Opus Creative Economy Outlook 2019

Opus
OPUS CREATIVE ECONOMY OUTLOOK 2019

1
Creative Economy
Outlook 2019
2 OPUS CREATIVE ECONOMY OUTLOOK 2019
3
5
“If we try to compete with

Germany and China in
hightech industries, we’ll lose.
But in Creative Economy, the
odds are in our favor!”
- Joko Widodo, President of The Republic of Indonesia.
ADVISOR: Fika Aprina Jasmine

Triawan Munaf Joko Bramantio
Ricky Joseph Pesik Nurhani Yatimah
DIRECTOR: CONTRIBUTORS:
Abdur Rohim Boy Berawi Iqbal Bachtiar
Mauliandini N.N
PERSON IN CHARGE: Sarah Gracia Keinamada
Wawan Rusiawan Sistri Riska Andini
Edwin Muhammad Fadholi
EDITORIAL TEAM: Yanuar Arief
Dian Permanasari Christina Sariowan
Rizky Deco Praha Ary Afiatur Rahman
Celsius Creative Lab Anton Suprayogi
Debby Permatasari
EXECUTIVE TEAM: Usamah Widyatmo
Dian Permanasari Adzania Wulandari
Rizky Deco Praha Yusuf Rahmadi K.
Sri Handoyo Mukti Biondi Nasution
Socia Prihawanto Yoannes Baptista E. W.
Heri Apriyanto Angelina Egawati
Hermawan Prasetya Arief Wahyu Megatama
Agus Sucipto Irfan Zayanto
Atikah Nur Pajriyah Rozin Fathur Rahman
Muhammad Sukma Dyah Nita
Mahfud Ainun Najib Anisa Citra
Masfuhurrizqi Iman Bagus Ghufron
Rizka Dyah Utami M. Hafizh Zulfikar
Foreword
Along with Indonesia’s economic prospect which is projected to become one of the largest economies
by 2030, Creative Economy in Indonesia is also poised to grow into one of the world’s creative
industry powerhouses. The outlook that Indonesia’s Creative Economy will become the country’s
newest economic pillar is starting to materialize, as can be evidenced from the positively rising trends
of the Creative Economy’s Gross Domestic Product (GDP) contributions towards the national GDP.
The Indonesian Agency for Creative Economy (BEKRAF) is the Indonesian Government’s initiative
to provide breakthroughs as well as support for this burgeoning economic sector, with the aim of
exploring the potential and maximizing opportunities while overcoming the challenges of the Creative
Economy in Indonesia. The Indonesian Agency for Creative Economy was officially formed on
January 20, 2015, based on the Presidential Regulation Number 6 of 2015 concerning the formation
of The Indonesian Agency for Creative Economy.
Every BEKRAF program and activity seeks to fulfill its vision of increasing the GDP, export value, and
labor in the Creative Economy sector. To realize this vision, BEKRAF has a mission to build a solid
and productive Creative Economy ecosystem through the publication of an outlook book containing
updated data, information and reports on Creative Economy in Indonesia. Opus 2019 is one
manifestation of such a mission.
As an annual book, Opus is designed to be used as a guidebook or point of reference for governments
and Creative Economy players to allow them greater insights on the Creative Economy sector in
Indonesia and continue creating high-quality, appealing contents and works.
We sincerely hope that this Opus 2019 book in your hands right now can provide you with the latest
insights and information regarding the Indonesia Creative Economy along with its opportunities in the
next year.
On behalf of BEKRAF, I would like to extend my deepest appreciation and gratitude to the many
parties who have participated in the making of this Opus 2019 book. We hope that this book can
serve all Creative Economy players in Indonesia and other stakeholders.
JAKARTA, OCTOBER 2018

CHAIRMAN OF CREATIVE ECONOMY
AGENCY OF REPUBLIC OF INDONESIA
TRIAWAN MUNAF
7
Table of
Preamble Insights
12 - Where We Stand Today 22 - Insight 2018
16 - Where We Are Heading 30 - Forecast 2019
18 - A Portrait of Indonesia’s
Creative Economy
Content
Updates On BEKRAF Activities Epilogue
Creative Economy 2017 – 2018
Sub-Sectors
34 - Architecture 78 - Deputy of Research, 140 - Global Economic

Education and Development Prospects
36 - Interior Design
94 - Deputy of Access to Capital 141 - Indonesia’s Economic
38 - Visual Design Conditions
108 - Deputy of Infrastructure
40 - Product Design 142 - Indonesia’s Creative
118 - Deputy of Marketing Economy Prospects
42 - Film, Animation and Video
124 - Deputy of Facilitation of
46 - Photography Intellectual Property Rights
and Regulation
48 - Craft
130 - Deputy of Institutional
50 - Culinary and Regional Relation
52 - Music
54 - Fashion
58 - Application dan Game

Developer
62 - Publishing

66 - Advertising

68 - Television dan Radio
70 - Performing Arts

72 - Fine Arts
Preamble
What Is Creative Economy?

John Howkins, the so-called “Father of the The Creative Economy’s primary resource is
Creative Industry,” defines Creative Economy creativity, which is the quality to invent and
as a new economic system that deals in ideas create new ways of thinking as well as unique
and money. In his seminal book The Creative products which offer real-world solutions to
Economy: How People Make Money from existing problems.
Ideas (2001), Howkins wrote how the Creative
Economy is the first kind of economy where Yet, perhaps the most important distinction
imagination and ingenuity drives what people between true Creative Economy and other
desire to do and produce. creative ventures is the economic value that
Creative Economy can generate. A creative
It is a new, novel economic paradigm which rely venture, if undertaken as merely a hobby and
on ideas or creativity generated by individuals not an economic one, does not fall under the
as its core product instead of hard commodities Creative Economy umbrella.
produced by machines, which nonetheless
carry the potential to affect systemic changes in
society.
“Creative Economy is the materialization of added

values from an intellectual property born of the human
creativity, based on science, culture, and technology.”
Republic of Indonesia Creative Economy Bill
ADVANTAGES OF CREATIVE ECONOMY VS. TRADITIONAL ECONOMY
Improve Living Standards and Aver-

age Salaries:
The rapid development of the In-
donesian Creative Economy sector
and the large potential of its market
will encourage Foreign Direct
Low Cost: Collaborative:
Investment into the country
The Creative Economy sector The Creative Economy is
requires little to no upfront capital, collaborative and communal,
unlike traditional sectors which bringing together various
require heavy investments in ma- individuals from different fields
chineries or plants and backgrounds
Environmentally friendly: Promote Indonesian IP:

The Creative Economy does Intellectual Property Rights are
not tax the environment, since highly valuable assets not only for
the primary product is human the individual creators, but also
creativity for the culture, nation and state of
Indonesia
Higher Value Economy: Flexible:

Creative Economy has high The Creative Economy is, by
added value, both culturally nature, flexible and not rigid like
and economically Low Barrier to Entry: traditional industries, and can
The Creative Economy sector has better adapt to a rapidly changing
a relatively lower barrier to entry environment
compared to traditional sectors,
which may require a large capital or
industries certifications
13
Where We Stand Today
In 2015, Ernst and Young (EY) released the In Indonesia, the seeds of the Creative Economy
first-ever Creative Economy study of its kind, was first planted during the 2007 Indonesian
which revealed that the Cultural and Creative Cultural Product Week. In 2009, the Indonesian
Industries (CCI), as it was termed, was worth 2.3 Government issued Presidential Instruction
trillion United States dollars, or equivalent to Number 6 Year 2009, a pioneer legislation which
3 percent of the total Gross Domestic Product sets forth the roadmap for the Development of
(GDP) globally. Creative Economy and which placed the fledgling
sector squarely on the national stage.
MILESTONES
2007 2009 2011
1st-ever Indonesian Cultural Presidential Instruction No. 6 of Presidential Regulation Number 92

Product Week 2009, pioneer legislation for of 2011 established a new ministry,
Creative Economy in Indonesia namely the Ministry of Tourism
and Creative Economy, with its first
Change of name from “Indonesian minister, Mari Elka Pangestu
Cultural Product Week” to “Indone-
sian Creative Products Week”
2017 2016 2015
Three Sub-sectors, namely the BEKRAF pushed for the creation of The Creative Economy Agency
Culinary, Crafts, and Fashion, a series of legislation addressing the (BEKRAF) was formed under the
became the biggest contributor to fledgling Creative Economy sector administration of Joko Widodo
Indonesia’s Creative Economy GDP in Indonesia and insuring protection through the Republic of Indonesia’s
at 41.69%, 18.15%, and 15.70%, for creative players. Presidential Regulation Number 6
respectively. of 2015. BEKRAF received a direct
BEKRAF began work at various mandate from the President to
regions in Indonesia to build advance and develop the Creative
efficient and conducive Ekraf Economy sector in Indonesia.
ecosystems throughout the
archipelago.
2018
Four out of 16 Sub-sectors were

identified as potential new economic
drivers, namely Film, Music, Fine Arts
and Games (animation). These four
Sub-sectors show the most growth in
2017 and 2018.
The Indonesian Creative Economy possesses In addition to the GDP, Creative Economy sector
tremendous earnings potential and economic also saw an increase in its labor workforce num-
value. According to the results of a joint research ber. In 2016, 16.91 people were actively engaged
between Statistics Indonesia and BEKRAF within the Creative Economy sector. This was an
conducted in 2016, the Creative Economy sector increase of 5.95% compared to the number in
contributed 7.38% of GDP towards the total GDP 2015’s record.
of the country. Value-wise, the Creative Econ-
omy sector is projected to exceed 1,000 trillion
rupiahs in 2017 and increased to 1,102 trillion
rupiahs in 2018.
CREATIVE ECONOMY CONTRIBUTION CREATIVE ECONOMY WORKFORCE GROWTH

TO INDONESIAN GDP: RATE IN INDONESIA (2014-2017)
Creative Economy
2019 – Rp 1,211 T YEAR NUMBER (IN MILLIONS PEOPLE) GROWTH (%)
GDP Projections 2018
2018 – Rp 1,105 T 2017 17.43 4.13%

2017 – Rp 1,009 T
2016 16.91 5.95%
2015 16.06 5.22%
2016 – Rp 922,59 T 2014 15.46 2.94%
2015 – Rp 852 T
CREATIVE ECONOMY WORKFORCE

GROWTH 2016*
National Creative Economy
118,405,188 16,909,690
PEOPLE PEOPLE
3.02%
GROWTH RATE
5.95%
GROWTH RATE
15
INDONESIA’S STARTUP UNICORNS

Sumber: foto istimewa
Go-Jek Tokopedia Traveloka Bukalapak
Valuation Estimation (May Valuation Estimation (May Valuation Estimation (May Valuation Estimation (May
2018): US$ 5 Bn (Rp 69.4 Tn) 2018): US$ 1.062 Bn (Rp 15 Tn) 2018): US$ 2 Bn (Rp 28 Tn) 2018): US$ 1 Bn (Rp 14 Tn)
Leading Investors: Sequoia Leading Investors: Alibaba, Leading Investors: Tencent, Ex- Leading Investors: Emtek, 500
Capital, Temasek Holdings, CyberAgent Ventures, SIMI pedia, East Ventures, JD.com Startup, dan QueensBridge
Google Inc, Tencent, JD.com, (Softbank Internet and Media Venture Partners
Meituan-Dianping, KKR, War- Inc.), Sequoia Capital, SB Pan (Unicorn status achieved)
burg Pincus, Farallon Capital, Asia Fund 2017: US$ 500 Mn (Rp 7 Tn) Funding Milestones:
Capital Group Markets, GDP Not published
Venture, Rakuten Ventures, Funding Milestones: (Unicorn status achieved)
Allianz, dan Astra International 2011: US$ 700 Mn (Rp 9.8 Tn) 2018
(Largest funding in Indonesian
Funding Milestones: startup history)
2016: US$ 550 Mn (company
valuation: US$ 1.3 Bn) 2014: US$ 100 Mn (Rp 1.3 Tn)
2017: US$ 1.2 Bn (Rp 17 Tn) 2016: US$ 147 Mn (Rp 2 Tn)
(Unicorn status achieved)
2018: US$ 150 Mn (Rp 2 Tn)
2017: US$ 1.2 Bn (Rp 15 Tn)
Where Are We Going?

From the IMF research, Indonesia’s economic The government realizes the great potential
position in 2016 was ranked 8th with a total GDP of this emerging sector and sets out several
of US$ 3,028 billion. In line with this research, initiatives designed to promote growth, including
PwC predicts that Indonesia can become the forming BEKRAF, the specialized agency tasked
world’s newest “superpower,” occupying fifth with developing the Creative Economy sector.
position in 2030 and fourth in 2050, capitaliz-
ing on its relatively high economic growth and With the establishment of BEKRAF, Indonesia
demographic bonus momentum. This position joins the rank of only a handful of developed
will set Indonesia up as a big emerging market economies which have focused their efforts in
considering Indonesia’s position as the country tapping onto the potential of the Creative Econo-
with the strongest economy in Southeast Asia my including Britain, South Korea and Australia.
today. Indonesia also has other potentials within As part of its efforts to develop Creative Econ-
the Creative Economy sector that continues to omy in Indonesia, BEKRAF provides facilitation
see positive growth and development in terms of and assistance to creative players in the form of
its contribution to the national economy. funding, domestic and foreign marketing, educa-
tion and workshops, as well as other facilitation
and assistance.
SALES IDEA / PRODUCT
BEKRAF
Building A Cohesive
Creative Economy
Ecosystem
MARKETING PRODUCTION
INTELLECTUAL
PROPERTY
FACILITATIONS EXTENDED TO CREATIVE ECONOMY PLAYERS BY BEKRAF:
Education
Free education and training programs, in various regions in Indonesia. Read more:
IKKON :IKKON (Page. 87), Coding Mum (Page. 80),
Capital Access
Facilitates and connects local creative players with investors.
Read more: DEUREUHAM (page. 99).
IP Facilitation and Regulation i

Facilitates submission of IPRs for creative players and providing information related
to IPRs in digital applications format, forming anti-piracy task forces, and holding
free IPR consultancies. Read more: (page 126)
17
Source : ISMAYA GROUP
INDONESIA’S GLOBAL
GOVERNMENT FACILITATION
RANKING BASED ON
LARGEST ECONOMY US$ 130 Bn AND SUPPORT FOR THE
(PROJECTIONS FROM Projection for Indo- CREATIVE ECONOMY SECTOR
8
PWC, 2018) nesia’s Digital Econ-
omy in 2020 (11% of
CONSTRUCTION OF THE
2016 national GDP)* PALAPA RING, WHICH WILL
Rank *Source: Minister of Communication SERVE AS THE BACKBONE OF
and Information, Rudiantara THE NATION’S DIGITAL ECO-
NOMIC ECOSYSTEM
5
RP 1,105 T* BUILDING 4G NETWORK CON-
NECTIVITIES THROUGHOUT
2030
GDP GROWTH THE ARCHIPELAGO
Rank
TARGET FOR ISSUED THE E-COMMERCE
THE CREATIVE ROAD MAP, A ROADMAP FOR
4
ELECTRONIC-BASED NATION-
ECONOMY AL TRADE SYSTEM
2050 SECTOR IN 2018 ESTABLISHED BEKRAF, THE
STATE-MANDATED CRE-
Rank
ATIVE ECONOMY AGENCY
TASKED WITH DEVELOPING
THE CREATIVE ECONOMY IN
INDONESIA
7º
A PORTRAIT OF To better meet the Creative Economy sector’s

INDONESIA’S need of accurate, updated information regard-
ing the creative industry and its related periph-
CREATIVE ECONOMY eries, BEKRAF, along with Statistics Indonesia
regularly conduct and release annual reports
highlighting the performances of the Creative
Economy Sector in the previous year. In this
year’s report, the data presented herewith are
taken from the combined surveys conducted
by BEKRAF and Statistics Indonesia in 2017
and highlights finalized data recapitulations
from 2016. Meanwhile, data for 2017 will be
presented at the end of 2018.
8,203,826
TOTAL NUMBER
OF BUSINESSES IN
CREATIVE ECONO-
MY SECTOR 2016
Provinces With Largest Creative Top 5 Provinces With Highest Contri-
HIGHEST GROWTH SUB- Economy GDP Contribution 2016 bution to Creative Economy GDP 2016
SECTORS IN CREATIVE
ECONOMY 2016

Yogyakarta — 16.12%
Bali — 12.57%

West Java — 31.96%
East Java — 24.36%
West Java — 11.81% Banten — 15.23%
East Java — 9.37% Central Java — 14.49%
North Sumatra — 4.77% DKI Jakarta — 8.97%
TV Film,
CREATIVE ECONOMY GDP SHARE, TOP
& Radio Animation & 5 PROVINCES VS. 29 OTHER PROVINCES
Video 2014-2016
— —
5 29
10.33% 10.09%
Provinces Provinces
48.04% 51.96%
Performing Communication
arts Visuals
(Yogyakarta, Bali, West Java, 29 Other Provinces
— — East Java, North Sumatra)
9.54% 8.98%
7119
TOP CREATIVE ECONOMY EXPORT

COUNTRIES 2016 (% TOTAL EXPORT)
Rp 19.98 Bn
Creative Economy
Export Value 2016
United States 30.24%
Swiss 0.45% Vs.
Japan 6.79% Rp 19.33 Bn

Creative Economy
Singapore 6.14% Export Value 2015
Germany 4.43%
Top 3 Creative Economy

Exports 2016
1 out of 5
WORKER IN
(Based on Sub-Sectors) THE CREATIVE
ECONOMY
Fahion — 54.54% SECTOR IS
Craft — 39.01 AGED 20-24
Culinary — 6.31% YEARS
PROFILE OF CREATIVE ECONOMY LABOR 600 Mn

VS. NATIONAL LABOR 2016
ESTIMATED TOTAL
POPULATION IN
SOUTHEAST ASIA
250 MN ESTIMATED
CREATIVE ECONOMY NATIONAL TOTAL POPULATION
IN INDONESIA
Male: 44.26% Male: 61.60%
Female: 55.74% Female: 38.40%
130 Mn Active Social
Media Users (49%
from total
143.26 Mn 63.5% population.)
Estimated Internet
Internet Users in Source: Digital in 2018 in Southeast Asia
(www.hootsuite.com)
Indonesia Who
Users in Indonesia Had Transacted 7 UNICORN STARTUPS IN
2016 (52% from

Online 2016 SOUTHEAST ASIA
total population.) Source: Tempo.co

4 UNICORN STARTUPS
FROM / IN INDONESIA
Insights
On its second annual publication, BEKRAF, in

cooperation with partner research institutions in-
cluding Statistics Indonesia (BPS), PwC, The Niel-
sen Company (Indonesia), Snapcart, and others,
attempts to present insights and analyses relevant
to the Creative Economy in Indonesia along with
predictions for the future.
This chapter is divided into two parts, name-

ly Insight 2018, which presents the most update
data available at the time of writing, and Forecast
2019, which attempts to present a forecast of the
upcoming trends in Creative Economy as a road-
map for creative players in Indonesia.
INSIGHTS 2019
Sumber: foto istimewa

23
SNAPCART
Founded in 2015, Snapcart aims to become the most reliable

offline data solutions company, working with clients in multiple
sectors from market research to cloud marketing. Snapcart oper-
ates in 4 countries: Indonesia, Philippines, Singapore and Brazil.
The company provides its services to over 30 companies covering
more than 100 brands including L’Oreal, Nestle, P&G and Unilever.
Through its receipt scanning app, point-of-sale app and propri-
etary machine learning, Snapcart collects billions of data points on
an individual shopper and retailer level.
A SNAPSHOT OF SHOPPING BEHAVIOR IN THE INDONESIAN E-COMMERCE MARKET 2018*

*Survey was conducted in July 2018 with 3,286 respondents in Indonesia through the Snapcart application
Gender: Ages: SES:
Female: 51.1% 15-24:

25-34:
35-44:
24.8%
25%
21.9%
A B C1 C2
> Rp 4 Mn)
26.6%
<Rp 1.75 Mn)

(monthly expenditure
27.3%
Rp 2.5 – 4 Mn
26.3%
Rp 1.75 – 2.5 Mn)

