Prospek 2021 EN

PROSPEK WEST JAVA
2021
Steering Committee Harry Anugrah Mawardi

Agung Pascasuseno
Novelia Ayu Widyasari
Writing Team Muhammad Ilham Kurnia Ramdhani

Muhammad Fauzan Ghifari
Febriyanti Dewi
Nabila Nastiti
Research & Analytic Team Nydia Farras Tsabita Geta

Yanne Iasa Bellatiwi
Design & Production Team Vilza Rahadian Pratama

Satrio Danu Prabowo
Organized and Designed by Supported by
First edition published by KREASI Jawa Barat and Copyright ©2021

Creative Industry Section, Tourism Industry West Java Tourism and KREASI Jawa Barat
Cultural Department - Desember 2021 Copyright protected by law
Index
FOREWORDS 4
Governor of West Java 4
Regional Secretary of West Java 6
Head of West Java Tourism and Culture Department 8
Executive Director of West Java KREASI 10
WEST JAVA CREATIVE ECONOMY PROFILE 12

West Java Creative Economy in Numbers 14
West Java Creative Economy on Map 22
West Java Creative Cities/Regencies Profile 28
West Java Creative Economy Subsectors Profile 58
WEST JAVA CREATIVE ECONOMY TOWARDS SUSTAINABLE DEVELOPMENT 128

Year of Creative Economy for Sustainable Development 130
Example of Sustainable Business Model Canvas 132
Sustainable Craft Story: Trashsmith 134
Sustainable Culinary Story: Goodbelly 140
Sustainable Fashion Story: TWFT 146
Sustainable Digital Story: Sagala.id 152
WEST JAVA CREATIVE ECONOMY DEVELOPMENT OPPORTUNITIES 158

West Java Creative Economy Development Action Plan 160
Creative Economy Human Resource Development Program 162
Creative Economy Products/Works Development Program 168
Creative Economy Research and Development Program 170
Creative Economy Marketing Program 174
Creative Economy Financing Program 177
Creative Economy Technology and Infrastructure Program 179
Creative Economy Institutional Program 182
WEST JAVA CREATIVE ECONOMY DEVELOPMENT RECOMMENDATION 186
West Java Creative Economy One Data 188
West Java Creative Economy Collaborate, Create, and Circulate Strategy 190
West Java Creative Economy Committee in Cities/Regencies Development 192
West Java Creative Hub in Cities/Regencies Development 194
West Java Creative Cities/Regencies Development 196
West Java Creative Economy Development Towards Sustainable Development 198
COLLABORATION 200
KREASI West Java Partners 2021 202
Curated West Java Creative Economy 2021 204
REFERENCE 214
Source 216
Bibliography 217
Forewords
Governor of West Java
Ridwan Kamil
Governor of West Java
4
Gotong royong of all elements has become the West Java needs to push its creative economy
key to dealing with the COVID-19 pandemic in development towards sustainability and
West Java. The proportional implementation digitalization. Our startups, digital, and game
of PPKM, a massive and inclusive vaccination industries numbers are growing. It is expected
program, is starting to impact our public health to be a strong attraction for investors to invest
throughout 2021 positively. Now is the time for in West Java. West Java predicate as a province
West Java Province to begin its preparation to with the most significant national investment
push the momentum of economic recovery in contribution, worth Rp72,46 trillion or 19,10%,
2022. must also be continuously improved by its
creative economy.
West Java creative economy has become one
of the pillars of our economic recovery. We must Therefore, we need creative economy
continue the spirit of 2021 as the International collaboration between countries, provinces,
Year of Creative Economy for Sustainable districts, and cities to build a stable and
Development in 2022, where Indonesia now has inclusive creative economy under the values of
been appointed as G20 Presidency so that our sustainability. We must also maintain the spirit
creative economy plan can contribute to the of equality to go hand in hand with the urban
global economic recovery strategy. and countryside economy.
Moreover, Indonesia is also a central figure Finally, I hope that this PROSPEK West Java
in the creative economy, third position as 2021 book can be a reference and guide for all
a country with the most creative economy elements in advancing the creative economy to
contribution to its national GDP with raise the economy of the West Java community.
7,28 percent total contribution. We must We are still strong, even though the pandemic
continuously improve this achievement for our tests us. We keep growing because of our self-
public welfare. determination.
5
Forewords
Regional Secretary of West

