he \MCA \orld Conerence in July
k, Closing Ceremony at the Soccer \orld
Cup in Germany in June 2006
l, \ill host a Regional and Diaspora
Conerence on Cultural Diersity in March.
UNI1LD S1A1LS Ol AMLRICA
1he Center or Arts and Culture stries to oster a na-
tional conersation about America`s cultural wealth and
well-being. During 2001, the Center will be issuing a
series o brieng papers that we hope will deepen the
discourse about America`s artistic creatiity, imaginatie
spirit, cultural life, and the preservation of its cultural
heritage. 1his paper, the rst in the series, ocuses on
four structural recommendations that are intended to
improe ederal policymaking in these areas. 1he Center
oers these or discussion, debate, and urther rene-
ment. \e recommend that:
1. 1he President establish a mechanism to
advise and coordinate cultural affairs in the
Lxecutie Oce o the President.
2. 1he Department o State establish an
Under Secretary or Cultural Aairs.
3. Congress deelop more comprehensie
and integrated approaches to policies
aecting cultural aairs.
4. Congress and the President create a
National lorum on Creatiity and Cultural
Ieritage.
Policymaking at the ederal leel releant to the arts, hu-
manities, and cultural preservation often has been frag-
mented and tul. 1he Center`s our proposals aim to
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
global, knowledge-based society.
100
T H E W O R L D
C 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
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