19.7%
monthly expenditure
Male: 48.9% 45+: 28.2%
PROVINCES WITH HIGHEST CONCEN-

TRATION OF E-COMMERCE USERS:
MOST USED E-COMMERCE

Greater Jakarta Area 20.4% Dl Yogyakarta 2.7%
PLATFORM IN INDONESIA:
East Java 17.8% Bali 2.6%
Central Java 12.7% Riau 2.4%
Shopee 41.2%
West Java 9.3% East Kalimantan 1.5%
Tokopedia 27.4%
North Sumatera 7.6% West Kalimantan 1.5%
Lazada 13.6%
South Sulawesi 3.7% Riau Islands 1.4%
Bukalapak 12.7%
South Sumatera 3.4% Jambi 1.3%
JD.id 1.9%
Lampung 3.2% South Kalimantan 1.3%
SOURCE OF INFORMATION REGARDING E-COMMERCE:
Social Media (Facebook / Instagram / Twitter,dll) 53.4%

TV 41.7%
AVERAGE MONTHLY
Ads in other online websites 33.8% SPENDING IN E-COMMERCE
Family / Relatives / Friends 29.3% (LAST 3 MONTHS, ALL
Ads in Other Apps 25.9% PLATFORM)
“Social media is
OOH (Ads in Buildings, Offices, Hospitals etc.) 11.3%
the main source
Other 8.5% Rp 101,000 -250,000 40.5%
for e-commerce
related infor- Billboard Ads 8.4% Rp 251,000 – 500,000 27.0%
mation” Ads in Public Transport 7.3% < Rp 100,000 14.7%
News 6.2% Rp 501,000 – 1 Mn 10.3%
Ads in Streaming Music (Joox, Spotify, etc.) 3.4% Rp 1.1 Mn– 3 Mn 5.3%
Booth/Event 3.0%
> Rp 5 Mn 1.1%
Ads in Radio 2.8%
Rp 3.1 Mn – 5 Mn 1.0%
E-COMMERCE SHOPPING FREQUENCY HIGHEST TOP-OF-MIND

E-COMMERCE BRAND
>1x per month 11.9%
1x per week 8.8% Shopee 38.6%
2 – 3x per month 24.2% Tokopedia 26.6%
1x per month 19.7% Lazada 15%
1x per 2 – 3 month 17.7% Bukalapak 13.1%
<6x per month 11.9% Blibli 2%
1x per 4 – 6 month 5.8%
MOST PURCHASED CATEGORIES IN E-COMMERCE
Gadgets & Accessories 34.7%

Digital Products
(Data packages,
mobile games voucher,
social security, electricity, etc.) 34.5%
Personal care & cosmetics 29.2%
Fashion &
Bags 27.7%
Shoes 26.8%
Hobbies & Collections 20.7%
Accessories Groceries
Kids & Baby Products
18.9%
12.5%
48.2%
Home Appliances 12%
Sports & Outdoor 7.2%
Office supplies 5.2%
Sumber: Lulu Lutfi Labibi

25
PWC TRENDING NOW: CONVERGENCE, CONNEC-

TIONS, AND TRUST
PwC is one of the largest professional auditor
services in the world today with over 236,000 In an annual study conducted by PwC, titled
employees spread throughout the world. In Perspective from the Global Entertainment &
Indonesia, PwC Indonesia has become part of Media Outlook 2018-2022, the global Entertain-
the nation’s economic success story for more ment & Media (E&M) industry is believed to be in
than 45 years. the midst of a severe disruption. To succeed and
thrive in the future, PwC inferred that creative
All data is taken and sourced from a special players in each Sub-sector must identify and
report by PwC, titled Perspective from the understand the three trends currently engulfing
Global Entertainment & Media Outlook 2018- the E&M industry: Convergence, Connections
2022 which can be accessed at www.pwc.com/ and Trust.
outlook.
RAPIDLY
EVOLVING
Connections MEDIA Trust
ECOSYSTEM
Specializations and niches

Big Data
Relevance to target audience
Privacy
Technology (AI, VR) Convergence 3.0 Data Security
Distribution of contents
Multiple dimensions
Multiple layers
Vertikal - Horizontal
Horizontal - Vertikal
Supercompetitors
WHAT IS CONVERGENCE 3.0?
In its simplest term, Convergence 3.0 is a phenomenon where

traditional borders that once separated the entertainment and
media, technology and telecom industries are dissolving. Large
Internet access providers and delivery platforms are integrating
vertically, and online giants are expanding horizontally into
content. Traditional segment distinctions are blurring – between
print and digital, video games and sports, wireless and fixed
access, cable and online, social and traditional media.
Convergence matters because it offers a real solution to real-

world problem(s).
CASE STUDY
Amazon
Origin: Online bookstore, founded in 1994 Valuation in 1997: US$ 8 Mn (Series A raised just
Convergence 3.0: Becoming the world’s largest before IPO, June 1996)
internet retailer and e-Commerce platform Valuation in 2018: US$ 1 Tn — Became the second
offering a multitude of entertainment and media company in history to reach a trillion dollars
options offered in both digital, print, and video valuation after Apple Inc. (September 2018), or an
streaming; Becoming a leader in fullfilment and increase of 134,000 (one hundred and thirty-four
logistics services; Becoming a serious contender thousand) percent since IPO in May 1997.
as a technology player especially in A.I.; Ven-
turing into telecommunications with its Amazon Conclusion: Today, Amazon falls squarely under
Web Service in 2006; Venturing into the media the category of a supercompetitor, which will
business with its purchase of The Washington likely continue its course of converging its services
Post in 2013; Venturing into the foods business to further maintain its grip in the market.
with its purchase of Whole Foods in 2017; Ven-
turing into the motion picture business with its
Amazon Studios.
Gojek
Origin: Offline motorcycle taxi service (order by Conclusion: From its humble beginnings in 2010,
phone), started in 2010 Go-Jek has morphed into a giant with holdings in
Convergence 3.0: A convergence of a range of the media, transportation, logistics, advertising,
services covering the traditional motorcycle taxi and even banking. It has been converging horizon-
industry, courier, massage parlor, salon, food tally and vertically over the years, turning it into
delivery, auto rental, bank (payment platform), a supercompetitor which has started to encroach
film studio (Go-Studio); video streaming; and on other sectors. According to a PwC survey
incubator (Go-Academy). Has its own in-house released on July 12, 2018, 72 percent of bankers
creative division to produce vertically-integrated in Indonesia sees Go-Jek as an emerging threat to
contents which are distributed through its own their business.
platform or others.
Valuation in 2010: Rp 5 Bn
Valuation in 2018: Rp 69,4 Tn
Problem: Problem: Problem: Problem: TAKE AWAY

Parking hassle Traffic jams Too lazy to Pressed for time
move In a rapidly changing
world, having access
to the right technology
Problem: Problem: and content, delivered
Comfortable & Alternative payment cost-effectively to the
affordable public system besides debit / right audience who
transportation credit trusts the brand will be
keys that unlock future
Convergence opportunities.
Integrated solution
27
Recipe For Success 2018-2022

Right Technology > Right Content > Right Distribution
Channel > Right Audience > Brand Trust (you have
successfully owned the user experience)
NIELSEN
Nielsen, a leading global information and mea- Top Products / Brands with Highest ADEX in
surement company, provides market research, Indonesia 2017 (in trillion rupiah, rounded decimals)
insights and data about what people watch,
listen to and buy; providing valuable information Meikarta Cikarang 1,539
on specific sectors on request since 1923. In Traveloka 1,137
Indonesia, Nielsen is represented by The Nielsen Indomie 981
Company (Indonesia), which releases its annual VIVO Smartphone 823
ADEX (Advertising Expenditure) report on the Clear Anti Ketombe 795
regular. www.nielsen.com/id SGM Eksplow 1 Plus 770
Kemenkes RI 702
The data used in this report is taken from the 2017
ADEX annual report released by The Nielsen Company Samsung Smartphone 640
(Indonesia). www.nielsen.com/id Dove Nutrition Solutions Total Damage 610
Cap Bango 590
Rp 145.5 T
Total Adspent TV & Print FMCG Sectors with Highest ADEX 2017
2017 (+8% Vs. 2016) (in trillion rupiah) )

ADEX 2017
5.25 Mn Personal Care 24.9
Number of Spots TV & Print Beverage 21.6
2017 (-2% Vs. 2016) Food 19.1

Pharmaceutical 10.4
Household 5.9
Rp 115.8 T
ADEX in TV 2017 (Vs. Non-FMCG Sectors with Highest ADEX 2017
Rp 103.8 T in 2016) (in trillion rupiah)

Rp 28.5 T ADEX 2017
ADEX in Newspaper Telco & Digital

Cigarette 5.4
13.3
2017 (Vs. Automotive 5.4

Rp 29.4 T in 2016) Properti 4.1
Finance 3.4
Rp 1.1 T
ADEX in Magazine & Tab-
loid 2017 (Vs. Rp 1.6 T in
2016)
Databott
HARA
Founded in 2015, HARA is a blockchain-based
data exchange from Indonesia that is focused 92.37%
on improving the asymmetric information in Percentage of Creative
the food and agriculture sector. HARA provides
farmers and all other players in the agricultural Players in Indonesia Using
sector access to reliable data and secure trans- Own Funds
actions. The data exchange ecosystem’s tested
53.49%
incentive mechanisms ensure continuous usage
of the application. HARA’s pilot projects have al-
ready shown an encouraging impact on farmers.
Through a partnership with one of the largest
Percentage of Creative
public banks in Indonesia, HARA has successfully Players in Indonesia
enabled hundreds of farmers in remote villages
to get access to microcredit loans.
Without Legal Entity
This year, HARA focuses its report on the block-
chain technology, a database-like list of records,
88.95%
called blocks, which are linked and secured using Percentage of Creative
cryptography. Blockchain, as one may recall, Players in Indonesia
became popular thanks to bitcoin, an alterna-
tive payment system which besieged the global Without IPR
financial system overnight. In this report, HARA
conducted a study of the Indonesian Creative
Economy and presented the following ideas and
insights regarding ways the creative industry can
utilize this technology to distribute their content
digitally, and help alleviate rampant Intellectual
Property (IP) piracy in Indonesia.
CASE STUDY: SOUTH KOREA
2009
The South Korean government established an agency to oversee
and coordinate the South Korean creative industry
2013
The South Korean President announced a national strategy
towards “Creative Economy” and readied 1 billion US dollars in
funds to stimulate Research and Technology and protection of IP
rights for SMEs.
Any government must take an ac-
tive role in developing the national
Creative Economy, which begins 2016
Export of Korea’s creative culture content increased 9.7% (year-
with efforts to protect its IPs. The on-year) despite the slowdown in the country’s economy
South Korean government is an ex-
emplary case of how a government
can successfully jump-start one of 2019
The South Korean government announced a roadmap to develop
the world’s youngest, most dynam-
its domestic blockchain industry with an investment of US $ 9
ic creative economies in the world. million
29
HILL/ Hakuhodo
Established in 2014, Hakuhodo Institute of Life
and Living ASEAN (HILL ASEAN) is the Hakuhodo
Group’s new think tank in the ASEAN region.
It is dedicated to helping companies with their
marketing efforts in ASEAN countries, as well
as observing the new lifestyles emerging in this
dynamic region and sharing ideas about them.
A SNAPSHOT OF GENDER EQUALITY IN INDONESIA
84 INDONESIA’S 4 INDONESIA’S RANKING ON

GENDER EQUALITY AMONG
WORLD RANKING ASEAN AND ASIA-PACIFIC
ON GENDER NATIONS 2018
EQUALITY 2018
>70%
Percentage of married
couples in Indonesia
who both work (dou-
ble income household)
2018
53%PERCENTAGE OF
MARRIED COUPLES
IN INDONESIA WITH
TASK-BASED SHARING HOUSEHOLD PROFILE 2018
EQUAL DIVISION OF
Wife earns more: 6% WORK (TASK-BASED
Both earn same: 16% SHARING) 2018
Husband earns more 787%
Satisfaction level with this arrangement: Husband: 89%
Wife: 79%
FORECAST 2019
PROJECTED DATA CONSUMPTION BY

CONTENT TYPE (CAGR) 2017-2022
Communications Games 27.8%

28.5%
THE ESSENTIAL EIGHT
Internet of Things (IoT) Video 25.4% Other digital content

24.2%
Robots
Drones
3D Printing
Artificial Intelligence (AI) Music 23.9% Social Networking
20.7%
Blockchain
Virtual Reality (VR)
Augmented Reality (AR) Web Browsing
Source: PwC Global
Entertainment & Media
18.8% Outlook 2018-2022.
www.pwc.com/outlook
56.9% 92% 7*
INDONESIA’S PROJECTED
WORLD RANKING, BASED ON
PROJECTED PERCENT- SURVEYED CONSUM- LARGEST ECONOMY, 2030
AGE OF EARNINGS IN ERS WHO AGREED *Source: McKinsey
DIGITAL SEGMENT VS. THAT COMPANIES
TOTAL GLOBAL REVE- SHOULD TAKE A
NUE 2022 PROACTIVE ROLE IN 4
PROTECTING PERSON- INDONESIA’S PROJECTED
AL DATA* WORLD RANKING, BASED ON
Source: PwC Global Entertainment &
Media Outlook 2018-2022. www.pwc.
LARGEST ECONOMY, 2050
com/outlook
*Source: PwC
31
BLOCKCHAIN
According to research from HARA, blockchain technology can

be used to protect the intellectual properties of content creators
and help stimulate Creative Economy ecosystem in Indonesia.
Also, according to predictions from PwC, blockchain will play an
important role in the future as one of the most influential technol-
ogies in the world.
HOW CAN BLOCKCHAIN HELP THE INDONESIAN

CREATIVE ECONOMY?
Intellectual Property Rights (IPR) Protection
Blockchain technology allows the original IP owner to be credited

even if his/her work is played in other media.
Blockchain technology presents more inconvenience to pirates

compared to other traditional IPR technologies.
Within the ASEAN regions, platforms like Six Network from Thai-
land and Ink Labs Foundation from Singapore are currently using
blockchain to provide a transparent and secured ecosystem for
stakeholders in the creative economy.
Blockchain technology is starting to gain more recognition in IP

legal proceedings and court cases.
Micropayments
Creative contents on the blockchain network can receive royalty

payments automatically.
Blockchain minimizes the need for third parties, eliminating un-

necessary fees and costs.
In the United States, Ujo Music is a popular blockchain platform

that is often used by players in the Music Sub-sector and has
successfully increased IP protection for its users.
Re-empowering Creators
Blockchain technology brings features that reduce financial barri-

ers for content creators, such as crowdfunding.
The blockchain platform is popular for crowdfunding: Fanship (for

Kpop), Hubii Network (for funding films).
Indonesia Blockchain Hub: The first blockchain forum in Indone-

sia, which is founded by KADIN (Indonesian Chamber of Com-
merce), BEKRAF, and startup agritech, HARA.
Updates
on
Sub Sectors
Architecture
Today, Architecture is regarded as one of mankind’s most
important disciplines, not only for its real-world application
for building constructions and forms and functions, but also
as an expression of art based on aesthetics at its core. In
this sense, architecture is not limited to only points, lines, or
fields, but also a beauty of art often derived from cultural
values, morals, life, history, and so on. An architectural de-
sign must, therefore, be able to communicate its very func-
tion and purpose succintly.
6.05% 5.740 52.20%

Number of Percentage
GDP Growth Creative of Creative
Rate in Archi- Businesses in Businesses Utilizing
Architecture 2016
tecture 2016 the Internet 2016
(2nd highest) (3rd highest usage)
Persentase TK Berdasarkan
Gender 2016
Rp 21,567 Bn
Rp 5,331,833 / mo
GDP Value of Male — 92.39%
Female — 7.61% Average Salary in
Architecture Architecture 2016
2016
64.04% (highest average
Percentage of Creative among all Sub-sec-
53.844 Businesses Utilizing tors)
Number of Creative E-Commerce 2016
Workers in Architec- Utilizes E-Commerce
ture 2016 in Business / Does Not
Utilize E-Commerce in
Business
35
ANDRA MATIN
Isandra Matin Ahmad, or better known as Andra Matin, is one of Indonesia’s young,
most talented architects with numerous awards and recognitions from both home
and abroad under his belt. His works are renowned for conveying a simple yet
brilliant design philosophy: every space, every design, and every line must have its
own specific function apart from its character. As a result, his designs are instantly
recognizable thanks to his bold lines and minimalist-contemporary approach, while
inviting second looks with his use of traditional materials such as Siyalti wood com-
bined with rattan, or ironwood with concrete. Andra believes that function trumps
form, as he describes function as a “sensitivity towards the environment” in which
the design or space exists. Andra’s portfolio spans from commercial to public to
residential projects, and his latest works saw him revamping the looks of the Aquatic
Stadium at Gelora Bung Karno Main Stadium in Jakarta for the 2018 Asian Games,
as well as building the Indonesian Pavilion at the 2018 Venice Architecture Biennale
entitled “Elevation,” of which he won the “Special Mention” award from the Venice
Architecture Biennale jury. www.andramatin.com
Interior Design
Over the past two decades, developments in the Interior Design Sub-Sec-
tor has shown very rapid progress. More and more people are increasing-
ly becoming aware of the importance of aesthetics or design in an interior
space, as can be evidenced by the proliferation of residences, hotels, and
offices that are specially designed by professional interior designers to
fit a specific client needs. This is an emerging potential which can serve
as a positive momentum for the rise of the Interior Design Sub-sector,
and coupled along with the growth of interior design schools, studios,
companies and associations, can propel this Sub-sector into the interna-
tional stage. Indonesia, with its rich cultural heritage that are reflected in
the country’s designs, has a real chance to shine and proudly displays its
national identity.
5.92% 798 23,967 Number

GDP Growth Rate in Number of Creative
Businesses in Interior
of Creative
Interior Design 2016
Design 2016 Workers in
Rp 1,483.7 Bn Interior Design
GDP Value of Interior Breakdown of Creative La- 2016
Design 2016 (Vs. Rp bor Force Based on Gender
1,354 Bn in 2015) (%) 2016
36.47%
Male — 77.7% Percentage
Female — 22.3% of Creative
Businesses
71.13% Utilizing the
Percentage of Creative Internet 2016
6.6%
Businesses Utilizing
E-Commerce 2016
Provinces with Highest
Concentration of Interior
Labor Workforce Design Businesses
Growth Rate in In-
terior Design 2016 West Java (17.7%)
DKI Jakarta (15.3%)
East Java (14.2%)
37
DIANA NAZIR
In 1991, Diana Nazir founded Artura Insanindo, an interior design firm which later
would become one of the top leading interior consultants in Indonesia with some
of the largest commercial projects under its belt; founder of Indonesian Contem-
porary Art and Design (ICAD), one of the archipelago’s most important art event;
and which later opened its first Designershop, an interior boutique shop that sells
products such as Wiron Dining Chair (2016), Jejari Hanging Lamp (2014), Tweet
Tweet (2011), Wiron Sofa (2010), and many others. Diana’s illustrious career in the
creative universe has also elevated her country’s name into the international stage,
including at the 2018 Super Design Show, part of the Milan Design Week which was
the world’s largest design event, and the Home Décor exhibition in Europe through
the Ambiente 2017 event held in Frankfurt, one of the largest international exhibi-
tions in Germany. Diana’s participation in the events, along with the other Indone-
sian contingents, was made possible thanks to an initiative carried out by BEKRAF
to encourage export of the national craft products to overseas, via exhibitions,
tours, and other promotional and marketing initiatives.
Visual Design
The Visual Design Sub-sector has great potential in increas-
ing the growth of the Creative Economy. This potential is
driven by the development of technology in facilitating the
creation of creativity. Correspondingly, human needs for the
visualization of products in everyday life continue to rise,
which in turn will increase demand for Visual Design in the
future. In addition, Visual Design has also been identified
as one of the most interconnected Sub-sectors within the
Creative Economy sphere, impacting other Sub-sectors such
as Publishing, Advertising, Animation, Interactive Games,
Architecture, Film, Video, Photography, Packaging Design,
Crafts and Fashion
According to data compiled by BEKRAF from