Java
Setiawan Wangsaatmaja
Regional Secretary of West Java
6
The West Java Provincial Government with Disparbud Jabar and DisKUK Jabar, and
continues to work hard to recover the health collaboration across other OPD.
and economy of the post-pandemic community.
The Central Government, Institutions, and By regulation, the West Java Provincial
Private Organizations have given various Government itself has formulated creative
appreciations to the West Java Provincial economic development with the Creative
Government. It can not be separated from the Economy Development Action Plan (Renaksi
full cooperation of multiple elements in West Ekraf) contained in Governor Regulation
Java and our shared determination to continue (Pergub) Number 44 of 2021. For the next four
to innovate. years, the West Java Provincial Government
targets the development of competencies in
As a leading province in the development of the 11,000 creative economy actors, develops 50
creative economy, it is believed to be one of the creative industries, builds 22 creative economy
engines of West Java’s economic recovery in institutions, and holds 192 cooperation across
the future. The creative economy will contribute government agencies.
significantly to the economy of West Java which
had experienced inhibition during the pandemic. In addition, the drafting of the Renaksi Ekraf,
It is hoped that the presence of innovations which aims to improve the quality and quality
from the Committee for Creative Economy of creative economy actors, ecosystems, and
and Innovation (KREASI) and all Organanisasi institutions, can be a reference for stakeholders
Perangkat Daerah (OPD) in West Java during in building the creative economy nationally,
the pandemic can be a solution to the problems especially for the recovery of the post-
of West Java creative economy post-pandemic. pandemic creative economy.
With collaboration, KREASI has also There was also coordination of the cross-OPD
contributed to the economic development of program to realize the Renaksi Ekraf. The
the region over the past year. Among others, birth of the PROSPEK West Java 2021 book
with the activation of creative centers and can be used as a reference for OPD in making
creative city indicator studies with Disparbud collaborative creative economy development
Jabar, helping the marketing of creative programs.
SMEs through innovative borongdong.id
7
Forewords
Head of West Java Tourism

and Culture Department
Dedi Taufik
Head of West Java Tourism and Culture Department
8
West Java Tourism and Culture Department OPD offices, and Teras Indonesia, a unique area
plays an active role in post-pandemic economic of marketing and sales of creative economy
recovery through tourism recovery programs products in collaboration with IKEA Indonesia.
and creative economy development in West To activate Creative Center Bogor and Creative
Java. Various programs, activities, and Center Cirebon, we and KREASI West Java
appreciation have been held throughout 2021 collaborated with product designers through a
by collaborating with the West Java Creative series of workshops to create furniture for the
Economy Committee (KREASI) for creative Creative Center building.
economy actors/enterprises in West Java.
This year, we have completed the Creative
Some of these programs include Connecti:City, Cities/Regencies Index study and Design
an international conference that invites local Trend Guideline 2022 Creative Product Piloting
and global creative economy speakers, and Cap Center for Ciayumajakuning Region study
Jabar: Creative Media Award 2021, a forum for that is expected to be used as a guideline for
the appreciation of creative economy actors/ designers and creative economy actors in
enterprises in the field of creative media that general.
has netted 18 works selected in the storytelling,
journalistic, and campaign categories. The drafting of the PROSPEK West Java 2021
book is expected to be a direction for us in
Inovasi Cara Penjualan (ICALAN) programs such determining policies, activities, and programs
as borongdong.id, online and offline creative to develop the creative economy ecosystem in
economy product sales channels in West Java West Java.
9
Kata Pengantar
Executive Director of
KREASI West Java
Harry Mawardi
Executive Director of KREASI West Java
10
Since it was inaugurated on June 9, 2020, the Collectively, over the past nine months, the
West Java Creative Economy and Innovation Teras Indonesia area at IKEA Kota Baru
Committee (KREASI) has been committed to Parahyangan has been visited by more than
carrying out three main strategies, namely: 9,000 people.
1. Collaborate: Encouraging collaboration As part of efforts to equalize the development