2011 to 2016, the GDP growth rate of the Visual
Design Sub-sector was the fourth highest in the
Creative Economy sector. This shows that the
Visual Design Sub-sector has tremendous poten-
tial, but is still constrained by limited ecosystems
and facilities. Going forward, the government
must encourage the development of the Visual
Design Sub-sector so that it can grow further and
GDP revenue can continue to be increased.
Rp 579.3 Bn
GDP Value of
616 81.72%
Number of Creative Percentage
Visual Design 2016 Businesses in Visu- of Creative
al Design 2016 Businesses Utilizing
8.98% E-Commerce 2016
GDP Growth Rate
In Visual Design
2016 Breakdown of Creative
Labor Force Based on 88.80%
Percentage of
Gender (%) 2016
73.70%
Visual Design
Male — 92.05% Businesses
Female — 7.95% Without Legal
Entity 2016
Businesses Utilizing the
Internet 2016
Provinces with Highest
Concentration of Visual
Design Businesses
DI Yogyakarta
Bandung
DKI Jakarta
39
FEAT
Founded in 2009, Feat, a graphic design studio based in Jakarta,
finally found nationwide recognition when it won the design com-
petition for 2018 Asian Games’ new logo and mascot. Chairman
of BEKRAF, Triawan Munaf, explained during the launch of the
new logo and mascot at the Presidential Staff Office in 2016 that
Feat was chosen as the winner due to the design team’s creative
interpretation of the theme of the contest, dubbed “The Energy of
Asia.” Inspired by the Gelora Bung Karno Main Stadium in Jakarta,
the Feat team designed the logo and mascot around the symbol-
ism of the sun which shines upon all of Asia. The designers, com-
prising of six individuals who were deployed on short notice and
worked day and night to complete the project on time, described
their design approach as exceeding mere design and attempting to
create a sense of identity for one of the world’s premiere sporting
events. The new logo and mascot replace the old logo and mascot,
Drawa, which symbolizes the bird of paradise, with three endemic
animals from Indonesia that also represent the Indonesian slogan
of Bhinneka Tunggal Ika. www.featstudio.com
Product Design
Product design is described as a process of combining function with form or aesthetic,
creating a new product with high-added values. The Product Design Sub-sector is currently
enjoying a rising recognition from the general public and marketplace, attributing to quality as
the primary driving factor in their purchasing decisions. Local product designers are urged to
explore and elevate Indonesian cultural wealth in their works. BEKRAF, as a representative of
the government, administered several initiatives to stimulate the Product Design Sub-sector
further, approaching it from upstream and downstream and collaborating with various associ-
ations to increase the use of local product designs.
Rp 2,281 Bn Breakdown of Creative Labor

Force Based on Gender (%)
GDP Value of Product
Design 2016 3,367 2016
Number of Creative Male 53.96%

Businesses in Product
20.20%
Design 2016 Female 46.04%
PERCENTAGE OF CREATIVE 72.21%

BUSINESSES UTILIZING THE Percentage of Creative Businesses Utilizing
INTERNET 2016 E-Commerce 2016
MYCOTECH
Tempeh-style furniture? That’s the impression most peo-
ple get after seeing Mycotech’s product, best illustrated
by its environmentally-friendly, sustainable eco-boards.
The boards, which are made from agricultural wastes such
as palm tree or tapioca husks and binded by all-natural
Mycelium fungi, can be used as building material, furni-
ture, or shaped into any form or shape a client may have a
need for. Adi Reza Nugroho, CEO & Co-founder Myco-
tech, explains that using tempeh as an analogy to explain
his breakthrough product to the public is fitting as most
people are already familiar with the process. “Mycotech’s
primary benefit is its direct contribution in the national
economy and welfare of farmers across Indonesia,” he
said, “agricultural wastes that were previously burned
away or just fed to livestocks can be transformed into
higher-value products. And, our business model has the
potential to convert this country’s economic model from
that of a commodity-based to a knowledge-based one.”
Mycotech’s products feature boards and sheets which can
be used as building blocks or formed into basic furniture
or even art installations or watch cases. The boards are
lightweight (0,62 kg/m3), yet fire-proof (class A) and, most
importantly, toxic-free. It is also affordable to manufac-
ture, which potentially benefits construction-building
projects throughout the world. www.mycote.ch
41
ALVIN T
Alvin Tjitrowirjo, Creative Director & Founder alvinT & alvinT Studio, is a talented
young product designer from Indonesia who started his ascend to the national de-
sign stage in 2006, when he held his first solo exhibition sponsored by Volvo, luxury
watch retailer The Hour Glass, and kitchen surface manufacturer DuPont Corian.
The 34-year-old Royal Melbourne Institute of Technology (RMIT) and IED European
Design Labs alumni rejects the notion that local furniture products are of inferior
quality and unable to compete internationally, and opted instead to create high-val-
ue, high-quality furnishing label that feature Indonesian culture or heritage and ma-
terial. Consequently, his eponymous furniture label features rattan, bamboo, mar-
ble, stone, and teak to create a distinct brand of Indonesian design that is wrapped
in organic lines and neutral colors. In 2010 and 2011, Alvin’s work was chosen to be
displayed at the prestigious Harrods department store in London. His most recent
works included the newly opened restaurant section of Soekarno-Hatta Airport and
seating area at Terminal 3, as well as the Indonesian Pavilion at Milan Design Week
2017, entitled “Identities” and commissioned by BEKRAF. In the near future, he will
hold an exhibition tour that will visit, among others, Frankfurt in February, Milan in
April, New York in May, and Paris in September. www.alvin-t.com
Film, Animation & Video

The Film, Animation & Video Sub-sector has a significant and massive
impact on the economy. Data compiled from the UNESCO Institute for
Statistics shows that from 2005 to 2017, the global film industry has sig-
nificantly grown to reach a 64-percent increase. Furthermore, PwC pre-
dicts that by 2019, revenues from the global film industry will reach US$
104.2 billion.
In Indonesia, the GDP growth rate of the Film, Animation & Video
Sub-sector has gone up, along with the increase in national film produc-
tion and audience. The national film industry’s potential is heightened by
the proliferation of various video streaming applications and services,
thus providing various choices for people to enjoy films.
10.09% Top Export Countries

for Film, Animation &
Video 2016
39,546
Number of Cre-
GDP Growth Rate
ative Workers in
in Film, Animation
& Video 2016 (2nd
Hong Kong Film, Animation
& Video 2016
highest) Singapore (+5.85% vs.
2015)
78.66% 42,7 Mn
Businesses in Film, Number of
Animation & Video Indonesian Cinema- 2,418
with Revenue +/- goers 2017* Number of Cre-
Rp 300 Mn / Year *Source: Statistics Indonesia
ative Businesses in
Film, Animation &
10.96% Video 2016
Businesses in Film,
Animation & Video
1,681
with Revenue Rp
2,5—50 Bn / Year
Total Screens in
Indonesia (Nationwide)
2018
43
PENGABDI SETAN (2017)

Pengabdi Setan, or Satan’s Slaves, is a wildly successful reboot of the 1980 Indo-
nesian film of the same title which broke various box office records both at home
and abroad when it was released in September 2017, 37 years after the original.
Joko Anwar, one of Indonesia’s highly acclaimed modern-day directors, recently
shared through his social media that Scott Derrickson, director of the blockbuster
hit Doctor Strange (2016), had professed his admiration for Joko’s movie, which he
described as a “gem” among the myriad of newly released films. Previously, Satan’s
Slaves had broken the box office record at home as Indonesia’s top horror movies
of all time as well as top film of 2017, along with box office records in Singapore,
Malaysia, and Hong Kong, famously known as one of Asia’s biggest and most im-
portant film markets. Satan’s Slaves also occupied the top ten box office rankings
in Thailand and Mexico. In June 2018, it was reported that Joko’s film had been
screened at 42 countries around the world, including in Taiwan, the Netherlands,
and Spain. In the same month, Satan’s Slaves also won the highest award in the
most prestigious horror film festival in the United States, the Overlook Film Festival.
The resounding success of Satan’s Slaves and Joko Anwar as its director proves that
Indonesia does indeed harbor great cinematic talents who must be further galva-
nized and cultivated, so as to produce more talents in the future.
Provinces with Highest Concentration of Film,

Animation & Video Businesses:
Sumatera (19.35%)
DKI Jakarta (16.79%)
16 Mn Number of
Indonesian 93% Market Share in The-
ater Held by Cineplex
Cinemagoers 21, CGV Cinema, and

Cinemaxx
2015 * BEST SELLING INDONESIAN FILM

OF ALL TIME (THROUGH JUNE
*Source: Triawan Munaf, Chairman of BEKRAF (27/02/2018) 2018)
Warkop DKI Reborn:
4,000 Targeted New

Jangkrik Boss! Part 1 (2016)
6,858,616 audiences
Screens in Indonesia, Dilan 1990 (2018)
As Set by BEKRAF 6,315,664 audiences
Largest Concentration of Theaters in Indonesia Laskar Pelangi (2008)
is in Java Island 183 theaters in Java vs. 305
theaters outside Java 988 screens vs. 1,641 4,719,453 audiences
screens nationwide
*Source: Data from Association of Indonesian Cinema Entrepreneurs (GPBSI)
Habibie & Ainun (2012)
(18/05/2018)
4,583,641 audiences
70% Concentration of theaters Pengabdi Setan (2017)
in Java Island 58 / 21 Cities 4,206,103 audiences
/ Regencies in Indonesia with
Warkop DKI Reborn: Jangkrik Boss!
theater facility vs. 99 / 416 Cities / Part 2 (2017)
Regencies in Indonesia
4,083,190 audiences
Source: http://news.metrotvnews.com/read/2018/02/19/833684/jumlah-layar-bioskop-
indonesia-meningkat-pesat-dalam-lima-tahun-terakhir (19/2/2018), Katalog Film Ayat-ayat Cinta (2008)
Indonesia (KFI) dalam artikel Kaleidoskop 2017
3,676,135 audiences
Indonesia Theater Market Share (Nationwide) 2018: Ada Apa Dengan Cinta? 2 (2016)
Company/Chain Screen Theater

3,665,509 audiences
My Stupid Boss (2016)
Cineplex 21 1003 177
CGV Cinemas 275 42 3,052,657 audiences
Cinemaxx 203 41
Platinum 28 7 Ayat Ayat Cinta 2 (2017)
New Star 20 9
Movimax 6 2 2,840,159 audiences
Lainnya 46 16
Source: filmindonesia.or.id
45
KULARI KE PANTAI (2018)

Mira Lesmanawati is one of Indonesia’s most prolific next-generation filmmakers
with blockbuster hits such as Kuldesak (1999), Petualangan Sherina (2000), Ada
Apa Dengan Cinta? (2002) and its sequel Ada Apa Dengan Cinta? 2 (2016), and
Laskar Pelangi (2008). After a lengthy absence from children-themed movies, of
which Mira is highly known and lauded for, she is back with another kid-friendly fea-
ture film Kulari Ke Pantai (2018), released in June 2018 to rave reviews. Kulari Ke
Pantai became an instant hit, strategically released during the national school holi-
day and successfully capturing the imagination of hundreds of thousands of parents
and children alike. Mira explained that the country is in dire need of family-friendly
content, as many Indonesian kids today are consuming adult contents due to lack
of choices. Earlier in the year, President Jokowi had summoned her along with the
chairman of BEKRAF, Triawan Munaf, to the Merdeka Palace and pushed for them
to coordinate efforts to to increase family content. To that end, Mira and BEKRAF
collaborated to hold a songwriting competition to find the best five original songs to
be included in the film’s soundtrack compilation. The competition, dubbed “Lomba
Cipta Lagu Anak” (LCLA or Children’s Song Contest Competition), attracted over
1,000 contestants and was produced by RAN and Miles Music in cooperation with
Miles Films dan International Design School (IDS), with BEKRAF serving as sponsor.
Photography
The rapid development of digital technology
has had a major influence on the development
of photography on the global stage. Digital
cameras have given rise to an entire industry
of photography, which can now be made much
easier, and cheaper. What’s more, the presence
of smartphones with sophisticated cameras
have further disrupted the traditional industry
and turned anyone into a photographer. This
phenomenon can be harnessed to jump-start
the Photography Sub-Sector in Indonesia, and
to grow the Sub-sector’s community and eco-
system.
6.89%
Growth Rate in Pho-
69,826
Number of Creative
Workers in
tography 2016 Photography 2016
40,436
Number of Creative 58.78%
Businesses in
Photography 2016 Businesses Utilizing
E-Commerce 2016
Breakdown of Creative
Labor Force Based on 17.74%
Gender (%) 2016: Percentage of Creative
Male — 91.77% Businesses Utilizing
Perempuan — 8.23% the Internet 2016
47
ANTON ISMAEL
The 1975, Jakarta-born has been active in the photography
world since 2000. During this period, Anton Ismael has produced
works such as Tuhan dan Hantu, Ingin Dekat dengan Tuhan,
Dosa, and Karma that are all widely praised; held several photo
exhibitions with his students from Kelas Pagi (Morning Class), a
free photography class which he opened in 2006; and developing
the Third Eye Space’s business, a commercial creative studio he
founded in 2005. Amazingly, as the creative director of a wildly
successful photography venture with clients ranging from celeb-
rities to international brands to other famous artists, Anton still
makes the time to teach his photography school free of charge
at Kelas Pagi, which he holds regularly every morning at 6 AM
without fail. The morning classes, according to Anton, person-
ify his personal belief summarized in the following sentence:
“Keluar, tumbuh, liar” (Grow out, grow into, be ever-wild). Since
its inception until today, Kelas Pagi has graduated 11 class-
es, and in 2018, Anton added a new course titled “Kelas Pagi
Militan,”a platform to bridge the creative world with competent
human resources in the industry. In 2017, Anton was recognized
by BEKRAF, which named him as one of the inspirational figures
in the creative world in Ideafest 2017; and from Rolling Stone
magazine, which named it as “Editor’s Choice Award 2017.”
www.thirdeyespace.com
LANS BRAHMANTYO
Lans Brahmantyo, born in Surabaya in 1966, seems to personify
the stereotype of the “Renaissance Man.” Born on July 7, 1966,
the photographer best known for his Soul Odyssey book, a sem-
inal fine arts photography book, obtained a Bachelor’s degree in
Electrical Engineering and a Masters degree in Management In-
formation Systems from the University of Denver, United States,
in 1992. After graduation, he worked as a campus consultant at
NeXT Computer Inc., Steve Jobs’ famed new startup venture
during the period when the Apple visionary was shunned from his
own company. His experience working with the NeXT system led
him to a prolonged adventure in the graphic and visual world, and
one he never left. Lans worked as creative director at the Satuka-
ta advertising agency; Co-Founder Forum Grafika Digital (FGD);
Co-Founder & Creative Director Hexart Publishing; and Founder
& Creative Director dari Afterhours Design, the forerunner of
Afterhours Books, which released one of the greatest photog-
raphy books in the world, Soul Odyssey. Released in 2005, Soul
Odyssey is an epic fine arts book which went on to win several
international awards including the Prix de la Photographie Paris
( PX3) and covered in depth in the prestigious Leica Fotografie
Internationale (LFI) magazine in 2007. He was also the winner of
PCS Sagamihara Asia Gold Winner Photography in 2008 and the
International Photography Awards 2008 in New York City, USA,
and in Russia in 2009.
www.afterhoursbooks.com
Crafts
Indonesia possesses great potential to offer craft products which fits the
modern, international lifestyle with local inspiration. Currently, the Crafts
Sub-sector is one of the top three Sub-sectors within the Creative Econo-
my sector with the highest contribution towards Indonesia’s GDP, exports
and labor absorption. The Crafts Sub-sector is promising, as Indonesian
craft products are known for their handmade quality, fetching higher
market prices. As the government’s representative in Creative Economy,
BEKRAF is responsible in managing this Sub-sector and providing various
facilitations. Collaborations between designers, small and medium en-
terprises, and manufacturers are increasingly encouraged. BEKRAF also
prioritizes the promotion of craft products at home and abroad as its core
program for this Sub-sector.
15.40% 3.72 Mn Switzerland is #1

Export Destination
GDP Contribution in Crafts Number of
for Crafts 2016
2016 (3rd highest) Creative Workers US$ 2.06 Bn Export
in Crafts 2016 Value in Crafts to
Rp 142 Tn (+1.99% Vs. 2015) Switzerland 2016
GDP Value of Crafts 2016
(3rd largest)
21.99% 77.93%
Labor Workforce Growth Percentage of Creative
39.01% Rate in Crafts 2016 (3rd
highest)
Businesses in Crafts Found-
Export Contribution in ed in 1990-2014
Crafts 2016 (2nd largest)
22.03% 95.19%
1,194,509 Labor Workforce Ab- Percentage of Creative
Number of Creative Busi- sorption in Crafts Vs. Businesses in Crafts
nesses in Crafts 2016 Total Labor Workforce Without Legal Entity
(3rd largest) in Creative Economy 2016
2016
15%
1,247 Businesses in
Businesses in Crafts Vs. 57.48% Crafts with Revenue
Total Businesses in Creative Percentage of Creative
>Rp 50 Bn / yr (highest
Economy Sector 2016 Businesses Utilizing
among all Sub-sector)
E-Commerce 2016
Breakdown of Creative Labor
Force Based on Gender (%)
2016 US$ 7,797.6 Mn
Export Value in Crafts 2016
Male — 54.03% (2nd largest)
Female — 45.97%
49
RAJA SERAYU
Raja Serayu is a brand name of batik and bamboo weaving
products from Cilacap, Indonesia. It is a collaborative work of
Mufti Alem (www.alemplus.com) and Rajasa Mas (a Batik brand
from Maos, Cilacap). The Raja Serayu brand originated out of the
collaborative Designer Dispatch Service (DDS) program initiated
by the Ministry of Trade and BEKRAF in 2016, with the latter
responsible for branding and promotional support and expanding
the brand’s exposure at Ambiente 2017, one of the largest and
most influential international trade shows in Europe. Euis Rohaini
dan Tonik Sudarmaji, the founders of Rajasamas Batik, now works
at their production center in Nuwawungu, Cilacap, where they
work day and night to meet demands from Russia, Germany, Italy
and Saudi Arabia with total production of 7,000 to 10,000 prod-
ucts per year. Raja Serayu products boast a unique combination
of hand-crafted bamboo woven and high-quality and chic batik
plaits, packaged in attractive materials such as rattan, weeds (al-
ang-alang), and even water hyacinth. Raja Serayu’s business mod-
el, which re-purposes batik wastes and turns them into high-value
products derivative product is nothing short of exemplary.
www.rajaserayu.com
SEPIRING INDONESIA
Sepiring Indonesia was founded by two Indonesian wom-
en, Eridanie Zulviana and Jasmyne Oei, two close friends
who handle totally different aspects of their business -
Eridanie focuses on design, while Jasmyne handles sales
and marketing. Sepiring Indonesia’s success story orig-
inated from the Jakarta Souvenir Design Award (JSDA),
when Eridanie first won Best Design in JSDA 2012. Since
then, her whimsical and lively illustrations have captured
the hearts of numerous tourists, foreign buyers, artists
and, increasingly, local consumers. The name “Sepiring
Indonesia” alludes to “a plateful of Indonesia,” personified
by caricature Indonesians decked in a series of traditional
clothing and sold as a collection dubbed “Joged Jakarta,”
“Jawa Semanak,” “Legong Bali,” “Rancak Minang,” “Tatau
Dayak,” and “Bugis Makanja.” Leveraging Indonesian
craftsmanship, Sepiring Indonesia has brought Indonesian
culture closer to an international audience at New York
Now and Milan’s Salone Del Mobile. Today, Sepiring Indo-
nesia produces a plethora of creative works from coasters,
stationary sets, to leather-lined wallets which cover 32
designs in 80 different products, in addition to creating
custom-made pieces for corporate clients.
www.sepiringindonesia.com
Culinary
The culinary industry fulfills one of humanity’s basic need which is food,
hence it is no exaggeration to say that the Culinary Sub-sector, which falls
under the Creative Economy Sector, will continue to grow in scale and
importance for the foreseeable future. Culinary’s modern-day status in
Indonesian society as both a lifestyle and leisure activity ensures that this
Sub-sector will continue to lead the entire Creative Economy Sector.
Already, Culinary is the main engine of growth within Indonesia’s creative

industry, contributing the most in terms of GDP. At present, due to its im-
mense growth, BEKRAF is considering to elevate the Culinary Sub-sector
into a champion program. In addition, The Culinary Sub-sector also has
a great potential for innovation and to expand its market size and scale in
the near future.
41.40% 5,550,960
Founding Year and Number of Creative Businesses in Culinary
GDP Contribution in Number of Creative Work-
Founded in 1990-2014
Culinary 2016 (highest ers in Culinary 2016 (largest)
Year <1990 1990 – 2014 > 2014
Number of actors 231,922 4,069,932 1,249,106
67.66%
Percentage 4.18% 73.32% 22.50%
5.06% Percentage of Creative
GDP Growth Rate in Businesses in Culinary
Culinary 2016 Vs. Total Businesses in
Creative Economy Sector 38.86%
2016 (highest) Percentage of Creative
Rp 381,985.7 Bn Businesses Utilizing
GDP Value of Culinary
7,983,259
E-Commerce 2016
2016 (biggest among all
Sub-sectors) Number of Creative
Workers in Culinary 2016
US$ 1,260,503,586 (largest)
Export Value in Culinary
2016 (3rd largest)
6.31% 47.21%
Export Contribution in Labor Workforce Absorption in Cu-
Culinary Vs. Total Export linary Vs. Total Labor Workforce in
in Creative Economy Creative Economy 2016 (highest)
2016 (3rd largest)
97.89%
Businesses in Culinary
Without Legal Entity
2016 (5,434,047 busi-
nesses)
51
MATCHAMU
Matchamu is the first and largest curator of processed matcha
(Japanese green tea powder) and its derivative products in Indo-
nesia, which was started in 2013. Matchamu presents a variety
of loose and powdered green tea from the Kyoto Test, a region in
Japan that is renowned for being the best green tea-producing
region in the world. The uniqueness of the Matchamu product
offering is the quality of the tea which, although in a processed
powder form, still preserves the premium quality and is priced
competitively to boot. Matchamu’s business model was proven
to be effective, and the BEKRAF-supported startup was soon
seeing sales turnover of around 9,000 sachets sold every month
through 15 retail outlets, 20 B2Bs and 44 resellers. This was
further elevated when BEKRAF enrolled Matchamu in the 2017
and 2018 Food Startup Indonesia (FSI) programs, one of its most
popular programs that facilitates and bridges meetings between
the culinary sector with prospective investors. Now, Matchamu
boasts 51,000 sachets sold per month through 725 retail outlets,
97 B2Bs, 1 national distributor, and 3 export clients in Singapore,
Malaysia and Japan. During FSI 2018, Matchamu also attract-
ed five potential investors and one investor which had officially
signed a contract with the food startup.
www.matchamu.com
TOKO KOPI TUKU

Tuku Coffee Shop is one of Indonesia’s “Third Wave Coffee”
icons that was successful in capturing and harnessing the market
demand for coffee products that are relevant to the lifestyle of
middle-class workers in Jakarta. The owner and founder, Andanu
Prasetyo, or Tyo, was keen to capture the market opportuni-
ties which he recognizes as being one of the world’s best coffee
producing-countries but which surprisingly has a low level of local
coffee consumption. Based on this observation, Tyo formulated
a coffee product that was palatable to the general public while
allowing them to consume it regularly, or in other words, af-
fordable enough for the average consumer. Tyo’s success story
culminated in the surprise visit by the President of Republic of
Indonesia, Jokowi, and his entourage at his outlet in Cipete Raya,
South Jakarta. In the near future, Tyo hopes to be able to fulfill his
mission in increasing coffee consumption for the average Indone-
sian consumer, so that the Indonesian coffee ecosystem can grow
unhindered. Today, Tuku Coffee Shop has locations in Cipete,
Pasar Santa, Bintaro, and BSD; and employs around 70 baristas
and 10 people from the management team where they work out of
the office in Antasari, Jakarta.
www.tuku.coffee
Music
The International Federation of the Phonographic Industry (IFPI) in one
of its reports stated that music can become a driving force in the global
economy, particularly in areas involving exports, labor workforce ab-
sorption, and tax revenue. In line with this report, the Music Sub-sector in
Indonesia is also reported to be currently experiencing rapid GDP growth,
reaching over seven percent in 2016. Due to this positive result, BEKRAF
is optimistic towards the Music Sub-sector’s prospect as one of its prior-
ity programs. Facilities and programs conducted by the agency include
establishing anti-piracy task force, supporting various music events, and
establishing music cities ecosystem.
7.59% Top Export

Countries for
Labor Force Based on
GDP Growth Rate Gender (%) 2016
Music 2016
in Music 2016 Male — 82.85%
Female — 17.15%
SINGAPORE
Rp 4,426.4 Bn
GDP Value of
BELGIUM
53.35%
Music 2016 Percentage of
Creative Busi-
TAIWAN
56,891 nesses Utilizing
Number of Cre- E-Commerce 2016
ative Workers in
Provinces with Highest Con-
Music 2016 10.37%
centration of Interior Design
Percentage of Cre-
4.9% Businesses:
ative Businesses
Labor Work- West Java (17.57%)
Utilizing the Inter-
force Growth East Java (16.14%)
net 2016
Rate in Music Central Java (14.7%)
2016 Rp 3,061,858 / mo
34,242 Average Salary in
Music 2016
Number of Cre-
(5th highest among
ative Businesses in
all Sub-sectors)
Music 2016
53
KARINDING ATTACK WE THE FEST

Since its inception in 2009, Indonesian metal band Karind- We The Fest (WTF) 2018, the groundbreaking Indonesian summer
ing Attack, or Karat, as they prefer to be called, has taken music festival featuring rising international stars such as Ellie
up the world by storm. Infusing fast-paced and aggressive Goulding, Sam Feldt, and Flight Facilities as well as local artists
heavy metal and punk tunes with traditional Indonesian including Teza Sumendra, Rich Chigga, and Kimokal, has just
musical instruments, the music of Karat was an immediate completed its fifth anniversary. This year, Ismaya Live, the leading
success in Indonesia and was quickly discovered by global promoter and organizer of some of the most popular music festi-
listeners who were eager for something new. Karinding vals in Indonesia, claimed that WTF 2018 was bigger, better, and
Attack is currently comprised of seven personnel who have more inclusive than ever before. Featuring no less than 61 local
all learned to play various bamboo instruments such as and international artists and bands including Lorde, alt-J, The
flutes, xylophones, and even Karat’s own custom-made Neighborhood, Greenhouse Effect, Isyana, Albert Hammond Jr.
percussions, known as Karinding, while belting out System (guitarist of The Strokes), and other famous musicians, WTF 2018
of A Down-like tunes to amusing effects. In 2011, Karat established Ismaya Live’s position as one of the leading players in
released its first album, Gerbang Kerajaan Serigala, the Music Sub-sector. WTF 2018’s highlight was when President
which featured senior musician Trie Utami and which Jokowi attended the festival and sat together with the Chair-
propelled the band to national and international fame. In man of BEKRAF, Triawan Munaf, during the live performance of
2017, Karat was appointed by the Indonesian government Indonesian bank White Shoes and The Couples Company. In the
to represent the country at the Europalia Arts Festival future, BEKRAF will seek to forge a stronger ecosystem within the
2017, the largest international arts and cultural festival in Music Sub-sectors by facilitating creative players in the industry,
Europe, which began in Germany, Belgium and the Neth- including providing assistance, sponsorships of music festivals,
erlands, on November 15-19, 2017. Not stopping there, and many others.
Karinding Attack also toured Denmark, Italy, Belgium, www.wethefest.com
the Netherlands, and Germany as part of the Karinding
Attacks Europe 2017 tour, which was held with Morphine
Records. In early 2018, Karat is preparing its second
album which it touted as possessing a more powerful and
unique music concept, and also finalizing its plans for a
second tour in Europe, including at the Radio Asia Festival
in Warsaw, Poland.
www.karinding-attack.com
Fashion
The value of fashion extends far beyond mere articles of clothing that
satisfy basic human need. Fashion is also related to aspects of lifestyle
and appearances, as well as a reflection of one’s identity or a group. The
importance of fashion is further proven through its large contribution to
the added value of the Indonesian economy, as well as contributions to
the national GDP and exports. The Fashion Sub-sector has become one
of the leading Sub-sectors in the Creative Economy. Sustainable fashion
and Muslim fashion are some important issues that must be considered in
order to develop the national fashion Sub-sector.
18.01% Breakdown of Creative La- 57.10%

GDP Contribution bor Force Based on Gender Percentage of Creative
(%) 2016 Businesses Utilizing
in Fashion 2016 E-Commerce 2016
(2nd highest) Male — 45.75%
Female — 54.25%
94.41%
4.05% Percentage of Creative
Laju pertumbuhan 4,130,000 Businesses in Fashion
GDP Growth Rate in Number of Creative Without Legal Entity
Fashion 2016 (+2,78 Workers in Fashion 2016
Vs. 2015) 2016 (+3.05% Vs.
2015)
865
Rp 166.1 Tn Businesses in Fashion
GDP Value of Fashion 24.42% with Revenue <Rp 50
2016 (2nd largest) Labor Workforce Bn / yr (3rd highest
Absorption in Fashion Vs. among all Sub-sector)
Total Labor Workforce in
Creative Economy 2016
US$ 10.9 Mn (2nd highest)
Export Value in Fash-
ion 2016 (highest
1,230,988
Number of Creative
Businesses in Fashion
2016 (2nd highest)
54.54%
Export Contribution
in Fashion Vs. Total
Export in Creative
15% Percentage of
Creative Businesses
Economy 2016 in Fashion Vs. Total
Businesses in Creative
Economy Sector 2016
Top Export (2nd highest)
Countries for
Fashion 2016
United States 77.56%
(US$ 4.72 M) Businesses in Fashion
Founded in 1990-
2014
55
DANJYO HIYOJI
PT Danjyo Cipta Rega Pratama, the company behind the wildly popular Jakar-
ta-based fashion label Danjyo Hiyoji, was officially founded in 2009 by Dana Maula-
na and Liza Masitha, after previously existing under the name “Danjyo” since 2001.
Danjyo Hiyoji’s impressive growth can be attributed to its breakthrough designs that
are at once simple yet innovative. Its trademark look is the layers of drapes that are
sometimes asymmetrical, but always proportional. Its ready-to-wear collections are
offered in subdued hues and neutral colors, and priced competitively. Danjyo Hiyoji
has been crowned as winner of “The Most Innovative Local Brand” at Cleo Indo-
nesia Fashion Award 2009, “Label of the Year 2010” by ELLE Indonesia Magazine,
Instyle Indonesia and Men’s Health Magazine Award 2012, and Kuningan City Iko-
nography Awards 2016, raising its profile to become one of the revered local brands
in the Jakarta fashion scene. Today, Danjyo Hiyoji’s operation is based on a 400 sqm
land in south Tangerang, where its design, manufacture, marketing, and sales are
horizontally integrated into one studio. www.danjyohiyoji.com
TORAJA MELO MUSLIM FASHION FESTIVAL INDONESIA

Toraja Melo, a Social Enterprise initiative (MUFFEST) 2018
founded by two Indonesian women in 2008, Following the success of the Indonesian Muslim
sells and markets fashion and souvenir products Fashion Festival (MUFFEST) in 2016 and 2017,
made from woven materials created by native MUFFEST 2018 this year featured 200 brands
Toraja artisans in four regions in Indonesia, and 100 designers from local and overseas in
namely Toraja and Mamasa in Sulawesi; and in a fashion week that lasted for four consecutive
Adonara and Lembata in East Nusa Tenggara. days. President Joko Widodo, in the opening
Dinny Jusuf and Nina Jusuf, founders of Toraja remarks of MUFFEST 2018 on April 19, 2018,
Melo, decided to start the enterprise when they welcomed such fashion weekend as MUFFEST to
learned about disadvantaged women from these promote the development of the fashion industry
areas. Dinny, whose background is Secretary and ecosystem in the country. Jokowi remarked
General of the National Commission on Violence that Indonesia, with the largest Muslim popula-
Against Women, explained that Toraja Melo aims tion in the world, needs to work hard to catch
to improve the welfare of Indonesian tradition- up with foreign brands and manufacturers which
al weavers, especially marginal women in the have begun to explore the global Muslim fashion
archipelago. These women, according to Dinny, market, including Indonesia. In his speech, Joko-
often have little to no other choice but to become wi also hoped for Indonesia to become the lead-
Indonesian laborers overseas, where they are er in its own large market in relation fo Muslim
prone to becoming victims of violence. Toraja fashion. Along with Indonesia’s unique strength
Melo has participated in various international which is culture, the biggest Muslim fashion show
exhibitions and have expanded their products in Indonesia aims to realize the government’s
offering in Singapore, Japan, France, England, aim to turn Indonesia into the world’s premier
the United States, and Australia. Yet, the found- Muslim fashion center by 2020. MUFFEST 2018
ers said, they will continue to focus their efforts also featured seminars and talk shows, including
towards the “Conscious Market” or the segment Trend Forecasting 2019/2020 by BEKRAF and
of buyers who makes purchasing decisions based associate designers. www.muslimfashionfestival.
on social considerations above all else. www. com
torajamelo.com
57
LULU LUTFI LABIBI

Lulu Lutfi Labibi, a rising young talented designer from Yogyakarta, has been active
in the local fashion universe since 2006, when he started to enroll in myriad fashion
competitions in the capital city and beyond. His hard work and perseverance finally
paid off when he won his first award in the Lomba Perancang Mode (Fashion Design
Competition) 2011. Lulu’s designs, which highlights lurik, a traditional motif cloth
from Central Java, use an innovative draping techniques, where fabric can be
wrapped, stacked, or combined according to the wearer’s desire and creativity;
making his seasonal offerings comprising of dress, pants or jacket never boring and
always fresh. Today, the Lulu Lutfi Labibi label is gaining increasing prominence both
in the domestic and international stage, with regular customers visiting his Yogyakar-
ta-based boutique and online customers ordering via his social media outlets, which
Lulu revealed to comprise a good portion of his total revenue these days.
Applications & Game Developer

The growth of the global application and gaming industry has opened up a new venue
of economic potential. The Applications & Game Developer Sub-sector is project-
ed to grow further in the coming years as more and more startups have sprung up in
recent years, such as Agate Studio, Altermyth Studio, Toge Production, Tinker Games,
Touch Ten Games, and many others. Its positive growth has in turn attracted funding
from investors, who in turn help to generate even larger transaction values within this
Sub-sector. This is inseparable from the fact that mobile usage is increasing around the
world. According to a report from Super Data, the average smartphone user playing
mobile games plays three times a day, with an average time spent of ten minutes per
game session. Games with simple, short, and easily accessible gameplay gain more
following than ones with complex gameplays.
Labor Workforce Absorption

The digital applications industry (apps) contrib-
uted positively towards the national absorption
of labor workforce. Surveys conducted on the
apps developer segment revealed data that
shows that on average, one company employs
around 139 people, comprising almost entirely
of local labor.
8.06% 77.24% US$ 879.7 Mn Rp 68 Tn

GDP Growth Rate in Apps & Percentage of Creative Valuation of the Indonesian Total Sales Value in
Game Developer 2016 (5th Businesses Utilizing Games Market 2017 E-commerce in Indo-
highest) nesia 2017
E-Commerce 2016
43.7 Mn 35-40%
Rp 17,142.8 Bn 47.89% Number of Gamers in Indo- Average Annu-
GDP Value of Apps & Game Percentage of Creative nesia 2017 al Growth Rate of
Developer 2016 Businesses Utilizing the E-Commerce in Indo-
Internet 2016 (4th highest) 17 nesia (lead by fashion)
Breakdown of Creative La- Indonesia’s World Ranking
bor Force Based on Gender 30.81% (Revenue Estimate, Games Rp 252 Tn
(%) 2016 Percentage of Creative Market) 2018 Total Transaction
Businesses in Apps & Game Source: Newzoo (www.newzoo.com) Value In Fintech 2017
Male— 74.65% Developer Founded After
Female — 25.35% 2014 Rp 135.364 Tn Rp 1.7 Bn
Projected Valuation of Total Funding in
41,065 Rp 3,647,134 / mo Indonesia’s Digital Econo- Indonesia’s Startup
Number of Creative Average Salary in Apps & my 2020 Industry 2017
Workers in Apps & Game Game Developer 2016 (3rd
Developer 2016 highest) Rp 1,759 Tn
Projected Transaction Val-
12,441 US$ 137.9 Bn ue in Digital Economy 2020
Number of Creative Busi- Valuation of the Global
nesses in Apps & Game Games Market 2018
Developer 2016
59
GHOST PARADE
Ghost Parade is a 2D side-scrolling adventure game developed
by Indonesian studio Lentera Nusantara and slated for release
on the PlayStation 4, Switch, and PC via Steam in 2019. Ghost
Parade’s gameplay boasts a unique environment that is centered
on Indonesian culture such as Bali, West Java, Dutch colonial,
and other Indonesian-related locales which serve as the back-
drop of the game. Players control a character named Suri, who is
trying to return to her native village but must survive the journey
against a myriad of ghosts and spooky creatures. To further boost
awareness for this rising game developer company from Bandung,
BEKRAF facilitated the participation of Lentera Nusantara at
Anime Expo 2018 in Los Angeles and Game Connection Ameri-
ca 2018, one of the most important game forums in the United
States. Through this event, Lentera Nusantara secured a commit-
ment from Aksys Game, publisher of the wildly popular Guilty
Gear and Blazblue series, to release Ghost Parade worldwide
on various platforms, including on Steam, the largest and most
popular digital distribution platform for video games in the world.
www.ghost-parade.com
SAYURBOX
SayurBox is an innovative new e-commerce platform distributing
fresh, organic, local produce and dry goods from local farmers
and producers. The young startup was founded in 2016 by two
women, Metha Trisnawati and Amanda Susanti, who took on the
roles of Chief Product Officer and CEO, respectively, and Marvin
Kalibonso. Within a year of its founding, SayurBox has grown to
serve 3,000 customers and 22 local farmers spread across the
greater Jakarta area (Jakarta, Bogor, Tangerang, Depok, Bekasi),
as well as Sukabumi and Bandung. According to its founders,
SayurBox’s success stems from the startup’s innovative new sup-
ply chain model: farmers sell directly to consumers living in urban
cities, through its platform. The model effectively undercuts
middlemen and streamlines the supply chain, enabling customers
to get fresh deliveries of high-quality, pesticide-free vegetables
right at their doorstep. The products are carefully curated by
the startup, while partner farmers undergo strict quality control
assurances. In return, farmers enjoy higher selling price and im-
proved livelihood. The farm-to-table concept has been such a hit
with the market that impact investment fund Patamar Capital has
made its first direct investment in seed funding from its Women
Fund program with an estimated amount between US$ 200,000
and 300,000, not including other funds investors. Going forward,
SayurBox’s founders aspires to expand its services and ecosys-
tem nationwide, enabling more farmers across the archipelago to
reach more consumers directly and jump-starting a nationwide
farming movement. www.sayurbox.com
DREADOUT
DreadOut is the first classic horror video game from Indonesia
that feature local Indonesian characters and culture as part of its
unique gameplay, incorporating elements from visual designs that
illustrate the distinctiveness of Indonesian culture to the unset-
tling folk-based song Lengser Wengi as soundtrack. Since its first
release in 2013 by the game developer studio Digital Happiness,
based in Bandung, DreadOut has seen over a million downloads on
various platforms including Microsoft Windows, OS X, and Linux;
and spawned three sequels and spinoffs, making it one of the most
successful Indonesian games in history. In 2018, Digital Happiness,
a recipient of BEKRAF’s Government Incentive Assistance (BIP)
program, gained international recognition when it participated
at SXSW 2018 in Austin, Texas, and was nominated for “Gam-
er’s Voice Awards.” In 2019, the big screen film adaptation of
DreadOut, titled Dreadout the Movie, is slated to be released by
goodhouse.id with director Kimo Stamboel from The Mo brothers.
Digital Happiness is also developing an adaptation of the Dread-
Out game into a comic web titled DreadOut: the Untolds which is
slated to be launched this October and which can be accessed at
www.ciayo.com.
61
Publishing
In the digital age, printed books are no longer the sole medium for the
publishing industry. Various alternatives have now sprung up including
e-books, blogs, and social medias. Yet, the publishing industry survives
the onslaught and has even continued to post increased contribution
towards the Creative Economy sector. The digital realm has provided new
challenges and opportunities while at the same time negates the thought
that it presented significant threat to the Publishing Sub-sector.
Indonesia’s large population base becomes an important drivers of

growth for the Publishing Sub-sector. The population size of Indonesia
presents significant opportunities only if they are coupled with increased
reading interests among the populace. Other contributing factors include
freedom of creation, whereupon writers are given flexibilities and freedom
to create innovative works. This will make Indonesia as both the creator
and consumer of books in the world.
6.32% 464,579 Breakdown of Creative La-