among West Java Creative Economy of the creative economy, KREASI held
stakeholders. Furniture Workshops held in Bogor and Cirebon
2. Create: Spark a culture of technology-based involving designers, researchers, and artisans.
innovation for human resources development KREASI collaborated with Disparbud Jabar
and creative endeavors. for Cap Jabar award activities, Connecti:City
3. Circulate: Strive for the equitable international conference, and Creative Cities/
development of human resources and Regencies Indicator Study. Together with
creative efforts to have a broad impact. Diskominfo Jabar, a Study of The Creative
Economy Profile of West Java has been
Throughout 2020-2021, KREASI has presented conducted.
45 digital classrooms that reached 2,600
participants to lift 716 actors with 1,115 West Welcoming 2022 with Indonesia’s momentum
Java creative economy products through as the G20 Presidency, KREASI has also
kreasijabar.id. In the future, kreasijabar. compiled various creative economic
id is targeted to be integrated with other development programs expected to lift west
platforms to provide services related to IPR Java’s creative economy to the global level.
and export. Through borongdong.id, KREASI
also encourages and assists West Java creative The presence of the PROSPEK West Java 2021
MSMEs for digital onboarding, marketing book can hopefully be a reference for all parties
assistance, logistics, and distribution. from related to the creative economy to be able to
9,207 total products available, 4,930 products collaborate with KREASI in the development
sold, and member buyers reached 4,288 of the creative economy of West Java in the
people. future. With a strategy of ‘collaborate, create,
and circulate,’ let’s move together to bring the
KREASI collaborated with Dekranasda Jabar creative economy of West Java to the world
and IKEA Indonesia to create Teras Indonesia, stage.
which helps creative MSMEs of West Java
be shown and sold with a global retail, IKEA.
11
West Java
Creative Economy
Profile
12
13
NUMBERS
WEST JAVA CREATIVE ECONOMY IN:
According to data from the Central Statistics Agency

(BPS) and the Creative Economy Agency (Bekraf, now
Baparekraf) in 2016, West Java Province is one of the
provinces with the most considerable creative economic
potential in Indonesia. The data includes:
˼ The contribution of domestic income.
˼ The value of exports.
˼ The number of business units.
˼ The contribution of labor.
To get to know more about the creative economy profile

of West Java, 916 respondents from 27 cities/regencies
in West Java have also filled out questionnaires related to
their activities as creative economy actors and businesses
in West Java.
14
20,73% 31,93%
West Java creative economy GDRP West Java creative economy exports
contribution to Indonesia creative economy contribution to Indonesia creative economy
GDP. exports.
18,07% 22,48%
West Java’s creative economy enterprises West Java’s creative economy labors
contribution to Indonesia creative economy contribution to Indonesia creative economy
enterprises. labors.
15
West Java Creative Economy Actors Distribution Based On Age
48,9% 27,4% 21,9%

34-47 Years Old 19-33 Years Old 48-61 Years Old
1,8% Others
West Java Creative Economy Actors Distribution Based On Gender
56,1% 43,9%
Male Female
West Java Creative Economy Actors Distribution Based On Education Level
38,8% 34,2%
SHS & Equivalent Bachelors (S1)
12% Vocational 6,9% JHS & Equivalent 4,1% Master (S2)