GDP Contribution Number of Creative Work- bor Force Based on Gender
in Publishing 2016 ers in Publishing 2016 (4th (%) 2016
largest) Male— 88.47%
3,6% GDP Growth Rate Female — 11.53%
83,496
in Publishing 2016
Number of Creative Work-
ers in Publishing 2016 (4th 83.36%
Rp 58,313.2 Bn largest) Percentage of Creative
GDP Value of Businesses in Publishing
Publishing 2016 Without Legal Entity 2016
1.02%
US$ 26,166,775 Percentage of Creative
Export Value in Publishing Businesses in Publishing Vs. 64.04%
2016 (4th largest) Total Businesses in Creative Percentage of Creative
Economy Sector 2016 Businesses Utilizing
E-Commerce 2016
Top Export Countries for
Publishing 2016 Provinces with Highest
Concentration of Publishing 23.24%
HONG KONG Businesses: Percentage of Creative
East Java (16,805 pelaku) Businesses Utilizing the
THE PHILIPPINES West Java (13,669 pelaku) Internet 2016
Central Java (13,345 pelaku)
MALAYSIA
63
LAKSMI PAMUNTJAK
Born in 1971, Laksmi Pamuntjak has been active in the world of literature for almost
two decades as a bilingual novelist, poet, columnist, culinary critic, and even as a
co-founder of the Aksara bookstore in Jakarta. Her works have elevated Indonesia’s
name to several international stages, including the Frankfurt Book Fair, the Berlin
International Literature Festival (ILB), and also in the highly competitive United
States market where her second novel was published under the title Aruna dan
Lidahnya (The Birdwoman’s Palate). The national bestseller was also featured as
one of the five highlights in Kusala Sastra Khatulistiwa 2015, and has been adapted
into a full length feature film directed by Edwin and starred by Dian Sastrowardoyo
and Nicholas Saputra.
Previously, Laksmi’s debut novel which was published in 2012, Amba, successfully
attracted international attention during the 2015 Frankfurt Book Fair, where Indo-
nesia was also a guest of honor for that year. Next year, Amba, which translates to
Alle Farben Rot in German, won the prestigious LiBeraturpreis 2016 literary award
in Germany, the only literary award given to women writers from Asia, Africa, Latin
America, the Caribbean and the Middle East. Today, Laksmi is busy promoting her
film adaptation and as a speaker at a number of international literary festivals, such
as the Frankfurt Book Fair 2018 (panelist for “Women Writers in Asia Pacific”), the
International Literature Festival Berlin (ilb) 2018 as speaker in “The Art of Cooking
and Food Writing” panel, and Keynote Speaker at Oxford University for the opening
of EuroSEAS (European Southeast Asian Association), “Between Hope and Despair:
On Living with Difference in Today’s Indonesia,” coinciding with the 72nd anniversa-
ry of the Republic of Indonesia. www.laksmipamuntjak.com
LONDON BOOK FAIR 2018

After a successful run as guest of honor at the Frankfurt Book Fair 2015, Indonesia
is once again at the center of attention at one of the most prominent international
book exhibition events, the London Book Fair (LBF) 2018. Through BEKRAF and
the Ministry of Education and Culture (Kemendikbud), and in collaboration with
the National Book Committee and Association Indonesian Publisher (IKAPI), the
Indonesian delegation brought no less than 300 titles for the three-day event. The
delegation representatives, in addition to signing a Memorandum of Understanding
with the LBF committee to become a Market Focus Country in 2019, also achieved
a significant increase in copyright sales compared to last year: 14 book titles sold
and 135 potential sales titles and four series to 14 countries. This was a substantial
achievement and a new milestone in the history of the Indonesian literary industry,
which was almost non-existent previously. As a comparison, only two books were
successfully sold last year. Indonesia also earned the honor to become the first
Southeast Asian country to be designated as the Market Focus country on the main
stage of the LBF. To prepare for the arrival of Market Focus 2019, the Indonesian
delegation also presented Indonesian films that were adaptations of popular novels
and books, namely Laskar Pelangi (2008), Sang Penari (2011), or Filosofi Kopi
(2015), curated by Sekar Ayu Asmara, author, film director, and producer who also
serves as a reference at LBF 2018. www.londonbookfair.co.uk
65
Advertising
Advances in technology have driven the humanity race to adapt to an
increasingly digitized world, Advertising Sub-sector included. As a
Sub-sector with one of the highest spreads across the country’s economic
system, the Advertising Sub-sector exerts great influence in shaping the
consumption pattern, lifestyle, and mindset of the general populace. The
high growth of national advertising spending each year proves that adver-
tising is still the most efficient media to promote products and services in
Indonesia.
7.07% 70.16% US$ 19.58 Bn

GDP Contribution in Percentage of Creative Projection for Digital
Advertising 2016 Businesses Utilizing Advertising Expen-
E-Commerce 2016 ditures in Indonesia
Rp 7.5 T 2019
GDP Value of Source: eMarketer
Advertising 2016 62.85%
Percentage of Creative 10.1%
Rp 5,124,319 / mo Businesses Utilizing Growth Rate in Enter-
Average Salary in Adver- the Internet 2016 (2nd tainment & Media Ex-
tising 2016 (2nd highest) highest) penditure in Indonesia
(highest in the APAC
region)
3,055 Source: PwC
Number of Creative 86
Businesses in Adver- Businesses in Adver-
tising 2016 tising with Revenue Rp
50 Bn / yr
Breakdown of Creative La-
bor Force Based on Gender
(%) 2016 47.95%
Male — 82.03% Percentage of Creative
Female — 17.97% Businesses in Adver-
tising As Legal Entity
2016
40,990
Number of Creative US$ 2.8 Bn (Rp 37.3 T)
Workers in Advertis- Total Ad Expenditures
ing 2016 (+4.35% Vs. 2017 (Rp 37.3 T)
2015) Source: eMarketer, IAB Singapore
79.18%
Businesses in Ad-
vertising Founded in
1990-2014
67
FLOCK
Flock, a new, “hybrid” full-service creative agency that combines traditional
advertising services with that of a startup sophistication, was founded by two J.
Walter Thompson Jakarta veterans: Ivan Hadywibowo, who now serves as CEO of
the fledgling agency, and Erwin Santoso, who now heads the creative department
as Creative Partner. Since its inception in 2016, Flock has grown phenomenally, de-
fying logic in a highly competitive, cutthroat industry. Part of Flock’s success today
can be attributed to the initial round of seed funding secured from East Ventures,
Southeast Asia’s most prominent venture capitalists, as well as Flock’s revolution-
ary, breakthrough business model—a unified, all-in-one advertising solution uti-
lizing traditional marketing mix such as above the-line (ATL), below-the-line (BTL),
and digital seamlessly integrated with the startup ecosystem.
Ivan explained that convergence is key in today’s rapidly changing world: by con-
verging multiple disciplines and blurring the traditional lines between ATL, BTL,
and digital, Flock is able to better meet its clients’ needs in a faster, nimbler, and
cost-effective way. Willson Cuaca, managing partner of East Ventures, explained
that he sees Flock’s great potential to become an enabler of change for the archi-
pelago’s burgeoning startups, who will need a marketing partner that can help them
grow faster. “Most of the startups need brand awareness with a limited budget.
With someone taking care of the collaboration effort, we can make it cost-effec-
tive,” Ivan said. Flock’s innovative offerings have earned the young agency national
recognition over their works for Tokopedia dan Tehbotol Sosro, which went viral in
2018, as well as for its pioneering IVPL (Indonesia Virtual Pro League) championship
through Cocoo (a subsidiary of the Flock network), the first Indonesian league within
the wildly popular Virtual Pro League community worldwide.
www.flock.company
TV & Radio
The digital era has pushed creative players within Indonesia’s Creative
Economy sector to continuously innovate their offerings which are rele-
vant to the modern lifestyle. However, advances in digital technology have
also raised concerns regarding the sustainability of the print, television
and radio industries. Yet, the digital era has so far not been proven to
diminish the roles of TVs and radios as primary information and enter-
tainment mediums for the Indonesian populace. In fact, the TV & Radio
Sub-sector recorded one of the highest growth rates among all Sub-sec-
tors within Creative Economy sector. TV and Radio each have their own
special characteristics which relates to their respective audiences, namely
fresh and innovative programming for TV, and real interactivity for ra-
dio. Digitization proves to be a boon rather than bane for the TV & Radio
Sub-sector and must be developed further to attract larger audiences
base.
8.27% 68.5% 58.54%

GDP Contribution Percentage of Percentage of Cre-
in TV & Radio 2016 Creative Work- ative Businesses
ers in TV & Radio Utilizing E-Com-
10.33% With Average Age merce 2016
GDP Growth Rate of 25-40 years
in TV dan Radio of age (high-
2016 (highest)
est among all 47.08%
Breakdown of Creative Sub-sectors) Percentage of
Labor Force Based on Creative Business-
Gender (%) 2016 12,441 es Utilizing the
Number of Cre- Internet 2016
Male — 41.32% ative Businesses
Female — 58.68%
in TV & Radio
2016
71,294
Number of Cre- 73.73%
ative Workers in Businesses in TV
TV & Radio 2016 & Radio with Rev-
enue +/- Rp 300
Mn / yr
69
RADIO DAY 2017 NET

On Monday, December 11, 2017, 37 member radios of Entering its fifth year of broadcast, NET. TV consistently broad-
the Jakarta National Private Broadcast Radio Association casts quality terrestrial television programs. In early 2018, NET.
(PRSSNI) DKI Jakarta held “Radio Day 2017” as part of held the “Indonesian Choice Awards 5.0 NET.” which was broad-
BEKRAF’s effort to stimulate the TV & Radio Sub-sector. cast live from Sentul, Bogor, and featured international guest
Radio Day 2017 featured a series of campaigns which star Hailee Steinfeld and timeless musician, Craig David. NET.
began with a teaser on social media one day before the TV’s works in the archipelago have also won it many prestigious
launch of Radio Day 2017, and culminated in the complete awards, such as “Indonesia Most Creative Companies 2017”
shutoff of all radio activities (off-air) for 10 to 15 minutes, from SWA magazine, “Indonesia WOW Brand 2018,” “KPI Award
starting from 7:45 AM, Jakarta local time. The campaign, 2017,” and Ideafest 2017’s “Indonesia’s Influential Person in Cre-
followed by all 37 member radio stations and carried out ative Industry.” As one of the leading actors in Creative Economy,
simultaneously during one of Jakarta’s heaviest commut- NET. also actively participate in building the domestic ecosystems
ing period, successfully captured the attention of mostly to improve the nation’s GDP, especially in terms of exports. Last
Jakarta-based community, the only region or city where year, NET. facilitated by BEKRAF, signed an agreement to produce
Radio Day 2017 was held. According to data released by high-quality television contents for both for terrestrial, pay and
PRSSNI, Radio Day 2017 generated 40 million impres- digital TV. These contents are expected to reach the kind of status
sions on social media with #radioguemati hashtags, and that South Korean TV drama series have enjoyed for years and
200 million impressions with #radioguegakmati hashtags. can be exported to more than 120 countries; giving Indonesia’s
According to M. Rafiq, Chairman of PRSSNI DKI Jakarta, Creative Economy a new source of income. Chairman of BEKRAF,
Radio Day 2017’s primary aim is to make people aware of Triawan Munaf, revealed at a press conference that President
the importance of radio, an audio-based mass media that Jokowi had asked him last year to advance the national television
is designed to be listened seriously or leisurely. Radio Day industry to match that of South Korea, and that a joint venture
2017 was officially ended with a recording of the President with South Korean television networks was one of the realizations
of the Republic of Indonesia, Joko Widodo, teasing listen- of such initiative.
ers with the statement “Emang enak nggak ada radio? www.netmedia.co.id
Saya Joko Widodo, pendengar radio,” (Do you like not
having radio (broadcast)? My name is Joko Widodo, radio
listener) and followed with the return of normal broadcast.
Performing Arts
Indonesia possesses a diverse wealth of arts and performance traditions,
such as wayang (traditional Indonesian leather puppets), theater, dance,
and so on. Performing arts is especially endemic to Indonesia as each
region has its own version, with several regional performing arts gaining
international fame. As a government institution, BEKRAF will continue to
support the development of this potential Sub-sector. BEKRAF strives
to provide regulatory facilitations, the establishment of performing art
boards / councils, art performance festivals, and so on. BEKRAF is highly
optimistic that the Performing Arts Sub-sector will continue to shine and
show its full potential in the coming years.
9,54% GDP Growth Provinces with Highest

Concentration of
62.97%
Rate in Performing Performing Arts Percentage
Arts 2016 Businesses of Creative
West Java (22.91%) Businesses
170,994 orang
Number of Creative
East Java (21.70%)
Central Java (15.53%)
Utilizing
Workers in Perform- E-Commerce
ing Arts 2016 2016
90.02%
Businesses in
19,772 Performing Arts
15.71%
Percentage of
Number of Cre- Creative Businesses
ative Businesses with Revenue
Utilizing the Internet
in Performing Arts +/- Rp 300 Mn 2016
2016 / yr
Labor Force Based on
Gender (%) 2016
Male — 76.24%
Female — 23.76%
71
NAN JOMBANG
Indonesia’s famous choreographer, Ery Mefri, performed
at the Europalia Arts Festival for the first time in 2017.
Previously, the woman who founded the Nan Jombang
dance studio in 1983 in Padang, West Sumatra has also
brought Indonesia’s name to various world festivals and
dance events, among others in Essen, Mülheim an der
Ruhr, Berlin, Tokyo, Singapore and London, which began
in 2004 when the Nan Jombang Dance Company began its
international tour. Described as a contemporary Minang
dance form that adapts many elements of traditional
Minangkabau dance, Nan Jombang boasts discipline, en-
durance, and integrity for the choreography of the dance
which has received wide acclaim and praise. In 2008, Ery
Mefri was awarded the Tuah Sakato award from the Gover-
nor of West Sumatra, for her contribution in advancing the
arts and culture of West Sumatra through her involvement
at the Indonesian Arts Coalition, a community organiza-
tion aiming to advance the national dance art, which she
founded together with Angga Djamar. In the near future,
Nan Jombang will re-appear at the Opening Taiwan East
Coast Arts Festival, as well as the Changpu Changing
International Performing Arts Festival in Seoul, 27 to 30
August 2018. www.nanjombangdance.id
ABDI KARYA
Abdi Karya, a longtime theater activist, has dabbled in the
performing arts world since 2004, when he began to explore the
Bugis epic manuscripts from the 13th century, I La Galigo. His
works since then have always tried to interpret the rich mean-
ing and the visuals of philosophical ideas found in customs, old
stories, and Bugis mythology — a rather noble initiative that is
becoming very rare nowadays — through theatrical arts, perfor-
mances, choreography, musical arrangements, and mixed media.
The 1982-born has worked as an actor, director, stage leader,
stage designer, dancer, crew, musician, cultural programmer,
and casual worker and volunteer for arts and cultural projects in
Indonesia and abroad. In 2017, he and dozens of other domestic
and foreign artists, including Garin Nugroho, Alastair MacLennan
(Northern Ireland), and Luc Tuymans (Belgium), participated in the
2017 Jakarta Biennale with his work entitled Used. Being Used, a
seminal work that is based on the epic of I La Galigo and inspired
by the richness of the archipelago tradition in sarongs. Today, he
is involved in various theater initiatives throughout Asia, including
at 5ToMidnight, the Makassar Theater Forum, the Makassar Cre-
ative Summit; British theater groups, Imitating The Dog; Caglar
Kimyoncu; and Compagnie X-Press dance group with support
from the British Council Indonesia and Institut Français Indonesia.
Fine Arts
Within the scope of Indonesia’s Creative Economy, Fine Art is defined as a form of
pure art which is in itself is a manifestation of intellectual and creative works. The
Fine Arts Sub-sector already has a pretty well-developed network both at home and
abroad, as can be seen from the involvement of Indonesia, represented by BEKRAF,
at various world stages including Art Fair, ArtJog, Bazaar Art Jakarta, Pasar Seni
ITB, Biennale, Triennale, and many other art events at various commercial galleries.
BEKRAF’s primary aim in all of these initiatives are to increase contributions from all
Sub-sectors of the Creative Economy, including GDP, labor workforce absorption and
exports.
The Fine Arts Sub-sector has a slightly different market charac- BIGGEST CHALLENGES AFFLICTING THE FINE ARTS
teristics compared to other Sub-sectors in the Creative Economy SUB-SECTOR TODAY
sphere. At first glance, it may appear as if its market share is
Lack of facilities and infrastructure within the Fine
insignificant, however this is actually due to the specialized nature Arts ecosystem: exhibition spaces, museums, funding,
of the Fine Arts community and buyers. The Indonesian art market marketing, distribution, forum, etc.
is essentially driven by the collectors community, as well as the
Uneven pockets of development within only several big
middle- and upper-class. This is exacerbated by the small to
cities in Indonesia
micro community that these artisans work in.
Nevertheless, data compiled from Statistics Indonesia and

BEKRAF points to positive trends occuring within the Fine Arts IMPERATIVES OF THE INDONESIAN GOVERNMENT
TOWARD THE CREATIVE ECONOMY
Sub-sector, including high growth potential and a ready supply of
young, talented Indonesian artists the likes of Eko Nugroho and I Increasing the number of art festivals and events within
Nyoman Masriadi, who have garnered international acclaims and the country and opening their access to the general
recognitions, as well as attracting international interests toward population as much as possible
Indonesia’s Fine Arts industry.
Cultivating and building upon a collaborative ecosystem
comprised of the local artisan and creative communities
In the 2015-2019 Indonesian National Art Development Plan
(Rencana Pengembangan Seni Rupa Nasional 2015-2019), de- Increasing the number of art and cultural spaces across
velopments within the Fine Arts Sub-sector is focused on areas Indonesia
involving the economic potential of Fine Arts industry and bench-
Adding mandatory curriculum in the nation’s fine arts
mark indicators for GDP growth, labor workforce absorption and faculties across the country to better understand the
export earnings. Indonesian traditional heritage and culture
Increasing market research and studies to keep track

of world trends and provide a roadmap for domestic
creative players
Increasing government funding towards the devel-

opment of young and talented creative players in
Indonesia
17,044
Number of Creative 71.74% 15.88%
Businesses in Fine Arts
2016
Businesses Utilizing
Percentage of
Breakdown of Creative La-
E-Commerce 2016 Creative Businesses
bor Force Based on Gender Utilizing the Internet
2016
(%) 2016
Male— 76.05%
Female — 23.95%
73
ART | JOG 2018

ArtJog (stylized as “ART|JOG”) 2018, one of Indonesia’s largest and most re-
nowned contemporary art festival, this year features radical new curatorial concept
compared to previous events. Held at the National Museum of Jogja (JNM) in
Gampingan, Wirobrajan, Yogyakarta, from May 4 to June 4, 2018, ArtJog 2018
successfully attracted tens of thousands of local and international visitors. Heri
Pemad, of Heri Pemad Art Management, this year’s Artjog organizer, explained that
he tried to present a different feel and experience from last year’s show, focusing
heavily on presentation format and curatorial concepts. “This year’s theme, which
is ‘Enlightenment’, tries to refocus ArtJog’s visual art presentation. We showcase
more than 120 works of art in various formats and mediums, from paintings to
graphics, installations, sculptures, and kinetic arts and performances. We also
brought in a multi-disciplinary panel of practitioners and creative actors from within
and outside the country, which all helped to make this year’s event to be much
more collaborative than in previous years,” Heri said, who stressed that he plans to
continue the multi-disciplinary collaboration in the upcoming years. ArtJog 2018
was themed “Enlightenment: Towards Various Futures” and featured the works of
54 local and foreign artists, including featured Bandung visual artist Mulyana with
his work “Sea Remembers”, Nasirun with “Hutan Dilipat” and Davy Linggar x Tulus
dengan “Yang Juga Mendengar”. www.artjog.co.id
UJI HAHAN
Uji “Hahan” Handoko Eko Saputro, a rising young artist based in
Yogyakarta, started to attract a following in 2003, when his works
“Biennale Yogyakarta VII: Countrybution feat. Daging Tumbuh
Community” and“Exploring Vacuum I feat. Daging Tumbuh
Community” were first displayed at the Taman Budaya Yogya-
karta and Cemeti Art House Yogyakarta. A year later, his works
began to be displayed abroad, including at the Australian National
University, Canberra, Australia. In 2008, Uji Hahan received his
first residency at the National Art Studio, Seoul, South Korea, as
well as his first international award, The 2008 Sovereign Asian Art
Prize, which was awarded by The Sovereign Art Foundation, Hong
Kong. In 2009, Uji Hahan graduated from the Faculty of Fine
Arts, Yogyakarta Institute of Art, while simultaneously organizing
and holding his first solo exhibition in Jakarta, entitled Sorry, No
Canvas Today.
Today, the 1983-born is a regular face at the Art Basel Hong Kong
and ART|JOG, as well as a popular guest star in spaces such as
the Hurley Space Gallery in Bali, and Fantasy Island at the Louis
Vuitton Marina Bay Singapore, and Louis Vuitton Hong Kong. In
2017, the artist known for his sharp observations and criticisms
of the sociopolitical environment featured his latest works in a
solo exhibition titled “Wall Street Gymnastics” in various media
and expressions through ROH Projects in Jakarta, and furthering
his ongoing project, Speculative Entertainment, which focuses
on building the contemporary art ecosystems with wholesome
values. www.rohprojects.net
75
BEKRAF
Activities
2O17 2018
Deputy of
Education
D-1
Research
and Development
BEKRAF Activities 2017-2018

The Deputy of Research, Education ACTIVITIES & ACHIEVEMENTS OF 2017 - 2018
and Development is responsible for Since 2015, the Deputy of Research, Education
developing policies and programs and Development has developed a series of
Center for Excellence in Creative Economy and
related to the facilitation of research, ran several successful programs such as Coding
education and development in the Mum, IKKON, CREATE and ORBIT. Their prima-
ry aims are to strengthen the foundations of Cre-
Creative Economy sector. The Deputy ative Economy within the Indonesian ecosystem
based on accurate research and benchmarks.
is comprised of two directorates,
headed by the Director of Creative The Center for Excellence in Creative Economy
was established as an autonomous organization
Economy Research and Development to carry out research and development on 16
and Director of Creative Economy Creative Economy Sub-sectors.
Education.
CODING MUM
Coding Mum is a free-of-

charge training programs given
to housewives and disabled
>6* (8.)* .3/- 70#
INDONESIAN INDONESIAN FOREIGN TOTAL MENTOR
women to provide them with CITIES WITH CITIES WITH COUNTRIES FOR CODING
CODING MUM CODING MUM WITH CODING MUM 2016
computer training including 2016 2017 MUM 2017
programming and coding so (HONG KONG,
SINGAPORE,
that they can earn additional MALAYSIA)
income as freelance program-
160. ^70) 239.

mers to improve their welfare.
TOTAL TOTAL TOTAL

MENTOR FOR PARTICIPANT PARTICIPANT
CODING MUM CODING MUM CODING MUM
2017 2016 2017
100,000
PROJECTED MANPOWER
PER 1,000 STARTUP DI
INDONESIA
81
CODING MUM ACTIVITY LOCATION

2016 - 2018 (DOMESTIC)
LOCATION OF MUM 2017
CODING ACTIVITIES - 2018
“After my
(OVERSEAS) training
at Coding
2017 Mum, I was
Hong Kong able to earn
Singapura
Kuala Lumpur extra income
as website
2018 developer
Singapura
while
2016 2017 2018
remaining at
Jakarta Medan Kendari
CODING MUM TRAINING
PROVIDED:
home.”
Bogor Denpasar Batam
Bandung Banda Aceh Depok -Anggia, Jakarta, Coding Mum
HTML Alumni Class of 2017
Malang Bekasi Manado
CSS
Surabaya Belitung Samarinda
Javascript
Makassar Jakarta Jakarta*
Front-end
Tulung Agung Bandung*
e-Commerce
Yogyakarta Semarang*
Surabaya*
*Coding Mum Difabel
CODING MUM SUCCESS STORY
With her newfound website-making skills after

completing her training Coding Mum, Anggia,
who is also a member of Tangan Di Atas, has
helped many of her friends to build their own
websites for business.
www.mynutrikidz.com & www.cemilanbayi.com

INDONESIA TREND FORECASTING In 2017, ITF featured the theme “Greyzone,”

(ITF) while this year the featured theme is dubbed
“Singularity.” This theme was inspired by the
Trend Forecasting is a collaborative program paradox between machine and technology, which
between the Republic of Indonesia’s Creative are increasingly converging upon one another
Economy Agency (BEKRAF) with several design and raised the question whether they will even-
associations in Indonesia (Indonesia Trend tually replace us in the future. This year’s launch
Forecasting or ITF team). ITF’s primary purpose of ITF’s latest theme was held on September
is to release trend reports (trend forecasting) 27, 2018. In addition to the theme launching,
concerning fashion-related material, content, ITF also launched the trendforecasting.id portal
design and coloring that can serve as a reference which will serve as a forum for designers to in-
for stakeholders, especially for creative players teract with fellow designers, academics, or other
in Indonesia. Creative Economy players.
Universities / Academies - Maranatha Christian University Bandung - Semarang State University

Using ITF’s “Greyzone” in - Islamic Fashion Institute - Petra University Surabaya
- FSRD ITB - Taman Siswa University Yogyakarta
Curriculum:
- Jakarta Institute of Arts - Indonesian Institute of Arts and Culture (ISBI)
- Malang State University Bandung
- SMK 1 Buduran, Sidoarjo - Textile University Bandung
- Yogyakarta State University - Quinna School of Fashion Malang
- Surabaya State University - Bandung College of Textile Technology
- Yogyakarta Indonesian Art Institute
83
Differing from IKKON CREATE
which targets regional CREATE (Creative Training & Education) is a
development, CREATE
free training program provided by BEKRAF for
certain communities, professional associations,
focuses on developing and universities to grow the capacities of its
members within the Creative Economy sector.
individual member’s
skills within partnering
organizations with
BEKRAF.
CREATE LOCATIONS 2016 - 2017
2016 2017
Yogyakarta Yogyakarta
Lampung Lampung
Bandung Bandung
Pekanbaru Pekanbaru
Banda Aceh Banda Aceh
Palu Palu
Pontianak Pontianak
Banjarmasin Banjarmasin
Makassar Makassar
Palembang Palembang
Mataram Mataram
Jambi Jambi
Pacitan Pacitan
Ambon Ambon
Jayapura Jayapura
Pekalongan Pekalongan
Labuan Bajo Labuan Bajo
CREATE 2016 VS 2017
2016 2017
CITY WORKSHOP CITY WORKSHOP
1. Yogyakarta film & management 1. Wakatobi Packaging

2. Lampung writing, product design 2. Lampung coffee
3. Bandung photography, culinary 3. Tanjung Pinang, Kepri Packaging
4. Pekanbaru culinary, performing arts 4. Pangkal Pinang, Babel Packaging
5. Banda Aceh fashion, writing 5. Ternate Packaging
6. Palu music, culinary 6. Manado Packaging
7. Pontianak writing, product design 7. Pontianak Photography
8. Banjarmasin fashion, product design 8. Manado Photography
9. Makassar performing arts, 9. Bintan, Kepri Packaging
business management for 10. Manado Packaging
performing arts 11. Pontianak Writerpreneur
10. Banjarmasin fashion, product design 12. Ambon Radio
11. Palembang fashion, product design 13. Pidie Tangekon,
12. Mataram fashion, product design Banda Aceh Packaging
13. Jambi fashion, product design 14. Garut Packaging
14. Pacitan interior design, product design 15. Bengkalan Packaging
15. Ambon fashion, product design 16. Timika Packaging
16. Jayapura business management, 17. Padang Radio
performing arts 18. Manado coffee
17. Pekalongan fashion, product design 19. Gunung Kidul, DIY Packaging
18. Labuan Bajo fashion, product design 20. Lampung Tengah Packaging
21. Singkawang Packaging
22. Balikpapan Writerpreneur
23. Jepara Packaging
3,160 3,600
PARTICIPANTS OF PARTICIPANTS OF
CREATE 2016 CREATE 2017
85
33,900
BEKRAF FESTIVAL
BEKRAF Festival is a proprietary medium to re-

TOTAL VISITORS TO BEKFEST 2017 port on BEKRAF’s previous year’s performance.
45x 24x
In 2017, BEKRAF Festival was held for three
days and featured 39 flagship BEKRAF pro-
grams in various formats such as video mapping,
interactive floor, film screenings, workshops, talk
shows, fashion shows, art performances and
TOTAL WORKSHOP 2017 TOTAL BAND 2017 music shows.
ORBIT
ORBIT is a mentorship program for young

Indonesian designers whose aim is to create new
talents that can be the vanguard of the future.
ORBIT’s scope of activities includes architecture,
interior design, visual communication design,
fashion design, lighting design, product design,
textile design, craft and landscape.
87
IKKON program IKKON
participants consist IKKON (trans. lit. Innovation and Creativity

through Nationwide Collaboration) is an empow-
of individuals and erment program that places a group of Creative

Economy actors in certain regions in Indonesia
Creative Economy that are deemed to have the potential to be
developed. IKKON instructors and extension
players, including staff, consisting of various professionals from
design, business and other Creative Economy
mentors, instructors, backgrounds, collaborate directly with local
and designers.
communities in certain areas to develop the
regional handicraft products according to market
demand.
IKKON LOCATIONS 2016 - 2018
2016 2017 2018
Sawahlunto, Banyuwangi, Belitung,

Sumatera East Java Bangka Belitung
Pesawaran, Bojonegoro, Siak, Riau

Lampung East Java
Ngada, East Banjarmasin, Singkawang,

Nusa Tenggara Kalimantan Kalimantan
Rembang, Belu, East Nusa Dompu, West

Central Java Tenggara Nusa Tenggara
Brebes, Toraja Utara, Wakatobi,

Central Java South Sulawesi Sulawesi
DOCS BY THE SEA
Docs By The Sea is an international documentary

forum that focuses on Southeast Asia documen-
tary film funding and distribution. The forum
aims to get Southeast Asian documentaries to
get guidance from experienced international
mentors, as well as open up opportunities to get
international funding and distribution networks.
89
TOP 10 FILM DOCS BY THE SEA 2017
FILM DIRECTOR PRODUCER COUNTRY
01 A Braveman Story Yogi Asroful Fuad Bani Nasution Indonesia

02 A Good Business Hark Joon Lee Talk Young-hwan South Korea
Erni Iizuka
Lee Do Ang
03 A Letter to Jejara Sein Lyan Tun Sein Lyan Tun Myannmar
04 All Grown Up Wena Sanchez Abigail Lazaro Phillippines
05 Aswang Alyx Ayn Arumpac Armi Rae Cacanindin Phillippines
06 Audio Perpetua Universe Baldoza Silver Dan Belen Phillippines
07 Boarding School Shalahuddin Siregar Shalahuddin Siregar Indonesia
08 Eye on the Ball Chen Yih Wen Chen Yih Wen Erni Malaysia
Nandita Solomon
09 Goods & Robots Anand Tharaney Ruchi Bhimani India
10 Going Straight Kristoffer Brugada Charena Escala Phillippines
MENTOR (INTERNASIONAL) PITCHING EVENT

DOCS BY THE SEA 2017
Johnny Bassett
(INTERNASIONAL)
DOCS BY THE SEA 2017 Did You Know?

Menno Boerema
Niels Pagh Andersen Docedge Kolkata, India
Docs By The Sea
Sebastian Winkels is the first and

Anne Fabini
Don Edkins
CNEX China Documentary
Forum, China only international
Ulla Simonen documentary forum
in Southeast Asia.
Amy Hobby Tokyo Docs, Japan
Karolina Lidin
Kristine Ann Skaret Incheon Docsport, South Korea
Peter Jaeger
BIGGER (BISMA Goes to Get Member) DATES PLACE
BIGGER (BISMA Goes to Get Member) is a series 21 Mei 2017 Bandung

of events conducted by the Director of Creative 10 Agustus 2017 South Tangerang
Economy Research and Development to intro- 17 Maret 2018 Cirebon
duce the BISMA Application. BIGGER activities 11 April 2018 Surakarta
consist of open discussions, parallel sessions 28 April 2018 Semarang
and master classes. 09 Mei 2018 Bandung
28 Juni 2018 Manado
10 Juli 2018 Yogyakarta
9 Agustus 2018 Makassar
6 September 2018 Medan
91
BEACON Activities: BEACON (BEKRAF Animation

Conference)
Beacon Bandung:
26 Agustus 2017 BEACON is an event organized by the Indone-
sian Agency for Creative Economy to bridge the
900 Participants collaboration and interaction between Creative
Economy actors who play a role in the devel-
opment of animation in Indonesia, including:
BEACON Jakarta: national animation actors / IP owners, Distribu-
tors / TV, Agency, Investors, Government, and
1-2 September 2018 Media. WithIn BEACON, it is expected that there
1,500 Participants will be an exchange of information, experience,

business transactions and means to publish
the animation works of the nation which will
eventually develop a comprehensive national
Creative Economy, especially in the Animation
Sub-sector.
BCL (BEKRAF Creative Labs)
BCL is a collaborative program between BEKRAF

and national universities in Indonesia to fill the
flagship Creative Economy program in each of
the 16 subsectors. The main objective of BCL is
to develop a Creative Economy Leading Center
Cluster (PU EKraf).
BCL is an ongoing program that is carried out

every year where the activities are adjusted to
the PU Ekraf Managing Management Roadmap
prepared in 2016.
93
BISMA (BEKRAF INFORMATION

SYSTEM IN MOBILE APPLICATION)
Digital application developed specifically by

BEKRAF to collect data on the actors and
become a one-stop registration portal for the
perpetrators of Creative Economy in Indonesia.
The benefits obtained by creative industries reg-
istered in the BEKRAF database include getting
priority in activities held by BEKRAF, including
4,182
Creative Industry competitions, Exhibitions,
Training, Technical Guidance, IPR Registration,
Marketing, Financing, Incubators and Market
Place. In addition the actors will get 5BE profit,
namely Be Updated, Be Marketed, Be Support-
ed, Be Integrated and Be Engaged.
TOTAL PRODUCTS
OFFERED WITHIN
BISMA APP
5,044
TOTAL BUSINESSES
WTIHIN BISMA APP
20,471 REGISTERED MEMBERS GROWTH

IN BISMA APPS
2016 400
TOTAL REGISTERED
2017 6,600
MEMBERS (INDIVIDUALS) 2018 20,471
WITHIN BISMA APP
Deputy of
D-2
Access to Capital

Based on the regulation of the Chairman

of the Indonesian Agency for Creative
Economy No.1 / 2015 Article 70 concerning
the organizational structure and governance
of BEKRAF, the Deputy of Access to
Capital has been tasked with formulating,
coordinating and synchronizing policies
and programs related to access to Creative
Economy capital.
The Deputy of Access to Capital oversees two Target: Fulfillment of capital and capacity build-
directorates, namely Director of Access to ing for Creative Economy players.
Non-Banking Finance and the Director of Access
to Banking Finance. Tasks:
• Identification of Creative Economy players
Objective: To increase the competitiveness of to be financed
Creative SMEs, help reduce poverty and expand • Help finding market taker / guarantor
employment opportunities and increase the • Intermediary facilities to access credit /
added value of players in the Creative Economy financing to Creative Economy players to
Sub-sector. banking institutions
• Mentoring on product marketing and
development, financial management and IPR
registration through technical guidance
• Developing partnership programs
• Credit / financing oversight / management
ACTIVITIES & ACHIEVEMENTS 2017 – 2018
In Indonesia, access to capital is one of the big- In this program, BEKRAF’s frameworks include,
gest hindrances for Creative Economy players in among others, offering intellectual proper-
developing their businesses and also for the Cre- ty-based financing solutions that can be in the
ative Economy sector as a whole. The Banking form of brands, copyrights, and patents as
Access Program, which is run under the Deputy collateral for accessing banking financing.
for Access to Capital, is part of BEKRAF’s efforts
to bridge Creative Economy players with conven-
tional and Islamic-based banking.
97
Supply Business Demand

(Banking) Matching (CCE Players)
Capacity
Building
Bekraf
Financial Club
Finance
Classes
Approach to the Activities of the Banking Access Directorate
1,000
BUSINESS MATCHING BUSINESS MATCHING
LOCATION 2017
Business Matching is one of the banking pro-
grams conducted by BEKRAF to bring together Batusangkar
Creative Economy players with banks or finan- Participants of Semarang
ciers and facilitates access to financing. Business Matching Aceh
2017 Bandung
Jakarta
1,800 BUSINESS MATCHING

LOCATION 2018
Participants of
Business Matching Pekanbaru
Aceh
(Sharia-based) 2018 Bali
Madura
2,200
Tegal
Medan
Participants
Bandung
Palembang
Ambon
of Business Malang
Yogyakarta
Matching Purbalingga
Salatiga
(Convention- Magelang
Toraja
al) 2018 Gorontalo

Pontianak
Bengkulu
Semarang
BEKRAF FINANCIAL CLUB (BFC) FINANCIAL CLASS SERIES Location of 2017 Financial
Management Classes
BEKRAF Financial Club (BFC) is a forum for Financial class is an activity of capacity building Manado
Creative Economy players and national banks for Creative Economy actors in terms of financial Pontianak
facilitated by the Director of Access to Banking management. Through this activity, it is expected Tasikmalaya
Finance. In this event, creative actors from each that Creative Economy actors are able to manage Medan
Sub-sector will provide an explanation of their their business finances from planning to prepar- Garut
respective financing pattern of the Sub-sec- ing financial statements and understanding the Ambon
tor, and may continue discussions in private meaning of financial statements. Riau
to secure funding or further explore financing Yogyakarta
patterns. For creative (demand) actors, capital is Kupang
one of the biggest obstacles in developing their Pelabuhan Ratu
businesses, both from the administrative and
technical aspects of the field. Meanwhile, from Location of 2017 Islamic
the banking (supply) side, Creative Economy still Financial Classes
largely represents an abstract concept and its 1,000 Total number of Malang
potential are not well understood. Therefore, a 2017 Financial Semarang
bridge is needed to bring the two parties toge
Management Class
Bengkulu
ther and forge new ecosystems for the future. Sukabumi
participants (10 Cities) Bondowoso
Samarinda
Makassar
420 TOTAL PARTICIPANTS 1,000 Total number Tanjung Pinang
OF BFC 2018 (70 of participants in Ternate

Aceh
PARTICIPANTS IN 6 CITIES) 2017 Islamic Financial

Classes (10 Cities)
Financial Class
Management 2018
Jambi
Jayapura
700 TOTAL NUMBER Jawa Timur
OF PARTICIPANTS

Jawa Tengah
Sumatera Utara
IN MANAGEMENT
Maluku
Sulawesi Selatan
FINANCIAL CLASS 2018

(7 CITIES) 2018 Islamic
Financial Class
Papua Barat
700 Total number of

Jawa Timur
Jawa Barat
participants in 2018 Jawa Tengah
Islamic Financial
Sumatera Barat
Surabaya
Classes (7 cities) Sulawesi Selatan
99
DERAP EKRAFPRENEUR HASANAH MULIA

(DEUREUHAM) 2018
600 TOTAL PARTICIPANTS OF
ROADSHOW DEUREUHAM 2018
DEUREUHAM or Derap Ekrafpreneur Hasanah
Mulia is a collaboration program between the
Deputy for Access to Capital (funneled through
250 TOTAL WORKSHOP
the Director of Access to Banking Finance) and PARTICIPANTS (FROM 5 CITIES)
BNI Syariah to provide facilitations for Creative
Economy players from 16 Sub-sectors to gain
access to capital sources or owners.
6 TOTAL WINNER FOR DEUREUHAM
2018 COMPETITION (GENERAL
The DEUREUHAM 2018 program focuses on CATEGORY & TECHNOLOGY
a series of programs that aim to encourage
sharia-based Creative Economy players to get CATEGORY)
financial support from Islamic banks.
1st Place (General Category): Sipetek Crispy 1st Place (Technology Category): Muslim Life (Application
(Culinary Sub-sector) - Jakarta (Aang Permana) and Game Sub-sector) - Palembang (Tri Wahyudi)
Aang Permana, an entrepreneur from Jakarta Muslim Life is a digital application that serves
who previously won the 2017 Young Hero Kick the needs of education and worship for Muslims.
Andy, produces processed food products made Created by Tri Wahyudi, from Palembang, this
from crispy fish and high in calcium, and empow- innovative application is a true solution for users
ers the community and utilizes local resources. with complete service quality and features, inte-
grated with index-based curriculum, and easy to
use with beneficial features. Tri himself has won
various awards, including the National Award for
the Kemenpora Entrepreneurship Field (2014)
and the Second Champion of the Student Entre-
preneurial Category Student (2009).
101
In addition to the above activities, the Director

of Access to Banking Finance also actively coop-
erates with several banks and regulators. In the
beginning of 2018, an MoU was signed between
BEKRAF and BNI Syariah, Maybank and Bank
Indonesia.
This collaboration aims to support the devel-

opment of capital access from banks for the
Creative Economy sector in Indonesia.
GOVERNMENT INCENTIVE ASSISTANCE