3,8% Elementary 0,2% Doctoral (S3)
Most creative economic actors in West Java are education of creative economy actors in West
currently in the productive age range, 34 - 47 Java is quite good, with the majority being high
years. Although there are more male business school graduates and equivalents, Diploma, to
actors, the ratio between male and female Bachelor (S1).
business actors is not far adrift. The level of
16
West Java Creative Economy Actors Based On West Java Creative Economy Actors Based On
Community Membership Association Membership
52,2%
67,9% Not Yet a Member of The Association
Join The Community
47,8%
32,1% Join The Association
Not Yet a Member of The Community
One way that creative economy actors in have not joined an association. However,
West Java can continue to grow is by moving professionally managed associations are
together. The community becomes the undoubtedly able to provide more significant
preferred group of the majority of actors benefits. Therefore, more strategies are needed
to network. A more open community than for community administrators to consolidate the
an association is one of the reasons actors actors in their respective subsectors.
17
West Java Creative Economy Enterprises Distribution Based On Subsector
27,18% 26,42% 16,7%

Craft Culinary Fashion
6,77% Photography 4,04% Performing Arts 3,06% Film.., 2,73% Visual Design 2,51% Product Design
2,29% Music 2,07% Fine Arts 1,86% Interior Design 1,20% Apps & Game 1,20% Publishing
0,98% Advertisement 0,76% Architecture 0,22% TV & Radio
West Java Creative Economy Enterprises Distribution West Java Creative Economy Enterprises Distribution
Based On Group Based On Location
82,6% Household 74% In Residence
17,4% Company 26% Out Residence
Based On Labor Amount Based On Total Sales
81,33% 1-4 People 92,9% Up to 300 Million

Rupiah
16,7% 5-19 People 1,97% 20-99 People 6,1% 300 Million - 2,5 Billion 1% 2,5 Billion - 50 Billion
Craft, Culinary, and Fashion are the three business operations. With most enterprises
sub-sectors with the highest number of having 1-4 employees and an annual gross
creative economy businesses in West Java. income of up to 300 million rupiahs, most
Most enterprises are currently running on a creative economy enterprises in West Java are
household scale by making their residence their Micro and Small Enterprises (UMK).
18
West Java Creative Economy Enterprises West Java Creative Economy Enterprises
Distribution Based On Category Distribution Based On Legal Entities
9%
62,7% 37,3% 12% 42%
29%
62,7% Formal 37,3% Non-Formal 42% Non Legal Entities 29% Others 12% Special Permit
9% CV 4% PT 2,1% Foundation 0,9% Cooperative
West Java Creative Economy Enterprises West Java Creative Economy Enterprises
Distribution Based On Legal Status Distribution Based On IPR Ownership
56,4% 34,3%
38,32% 65,7%
43,34% 48,58%
56,4% SKU 48,58% IUMK 43,34% Others 65,7% Don’t Have IPR
38,32% NPWP 16,48% SIUP 15,39% Don’t Have 34,3% Already Have IPR
The interesting thing is that although most Although the formalization of the enterprises
enterprises are household scale and run their has been quite good, there are still many
operations from their homes, most creative businesses that do not yet have Intellectual
economy enterprises in West Java have been Property Rights for their creative economy
categorized as formal enterprises. With most products/works. Because intellectual assets are
enterprises having legal entities and special the most important added value in developing
permits, we can assume that an individual runs the creative economy, the right strategy is
the enterprises. needed to have IPR products/works in West
Java.
19
West Java Creative Economy Enterprises Distribution Based On IT Utilization
64,19% Serve Customers
38,21% Searching for Information
0,11% Marketing Products
0,11% Make Graphic Design
Based On IT Used Based On Social Media Used
Number in percent (%) Number in percent (%)
86,24
80,46
71,18
56
51,31
39,74
20,31 20,52 18,45
7,21 6,99
4,37
0,55 0,11 0,11
86,24% Social Media 56% Email 80,46% Instagram 71,18% Facebook