(BIP)
BEKRAF, through the Deputy of Access to Cap-

ital, distributes funds assistance or additional
working capital and/or fixed asset investment to
Creative Economy players.
2017 2018
Rp 200 Mn
34 56 Maximum
People / Business People / Business Amount
Recipients of BIP Recipients of BIP
Of Funds
Disbursed Per
Recipient*
*Set by the Commitment
APPLICATION CULINARY APPLICATION CULINARY
& GAME & GAME Officer by considering the
DEVELOPER DEVELOPER curator’s recommendation
Rp 6 Bn
13 July - 24 July 2017
Program Registration
Period BIP 2017
FASHION CRAFT Total Funding To Be

Distributed 2018
April 30 - May 20 2018
2018 BIP Program
Registration Period
103
FOOD STARTUP INDONESIA (FSI)
A forum for Creative Economy players, especial-

ly in food or culinary engaged both online and
offline. BEKRAF’s main functions in the FSI, in
addition to partnering with FoodlabIndonesia.
com, is to bring together creative players and
investors together. BEKRAF also facilitates
mentorship programs, acceleration and other
support.
Online Platform FSI ACTIVITIES TIMELINE 2018

-
FSI can be accessed online at Tanggal Kota Aktivitas
www.foodstartupindonesia.com.
26 Januari 2018 Jakarta KickStart FoodStartup Indonesia 2018
Intended For: 13 Februari 2018 Medan Roadshow FSI 2018
Prospective new culinary entrepreneurs (no 20 Februari 2018 Bandung Roadshow FSI 2018
products, not registered in the BEKRAF system, 23 Februari 2018 Makassar Roadshow FSI 2018
and not connected to the online ecosystem). 01 Maret 2018 Semarang Roadshow FSI 2018
06 Maret 2018 Banjarmasin Roadshow FSI 2018
09 Maret 2018 Malang Roadshow FSI 2018
Offline Platform 13 Maret 2018 Yogyakarta Roadshow FSI 2018
- 20 Maret 2018 Surabaya Roadshow FSI 2018
Known as Demoday, offline activities include 23 Maret 2018 Mataram Roadshow FSI 2018
roadshows to major cities in Indonesia, mentor- 27 Maret 2018 Belitung Roadshow FSI 2018
ship programs, and funding facilitation. 28 Juni 2018 Proses Kurasi Ditutup (Nasional)
28-30 Juni 2018 Surabaya Curation Stage Ended (National)
Intended For: 27-29 Juli 2018 Surabaya Expo & Demoday FSI Surabaya
Prospective culinary entrepreneurs who already 30 - 31 Juli 2018 Mentoringship program (30 Mentor)
have real products and business traction. 1 Agustus 2018 Surabaya Final FSI
AKATARA INDONESIAN FILM FINANCING AKATARA SCHEDULE OF ACTIVITIES 2018

FORUM
Date City Activites
AKATARA is a national forum or medium for
filmmakers and other players in the film industry End of May 2018 Call for Entry
and investors both from local and overseas to End of Juni 2018 Opening Submission
meet and collaborate. AKATARA’s primary aim End of Juli 2018 Closing Submission
is to widen access to funding and financing for 19 April 2018 Makassar Roadshow
Indonesian film projects through pitching and 2 Mei 2018 Malang Roadshow
matchmaking process, as well as hold awarding 5 Juni 2018 Jakarta Pressconfrence,
nights sponsored by BEKRAF and the Indonesian Investor Gathering, Vidsee event,
Film Board (BPI). Akatara X (Short Film Financing)
3 Juli 2018 Bandung Roadshow
18 Sept 2018 Live presentation 20 shortlisted
19 Sept 2018 One-on-one meeting
(filmmaker with investor)
18-20 Sept 2018 Jakarta IFDC Awards: Awarding of the
best 5 directors selected by the
Indonesian Film Director
Association; Giving gift Grant
Proposal to fund Script Writing.
105
GO STARTUP
INDONESIA
GO STARTUP INDONESIA
Go Startup Indonesia is a BEKRAF program Indonesia’s Go Startup activities include com-

aimed at building and strengthening Indonesia’s petitions at the regional and national levels and
startup ecosystem. The main objective of this seeking new talent, to select potential startups,
program is to improve the status of startups and continue with facilitation to the international
from the Development stage to Scaling Up, level for selected finalists (sponsorship, ambas-
which is achieved through integrative collab- sadorship, mentoring etc.).
oration in the realm of the Indonesian startup
ecosystem.
Emerging
NETWORKING WITH CORPORATE PARTNERS
TALENT DEVELOPMENT
HUBS-TO-HUBS (OVERSEAS RESIDENSIES)
Development STARTUP INDONESIA (PORTAL SATU PINTU STARTUP)
Scalling Up
TALENT DEVELOPMENT THROUGH ECOSYSTEM (BEKUP, FSI, BIP)
CONTENT DEVELOPMENT PITCHING (JAKARTA CAPITAL WEEK)
INVESTOR RELATION GO INTERNATIONAL
SECOND BOARD (CREAX)
GO STARTUP CHAMPIONSHIP (GSC)
GoStartupIndonesia’s Startup Championship (GSC) is the nation’s

preeminent competition startup. GSC features 15 to 30 top early
stage startups pitching top judges in front of a vast live audience,
present in person and online. The winners of the Startup Cham-
pionship, which will be determined during the Grand Finale on
the Jakarta Capital Week, will also represent Indonesia at various
international startup competitions and conferences such as Tech-
crunch Disrupt, SXSW, Get In The Ring and Startup World Cup.
GET FUNDED
Get Funded is a workshop program that provides

practical guidance on aspects of the startup
business, especially related to funding.
1,000 Participants
GET FUNDED SCHEDULED 2018 of Get Funded At
Date City Activities Present
8 FebruarY 2018 Jakarta Workshop
7 Locations of
1 March 2018 Batam Workshop
12 March 2018 Yogyakarta Workshop
the Get Funded

22 March 2018 Bali Workshop
3 April 2018 Padang Workshop
Workshop
22 May 2018 Surabaya Workshop
25 May 2018 Bandung Workshop
107
Rp 5,2 Tn
TOTAL REALIZATION OF
FUND DISBURSEMENT
2017*
* Funneled by conventional and Islamic banks
778 PEOPLE RP 4,4 Tn

TARGET OF CAPITAL
FOOD STARTUP INDONESIA 2017
LOCATION: MEDAN, MATARAM,
FUND DISTRIBUTION
MAKASSAR, SURABAYA, JAKARTA, BALI, TO CREATIVE ECON-
BANDUNG, YOGYAKARTA
OMY PLAYERS 2017
2,180 PEOPLE
REALIZATION OF
MENTORSHIP IN
2017*
230 PEOPLE *Including Business Management Financial
Classes and Sharia Financial Classes
AKATARA INDONESIAN
FILM FINANCING FORUM 108% REALIZATION OF
2017 CITY: SURABAYA, MENTORSHIP VS. TARGET
MAKASSAR, JAKARTA OF MENTORSHIP FOR
(NON-BANKING ACCESS) CREATIVE ECONOMY
PLAYERS 2017
118%
REALIZATION OF FUND DISTRIBUTION
2,010 PEOPLE
TARGET OF MENTORSHIP
FOR CREATIVE ECONOMY
VS. 2017 FUND DISTRIBUTION TARGET PLAYERS 2017
7º OPUS CREATIVE ECONOMY OUTLOOK 2019
Deputy
71
D-3
of
Infrastructure

The growth and development of the Creative Economy

sector in Indonesia is still constrained by several factors,
both internal and external. The internal factor that is
often complained by creative actors is the lack of a
potential cultural landscape and the limited availability of
buildings as creative spaces and creative space facilities.
The main task of the Deputy of Infrastructure is to

facilitate physical and ICT Infrastructure, namely by
providing space and means to develop the Creative
Economy subsector potential in an area.
ACTIVITIES & ACHIEVEMENTS 2017-2018 GOVERNMENT ASSISTANCE PROCESS
One of the Deputy’s main programs is Banper

(Government Assistance) in the form of Facili- Current Year Technical Updates
tation of Revitalizing Physical Infrastructure of
Creative Space, Creative Space Facilities, and In-
formation and Communication Technology (ICT) Socialization
and building creative city networks that enable
creative businesses to interact and collaborate
with ease. Media Publication
BIP is categorized into three categories:

Determine Supervisory Consultants
Revitalizing Physical Infrastructure
of Creative Spaces
Creative Space Facilities Determination of Beneficiaries
Information and Communication
Technology (ICT)
Administration & Verification Selection
Kick Off
Monitoring & Evaluation
Handover
111
BOTTOM-UP STRATEGY EXECUTED
BEKRAF’s series of activities are also intended

to serve the needs of creative players actors SUPPORTED
as outlined in the facilitation proposal and the
support proposed by both the Local Government
and the Community. ASSESSED (CURATION TEAM)
Proposal from Local Government / Community
Government Assistance Government

for Creative Space Assistance for Creative
Facilities 2017 Space Revitalization
- 2017
Rp 19 Bn -
38 Locations > IDR 26 Bn
7,000 Goods / 24 Locations
Equipment 7,000 Goods /
Equipment
Government
48
Government
Assistance for ICT Assistance Recipients
Facilities 2017 2017
-
>Rp 2,5 Bn
6 Locations Rp
45,5 Bn
166 Goods /
Equipment
1 Website
Total Budget Allocated
by Government
ACHIEVEMENT OF GOVERNMENT ASSISTANCE PROGRAMS FOR REVITALIZA-

TION, DEPUTY OF INFRASTRUCTURE, SEMESTER I, FISCAL YEAR 2018
KUB Rifaiyah, Kabupaten Batang
Transformasi Teater garasi, Kabupaten Bantul
Rp 8.7 Bn Total
Government
Assistance Disbursed
7 Revitalization
Recipients (5 Cities) Dinas Pariwisata dan Kebudayaan Kota Sabang
113
ACHIEVEMENT OF GOVERNMENT ASSISTANCE PROGRAMS FOR FACILITIES,

DEPUTY OF INFRASTRUCTURE, SEMESTER I, FISCAL YEAR 2018
Rp 11.1 Bn Total
Government
Assistance Disbursed
18 Revitalization
Recipients (15 Cities)
335 Submitted
Proposals for
Government Assistance
Through May 2018
Jogja Creative Society, Kabupaten Sleman
Lembaga Binaan Nani House, Kabupaten Sikka
Gedung Aisyah Sulaiman, Kota Tanjungpinang, Riau

INDEPENDENT ASSESSMENT OF INDONE-

SIAN REGENCY / CREATIVE CITY (PMK3I)
Indonesia’s Independent Regency / Creative

City Assessment Program (PMK3I) is one of the
programs of the Deputy of Infrastructure which
aims to identify the potential of a city / district
in becoming a center of excellence in a new
Creative Economy.
The PMK3I program uses online tools and

applications as a communication infrastructure
that can be used independently by Indonesian
creative actors wherever they are.
2016 2017 2018 Visit:

www.kotakreatif.id
DISTRICT / CITY DISTRICT / CITY DISTRICT / CITY

TESTED TESTED TESTED
115
CREATIVE VILLAGE / DISTRICT / CITY ESTABLISHMENT OF CREATIVE

ECOSYSTEM FORMATION 2017 VILLAGES / DISTRICTS / CITIES 2017
Nias, North Sumatra West Manggarai, East Nusa Tenggara

• Period: February 17 - September 3, 2017 • Period: February 20 - October 13, 2017
• Subsector: Craft (wood) • Subsector: Craft (Weaving)
• Participants: +/- 94 people • Participants: +/- 25 people
Samosir, North Sumatra Konawe Selatan, Southeast Sulawesi

• Period: February 17 - October 5, 2017 • Period: 24 February - 14 August 2017
• Subsector: Kriya (Tenun Ulos) • Subsector: Craft (Wood)
Batang, Central Java Ternate, North Maluku

• Period: February 16 - September 14, 2017 • Period: February 23 - October 26, 2017
• Subsector: Craft (Batik) • Subsector: Crafts (Woven)
Pemalang, Central Java

• Period: February 16 - September 10 2017
• Subsector: Craft (Batik)
• Participants: +/- 52 people
Central Lombok, West Nusa Tenggara

• Period: February 17 - August 26 2017
• Subsector: Craft (Weaving)
Komodo Island, Nusa Tenggara

• Period: 20 February - 14 October 2017
• Subsector: Craft (Wood)
Maumere, East Nusa Tenggara

• Period: February 20 - September 22 2017
• Subsector: Craft (Weaving)
72 15 CITIES
BEKRAF FOR PRE-START UP (BEKUP)
BEKUP is one of the Deputy of Infrastructure

programs specifically designed to finalize the in-
FACILITATED
LOCATION OF
tegration of startup ecosystems from upstream PRE-STARTUPS
2017
BEKUP 2017
ACTIVITIES
to downstream, namely the maturation of
candidates for Human Resources who will build
startups in the country.
200 TARGETED
PRE-STARTUP TO
BE FOSTERED BY
BEKUP 2018
MEDIS ONLINE INDONESIA
MOI (Indonesian Online Medical) is a BEKUP

2017 startup alumni from Medan, North Suma-
tra. MOI is an on-demand digital application
for professional nurses and midwives who have
been trained in the Indonesian Online Medical
Training Center for home care services. MOI
serves users who need healthcare services with
an easy-to-use application system and fast
service. MOI services include:
- Preparation for pregnancy

- Services for pregnant women
- Preparations for childbirth and postpartum
- Health services for babies, children,
adolescents
- Pain treatment to Palliative services
MOI is the winner of the 2018 Samsung Global

Startup Acceleration Program and will represent
Indonesia in competitions with startups from
South Africa, Malaysia and India.
117
BEKRAF DEVELOPER DAY (BDD)
BDD is one of the Deputy of Infrastructure’s

programs in the development of digital econ-
omy ecosystems in the field of application and
game development, especially in improving the
capacity and competence of Indonesian ICT
developers.
BEKRAF BEKRAF BEKRAF FOR BEKRAF FOR

DEVELOPER DEVELOPER PRE-STRAT PRE-STRAT
8 6 15 10
DAY 2017 DAY 2018 UP 2017 UP 2018
CITY CITY
CITY CITY
7,500 TOTAL 4,397 TOTAL
PARTICIPANTS PARTICIPANTS
72 PRE-STARTUP 200 PRE-STARTUP
TOTAL TOTAL
7º OPUS CREATIVE ECONOMY OUTLOOK 2019
Deputy of
71
D-4
Marketing

The Deputy of Marketing is responsible for

expanding the market for Indonesia’s creative
products and services so that they are
competitive in the global market. The strategy
undertaken by the Deputy included exhibitions,
promotion and branding of Indonesia’s
creative products and services, and building a
comprehensive and consistent national product
image both in Indonesia and abroad.
The Deputy of Marketing is comprised of two

directorates which are headed by the Director
of Domestic Market Development and the
Director of International Market Development.
ACTIVITIES & ACHIEVEMENTS 2017-2018
DOMESTIC ACTIVITIES 2017-2018
ICINC METRO TV
KREATORIAL is a regular rubric in leading With a total of 18 segments, ICINC BEKRAF’s

national newspapers which presents updated video appears among the Metro TV program
information on the development of Creative changes. TV viewers can find out directly the
Economy sector in Indonesia and other related information of creative actors and the various
information of Creative Economy. KREATORIAL activities that BEKRAF has done in encouraging
is a form of support from BEKRAF to encourage the growth of the Creative Economy.
Creative Economy through media publications,
both print and visual.
16 KREATORIAL
Editions 2017
26 August 2017
KREATORIAL
premiere edition 2017
121
KREATIFOOD
Kreatifood 2018 features a a different concept from previous years, whereupon the
creative products sold in Kreatifood 2018 comprise of products that have passed
the Indonesian Food Startup curation.
Activities include sales transactions, networking, business negotiations, product

sampling and tasting, knowledge-sharing across startup businesses in the culinary
field, to cross product sales between startups in Food Startup Indonesia
ACTIVITIES TIMELINE KREATIFOOD 2018
No Venue City Date
1 Ciputra World Surabaya 27-29 Juli 2018

2 Manhattan Times Square Mall Medan 10-12 Agustus 2018
3 Opi Mall Palembang 24-26 Agustus 2018
4 Hartono Mall Jogjakarta 7-9 September 2018
5 Gandaria City Jakarta 21-23 September 2018
6 Festival Citylink Mall Bandung 5-7 Oktober 2018
7 Malang Town Square Malang 19-21 Oktober 2018
8 Big Mall Samarinda Samarinda 22-28 Oktober 2018
9 Ratu Indah Makasar 9-11 November 2018
10 Mall Bali Galeria Bali 17-19 November 2018
10 CITIES WITH 93 – Total Number of

Creative Players in
100 Business Leads
in Kreatifood 2018
KREATIFOOD 2018 Culinary Facilitated in
Marketing at Kreati-
(in Surabaya, Medan,
Palembang, and
food 2018 Yogyakarta
Rp 552 Mn – Total >Rp 600 Mn Projected

Transaction Value Value Created During
During Kreatifood Kreatifood 2018
2018 (Surabaya,
Medan, Palembang,
Yogyakarta)
OVERSEAS ACTIVITIES 2017-2018
SXSW (South by Southwest)

An annual film, music and
interactive media festival,
SXSW is one of the largest
music festivals in the world
with 2,500 artists, performers
and bands playing in more than
100 places.
New York Now

An annual exhibition and marketplace for house-
hold and lifestyle products attended by more
than 2,800 companies, New York Now is a form
of support by BEKRAF in collaboration with the
Indonesian Consulate General in New York to fa-
cilitate land leasing, booth design and construc-
tion, cargo and promotions for eight Indonesian
brands in the United States.
In 2017, the B2B event was held on August

19-23, 2017 at the Jacob K. Javits Convention
Center, New York, United States.
US$ 71,117*
Total Sales by
Indonesian Delegates
During New York
Now 2017 (Rp
974,842,800)
*Hasil penjualan langsung atau dari kontrak dan janji pembelian
yang terealisasikan pasca event
123
Salone Del Mobile

Salone Del Mobile is one of the most prestigious
product and craft design exhibitions held annu-
ally in Milan, Italy. In 2017, Indonesia broke the
milestone by participating for the first time at this
world exhibition.
Venice Art Biennale

Venice Biennale Arte, also known as La Biennale
di Venezia, is the world’s oldest and most presti-
gious bi-annual art exhibition. At the 2017 Venice
Art Biennale, which took place from 10 May to
26 November 2017, the Indonesian Pavilion at
Arsenale forged a new history after Indonesian
artist Tintin Wulia built her stage in two different
cities, Jakarta and Venice, simultaneously with
the help of internet.
7º
Deputy
of Intellectual
and Regulations
71
125
D-5
of Facilitation
Property Rights
Bekraf Activities 2017-2018

The Deputy of Facilitation of Intellectual Property Rights and

Regulations is responsible for building the awareness and
ecosystem of national intellectual property rights (IPR). The
programs of Deputy of Intellectual Property Rights and Regulation
include providing information on IPRs in the form of applications,
establishing anti-piracy Task Force, presenting IPR consultants to
provide one-to-one consultations for free, and providing facilitation
for IPR registration for Creative Economy players. In addition,
the Deputy of Facilitation of Intellectual Property Rights and
Regulations also provides facilities for professional certification
for Creative Economy players, helps the formation of regional
regulations related to the development of Creative Economy
and also helps to establish a legal entity for Creative Economy
businesses.
The Deputy of Facilitation of Intellectual Property Rights and

Regulations oversees two directorates, headed by the Director of
Facilitation of Intellectual Property Rights and Regulation, and the
Director of Harmonization of Regulation and Standardization.
1,000
1,650*
5,571
557,1
1801
109,15
Targeted Creative Economy Targeted Number of

Players Receiving IPR 2017 Registration for Creative
/ Realization of Creative Products 2017 / Realization /
Economy players Receiving Percentage of achievements
IPR 2017 / Percentage of 2017
target realization
Source: Data on Administration *Originally 2,000, lowered to 1,650

Sub-Section on IPR Facilitation due to budget cuts
Directorate (December 2017)
127
SOCIALIZATIONS FROM ANTI PIRACY

TASK FORCE 590 TOTAL
The Creative Economy Anti-Piracy Task Force NUMBER OF
Team is tasked with monitoring, responding to
and handling complaints of piracy cases of Indo- PARTICIPANTS
nesia’s creative products.
2017
1,000
10
TOTAL PARTICIPANTS DURING REGIONS IN INDONESIA WITH
SOCIALIZATIONS FROM ANTI PIRACY SOCIALIZATIONS FROM ANTI
TASK FORCE 2017 PIRACY TASK FORCE 2017
(JAYAPURA, AMBON, SOLO,
SOREANG, LEMBANG, ACEH,
IPR SOCIALIZATION: CREATIVE
BANDUNG, PADALARANG,
DIGITAL X LINE
JAMBI, AND ACEH BESAR)
The IPR socialization to Creative Economy

players in the creative digital field was carried
out in collaboration with Line Indonesia, a digital
application company.
30 KOTA*
SOCIALIZATION, CONSULTATION AND FACILITATION
OF REGISTRATION OF INTELLECTUAL PROPERTY
RIGHTS (IPR)
LOCATION OF SOCIALIZATION
ACTIVITIES AND REGISTRATION OF
In 2017, the IPR Socialization, Facilitation and PRODUCTS / SERVICES CREATIVE
ECONOMY 2018
Registration Activities were carried out under the
supervision of the IPR Management Sub-Di-
2.250* Total Number of

rectorate and in collaboration with two state
universities, UPN Yogyakarta and UNS Solo, from
12 July 2017 to 8 November 2017.
Participants In IPR 2018
Socializations
2.009 / 660
NUMBER OF PARTICIPANTS OF IPR TARGETED (BRAND
SOCIALIZATION ACTIVITIES / NUMBER
/ PRODUCT) IPR
OF CONSULTATION AND FACILITATION
PARTICIPANTS FOR IPR 2017
1.875* REGISTRATIONS
2018
1,507 TOTAL
NUMBER OF IPR
REGISTERED
31
CITIES WITH IPR
4 CITIES* WITH IPR
MENTORING FOR CREATIVE
THROUGH 2017 ECONOMY PLAYERS
SOCIALIZATION,
CONSULTATION
ACTIVITIES AND
FACILITATION
ACTIVITIES 2017 *National Priority Program Activities Plan (PPN)
2018
DIRECTORATE OF REGULATION AND LMK & LMKN SOCIALIZATION

STANDARDIZATION HARMONIZATION
The Socialization of Collective Management
Facilitation for the Establishment of Creative Institutions (LMK) and the National Collective
Economy Regulations Management Institute (LKMN) was conducted in
8 cities in Indonesia in collaboration with UNS
This program is designed to form new regulations Solo and UPN Yogyakarta.
that support the development and enhancement
of the Indonesian Creative Economy. PERIOD: 4 APRIL 2017 - 28 AUGUST 2017
540 TOTAL NUMBER OF
PARTICIPANTS IN LMK & LMKN
SOCIALIZATIONS 2017
129
FACILITATION FOR THE ESTABLISHMENT OF LEGAL FACILITATION OF ESTABLISHMENT OF LEGAL ENTITY FOR CREATIVE
ENTITIES FOR CREATIVE ECONOMY BUSINESSES ECONOMY BUSINESSES IN 2017
This facilitation program is carried out to City Date

support Creative Economy players, especially
in the MSME segment, to secure legal business Solo 17 July 2017
ownerships which will in turn stimulate the local Jakarta 31 July 2017
economy. This program is a collaborative pro- Jember 15 August 2017
gram between the Indonesian Notary Association Jakarta 22-23 September 2017
(INI) and various Indonesian Creative Economy Kab. Agam 5-6 October 2017
communities, such as the UMKM Community. Kediri 13-14 October 2017
Jakarta 19-20 October 2017
Palembang 7-8 November 2017
Batam 21-22 November 2017
Makassar 28-29 November 2017
18
3,460 / 28 NUMBER OF
PARTICIPANTS (CREATIVE
ECONOMY PLAYERS)
IN PROFESSIONAL
CERTIFICATION
FACILITATION PROGRAM Business Establishment
2017 / REGENCY / CITY Handbook Published by
BEKRAF and Sebelas Maret
State University 2017
161NUMBER OF
PARTICIPANTS
(CREATIVE
ECONOMY
PLAYERS) IN
1,644 / 20 NUMBER OF PARTICIPANTS
ASSESSORS’
(CREATIVE ECONOMY PLAYERS) CERTIFICATION
IN PROFESSIONAL CERTIFICATION
FACILITATION PROGRAM THROUGH FACILITATION
MAY 2018 / REGENCY / CITY PROGRAM 2017
7º
Deputy
and Regional
71
131
D-6
of Institutional
Relation

The Deputy of Institutional and Regional Relation is

tasked with formulating, establishing, coordinating and
synchronizing policies and relations programs between
institutions and regions both at home and abroad. The
role of the Deputy of Institutional and Regional Relations
is to build a comprehensive Creative Economy ecosystem
in Indonesia that involves the academics, communities,
media, business, and government both from within and
outside the country.
In an effort to map out and develop the regional potential,

the Deputy of Institutional and Regional Relations applies
the principle of “3C: Connect - Collaborate – Commerce”
towards all stakeholders, both within regional and
national scale, and involving Pentahelix elements, namely
Academician, Businesses, Community, Government,
and Media (Pentahelix). The first stage of “3C,” namely
“Connect” means to hold an activity in the form of
a Memorandum of Understanding. The next stage is
Collaboration and Commercialization, carried out by
conducting the Pentahelix Integrated Group Discussions.
The Deputy oversees the Director of Domestic Relations

and the Director of International Relations.
133
KOPIKKON
Established in 2017, KOPIKKON is a cooperative

program with the aim to accommodate Creative
Economy players, especially participants from
the IKKON program, to be able to more easily
market their products.
5
KOPIKKON LOCATIONS IN INDONESIA
THROUGH MAY 2018 (BREBES,
NGADA, PESAWARAN, REMBANG,
AND SAWAHLUNTO)
22 Proposals 75 Proposals
received in received in
SATU PINTU
2016 2017 The Satu Pintu (One Door) Program was started
in 2017 and is targeted to become a mechanism
designed to facilitate public access to BEKRAF.
The forms of support that BEKRAF can provide
include operational assistance, facilities and in-
24
frastructure assistance, rehabilitation assistance,
PROPOSALS RECEIVED building, building construction, awarding, and
THROUGH JUNE 2018 so on.
FLOWCHART OF PROPOSAL SUBMISSION

THROUGH SATU PINTU:
Submit propos- Submitted Internal Announcement Implementation

als through on- proposals are curation and of selection of approved
line and offline selected admin- selection results and activities
(at booths at istratively process preparation
BEKRAF events) for follow-up
FACILITATION OF ESTABLISHMENT OF
REGIONAL FILM COMMISSIONS
The Regional Film Commission (KFD) is an insti-

tution formed by BEKRAF in collaboration with
the Indonesian Film Agency (BPI) to facilitate and
encourage local governments to initiate the for-
mation of their respective KFDs in their regions.
Forms of Facilitation:
5 REGIONAL PILOT PROJECT LOCATIONS 2018
Licensing management including incentives in the
local shooting area Province / City / Regency Institutions
Integrated services that are directly or indirectly Bandung Privat Swasta

related to the technical needs of film production Bojonegoro BLU / UPT
Banyuwangi In accordance with the
Actively market the area as a location for shoot- Regent’s direction
ing films. D.I. Yogyakarta cooperation between
the government and the private
sector
Siak UPT
Hasil Capaian Tahun 2017 : Buku Pedoman Pembentukan Komisi Film Daerah
135
WORLD CONFERENCE ON CREATIVE

ECONOMY 2018
The World Conference on Creative Economy 2018 is the first

international-scale Creative Economy conference in the world.
The creative industry has shown its excellent potential as one of
the primary drivers of growth during the recent global financial
and economic crisis. With technological growth and increasing in-
come from developing countries, it is projected that the Creative
Economy sector will be the future of the global economy. This
conference will bring together representatives from government,
business, think tanks, communities, international organizations,
media and experts in the creative economy, who will all congre-
gate at this year’s theme: “Inclusively Creative.”
TRAVEL GRANT
One of the leading work programs to facilitate Creative Economy
players in order to develop the Creative Economy in Indonesia is
the Travel Grant. Creative Economy players, as the spearhead of
the Creative Economy sector, need to be supported for capacity
building in 3 things, namely:
First >
Expand Creative Economy players’ horizon regarding the develop-
ment of creative industries abroad;
Second >
Improve the competitiveness of Creative Economy players so they
can compete in the international market;
Third >
Expand and strengthen international networks and investment
cooperation opportunities. The program is supported through
the One-Stop Integrated Service (www.satupintu.bekraf.go.id)
BEKRAF in curating proposals in various overseas activities.
TRAVEL GRANT SUPPORT FOR CREATIVE

ECONOMIC PLAYERS:
CEPA and WCCE I-EU Meeting in Brussels, London Book Fair 2018 in London, England
Belgium
Brussels Short Film Festival 2018 in Brussels,
Ambiente 2018 in Frankfurt, Germany Belgium
Berlinale 2018 in Berlin, Germany The 16th Venice in the Musica Choir Festival and
Competition in Venice, Italy
London Fashion Week 2018 in London, England
SOTOY - Thailand Toy Expo in Thailand
Amazon Tokyo Fashion Week in Tokyo, Japan
Contemporary Dance Show in Moscow, Russia
ACBS Working Group Meeting & Asia Film For- Get in The 2018 Global Ring Portugal (Homade)
ward in Hong Kong and Macau in Portugal
Daun Muda Awards, Citra Pariwara 2017 BG International Tokyo Pantomime Festival 2018 in
Awards in Bangkok, Thailand Japan
Nusantara to Europe Islamic Roadshow with Ki Japan International Ensemble Guitar Festival in
Ageng Ganjur in the Netherlands and Germany Japan
The 8th International Mission in Art and Culture Managing New Displacements From Geography
in the 54th Montreux Choral Festival (PSM IPB) in Seminar in Chile
Switzerland.
IANTA (Brother None Goes to Broadway) in New
Thailand SEAPAVAA 2018 Conference and 2018 York, United States
Czech FIAF in Thailand and Czech
137
Epilogue
GLOBAL ECONOMIC PROSPECT
The 3.1 percent global economic growth seen growth rate of 2.5 percent. In general, economic
during 2017 was stronger value than previous- growth in the first quarter far exceeded the pro-
ly estimated. According to the World Bank, jections predicted by the World Bank and IMF.
this strengthening was caused by a significant However, the positive growth that occurred in
recovery in the investment, manufacturing and the first quarter of 2018 is predicted to not last
trade sectors. The increase in commodity prices until the end of the year. As had happened in the
at that time also carried a considerable impact second quarter of 2018, the global economy be-
as the profits gained by developing countries also gan to show a slowdown in economic activities.
increased rapidly. Trade tensions such as the increase in world oil
prices and the strengthening of the US dollar are
However, the World Bank also said that the considered to be the biggest catalysts for the
increase in 2017 could be seen as short-term decline in the economic performances of several
progress due to the full use of labor and capital. countries. Therefore, prospects for crude oil ex-
In 2018, the World Bank projects that global porting countries are likely to be bright, while for
economic growth will be the same as last year, oil importers the opposite might be quite true.
which is 3.1 percent. In 2019, the World Bank predicts that there will
be a slowdown in global economic growth to
The World Bank’s prediction also states that only 3 percent. This global economic slowdown
developed countries will experience a decline in follows the trends of the economies of developed
economic growth to 2.2 percent while develop- countries, Asia Pacific countries, and European
ing countries will see an increase to 4.5 percent countries which are all predicted to experience a
in 2018 due to increased commodity export significant slowdown. The cause of the slowdown
activities. will be similar, which are protectionist trends,
political and trade tensions, and declining global
The IMF noted that in the first quarter of 2018 economic integration.
there was a recorded global economic growth
of 3.9 percent. Meanwhile, economic growth in
developing countries (emerging markets) was
4.9 percent, while developed countries showed
Global Economic Growth Rate
2017 2018 2019

3.1% 3.1% 3.0%
Source: World Bank
Economic Growth Projections According to Economic Classification 2018
Developed Nations Developing Nations 2019
World Bank 2.2% 4.5% 3.0%

IMF 2.5% 4.9%
141
INDONESIA’S ECONOMIC
CONDITIONS
Based on data from Statistics Indonesia, Indone-

sia’s economic growth in 2017 was recorded at
5.07 percent. While this number is lower than the
target set by the government, it is still the highest
growth seen since 2014.
Entering the first quarter of 2018, Indonesia’s

economic growth was recorded at 5.06 percent.
Trade balance deficit, where import increased
while exports weakened, was blamed as the
culprit which set back the government’s target
of 5.2 percent. The increase in imports in the
first quarter was generally influenced by the
strengthening of investment in fixed assets due to
the increase in global commodity prices.
Meanwhile, in the second quarter of 2018, In-

donesia’s economy showed better performance
with economic growth of 5.27 percent. This
increase was influenced by an increase in several
economic components such as other services,
corporate services, transportation and ware-
housing, and household consumption.
Positive trends in the first half of 2018 seem to

provide a positive outlook on the overall econo-
my of Indonesia in 2018. Indonesia’s economic
growth, which was originally predicted by Bank
Indonesia to hover around 5.1 to 5.4 percent,
was tested by the weakening rupiah phenomenon
which occurred simultaneously at that period of
time. The trade balance deficit and the domi-
nance of the consumer sector further exacerbate
the weakening of the rupiah and the currency is
not expected to recover until the end of 2018,
diminishing the targeted economic growth.
Increased investment, controlling imports, and 5.06%

encouraging exports are reasonable and sustain-
able keys that can unlock economic growth for Indonesian Economic
the second half of 2018 and the year as a whole. Growth Level Q1 2018
5.27%
Indonesian Economic
Growth Level Q2 2018
Key To Maintaining Strong Economic

Growth 2018:
Increased investment
Import control
Export support
Indonesia’s economic growth in 2019 is expected expected to continue to increase with growth
to reach 5.3 percent (Asian Development Bank, above three percent on average per year until
Focus Economy). The predicted increase in 2019.
economic growth in 2019 will be achieved by
encouraging various factors such as increased Creative Economy posseses great potential
personal consumption stimulated by the 2019 and can serve to alleviate the problems of
presidential elections, high infrastructure unemployment in various parts of the world.
investment, improvements in the transportation Nearly 17 million workers were absorbed in the
and connectivity sectors such as MRT which will Creative Economy sector in Indonesia in 2016.
affect investment and export performance. This figure is believed to continue to increase to
above 19 million workers in 2019.
INDONESIA’S CREATIVE ECONOMY
The rapid development of digital technology can BIGGEST CHALLENGES IN THE INDONESIAN
no longer be ignored or denied, as it has had a CREATIVE ECONOMY SECTOR 2019:
significant influence on the world of creativity.
Digital media can act as a medium for the
distribution of creative ideas that are born of Unequal developments within the entire sub-sector
the human mind. The use of digital technology
seems to have spread in all Creative Economy Finance and capital access
Sub-sectors, including Design, Film, Music, Fine
Arts, and so on. The convenience offered by Market penetration to overseas market for local
digital technology has also increased creative creative products
outputs in the world economy.
Relatively lax enforcement for IPRs for creative
The Creative Economy sector in Indonesia is not players
far behind when it comes to digital technology
advancements among the world’s nations. The Relatively low level of education
rising sector, which has increasingly becoming
the focus of the Indonesian government, con
tinues to grow rapidly over the past five years. 5.3% Prediction of
Statistics Indonesia noted that the Creative
Economy contributed 922 trillion, or around Indonesian Economic
7.44% of the national economy in 2016. This
figure is expected to continue to rise significantly
Growth Rate 2019*
Source: Asian Development Bank, Focus Economy
until 2019. Last year, the Creative Economy’s
GDP was estimated to have reached more than
one thousand trillion rupiahs. This figure will 7.44%
continue to rise to over 1.2 thousand trillion in
2019. The Fashion, Craft and Culinary Sub-sec
Creative Economy
tor will continue to lead the creative industry, Contribution to the National
especially since these Sub-sectors are also Economy 2016
relatively more resistant against global economic
shocks.
Rp 1,009 Tn
At the same time, the weakening rupiah value GDP Value of Creative
may become a boon for some Creative Economy Economy 2017
Sub-sectors in Indonesia. Creative products
which use a lot of local raw materials such as
Fashion and Craft will become more attractive
Rp 1,106 Tn
in the global market. Creative services will also GDP Value of Creative
be increasingly sought out by foreign investors Economy 2018
or buyers. The latest Statistics Indonesia data
states that exports of creative products reached
19.99 billion United States dollars or comprising Rp 1,211 Tn
around 13.77 percent of total national exports. GDP Value Projection for
Exports of these creative products are also Creative Economy 2019
Source: Nan Jombang
Source: Anton Ismael
147
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OPUS CREATIVE ECONOMY OUTLOOK 2019

“If we try to compete with

ADVISOR: Fika Aprina Jasmine

JAKARTA, OCTOBER 2018

12 - Where We Stand Today 22 - Insight 2018

16 - Where We Are Heading 30 - Forecast 2019

34 - Architecture 78 - Deputy of Research, 140 - Global Economic

58 - Application dan Game

What Is Creative Economy?

“Creative Economy is the materialization of added

ADVANTAGES OF CREATIVE ECONOMY VS. TRADITIONAL ECONOMY

Improve Living Standards and Aver-

Environmentally friendly: Promote Indonesian IP:

Higher Value Economy: Flexible:

Where We Stand Today

2007 2009 2011

1st-ever Indonesian Cultural Presidential Instruction No. 6 of Presidential Regulation Number 92

2017 2016 2015

Four out of 16 Sub-sectors were

CREATIVE ECONOMY CONTRIBUTION CREATIVE ECONOMY WORKFORCE GROWTH

2018 – Rp 1,105 T 2017 17.43 4.13%

CREATIVE ECONOMY WORKFORCE

National Creative Economy

INDONESIA’S STARTUP UNICORNS

Go-Jek Tokopedia Traveloka Bukalapak

Where Are We Going?

SALES IDEA / PRODUCT

FACILITATIONS EXTENDED TO CREATIVE ECONOMY PLAYERS BY BEKRAF:

IP Facilitation and Regulation i

Source : ISMAYA GROUP

A PORTRAIT OF To better meet the Creative Economy sector’s

TOP CREATIVE ECONOMY EXPORT

Japan 6.79% Rp 19.33 Bn

Top 3 Creative Economy

PROFILE OF CREATIVE ECONOMY LABOR 600 Mn

2016 (52% from

total population.) Source: Tempo.co

On its second annual publication, BEKRAF, in

This chapter is divided into two parts, name-

Sumber: foto istimewa

Founded in 2015, Snapcart aims to become the most reliable

A SNAPSHOT OF SHOPPING BEHAVIOR IN THE INDONESIAN E-COMMERCE MARKET 2018*

Gender: Ages: SES:

Female: 51.1% 15-24:

<Rp 1.75 Mn)

Rp 1.75 – 2.5 Mn)

PROVINCES WITH HIGHEST CONCEN-

MOST USED E-COMMERCE

SOURCE OF INFORMATION REGARDING E-COMMERCE:

Social Media (Facebook / Instagram / Twitter,dll) 53.4%

E-COMMERCE SHOPPING FREQUENCY HIGHEST TOP-OF-MIND

MOST PURCHASED CATEGORIES IN E-COMMERCE

Gadgets & Accessories 34.7%

Sumber: Lulu Lutfi Labibi

PWC TRENDING NOW: CONVERGENCE, CONNEC-

Specializations and niches

WHAT IS CONVERGENCE 3.0?

In its simplest term, Convergence 3.0 is a phenomenon where

Convergence matters because it offers a real solution to real-

Problem: Problem: Problem: Problem: TAKE AWAY

Recipe For Success 2018-2022

2017 (+8% Vs. 2016) (in trillion rupiah) )