51,31% Computer 39,74% E-commerce 20,52% YouTube 18,45% Others 7,21% Twitter
20,31% Website 0,55% WhatsApp Group 6,99% WhatsApp 4,37% Not Using
0,11% Telephone 0,11% Energy Saving Technology
Digital competition is the future of global market win the competition in the future. Today most
competition. Only by effectively mastering enterprises have utilized ICT to serve customers
information and communication technology, with social media as their primary platforms like
creative economy enterprises in West Java can Instagram and Facebook.
20
West Java Creative Economy Enterprises Distribution Based On Resource Origin
60,5% 24,9% 12,3%
60,5% Domestic, in the same city/regency 24,9% Domestic, in other city/regency from the same province
12,3% Domestic, other provinces 2,3% Overseas
West Java Creative Economy Enterprises Distribution Based On Sales Destination
34,8% 31,4% 30,5%
34,8% Domestic, in the same city/regency 31,4% Domestic, other provinces

30,5% Domestic, in other city/regency from the same province 3,3% Overseas
Creative economy enterprises in West Java global market. The percentage of product/
use many local raw materials to produce their works exports is also higher than the import
products/works. However, products/works from of raw materials so that creative economy
enterprises in West Java are widely enjoyed enterprises in West Java can contribute
by the national market and even penetrate the significantly to the national economy.
21
MAP
WEST JAVA CREATIVE ECONOMY IN:
In 2021, the West Java Provincial Government, policies and programs at the cities/regencies
through the Tourism and Culture Department, level. Through this study, West Java Province
has conducted a study on updating creative city now has the latest creative city indicators in
indicators. The goal was to measure the ratio West Java and the results of mapping groups of
of creative cities in West Java cities/regencies West Java creative cities/regencies according
as the basis for developing creative economy to these indicators.
22
10
21 03
25
09
15
04 22
14
24
12 07
23 17
26 19
02
11
16 01
06 05
27 20
08
13
18
01 Bandung Regency 10 Karawang Regency 19 Bandung City

02 Bandung Barat Regency 11 Kuningan Regency 20 Banjar City
03 Bekasi Regency 12 Majalengka Regency 21 Bekasi City
04 Bogor Regency 13 Pangandaran Regency 22 Bogor City
05 Ciamis Regency 14 Purwakarta Regency 23 Cimahi City
06 Cianjur Regency 15 Subang Regency 24 Cirebon City
07 Cirebon Regency 16 Sukabumi Regency 25 Depok City
08 Garut Regency 17 Sumedang Regency 26 Sukabumi City
09 Indramayu Regency 18 Tasikmalaya Regency 27 Tasikmalaya City
23
West Java Creative Cities/
Regencies Indicators
(and its Weights)
1. Culture, Recreation & Tourism (1,5%)
There are tourism and cultural destinations to support the development of the creative economy
and appreciation from domestic and foreign tourists.
2. Creative Output & Employment (1,5%)

There is support for training, registration, management, and protection of Intellectual Property
Rights for creative economy actors.
3. Cultural Capital & Participation (15%)

There is the participation of creative economy actors, creative communities, and associations
in Development Plan Deliberations and discussions among stakeholders related to creative
economy development.
4. Venues, Resources & Facilities (14%)

There is an infrastructure that supports the development of the creative economy, such as
creative centers, creation houses, coworking spaces, museums, performance halls, lodging,
restaurants, and parks.
5. Human Capital, Talent & Education (9,6%)

There are educational facilities that support the development of the creative economy, such
as vocational schools, universities, regional integrated service units, sewing/fashion skills
institutes, computer skills institutes, and non-formal education institutions. This data is
supported by creative economy actors’ productive age and education level.
24
West Java Creative Cities/
Regencies Indicators
(and its Weights)
6. Government & Regulations (25%)
There are government facilities and support related to institutions, regulations, spatial plans,
permits, and financing related to the creative economy.
7. Entrepreneurship (10%)
There are facilities and support for creative economy entrepreneurs, including incubation,
marketing, and legal.
8. Technology & ICT (11,6%)

There is infrastructure and an increase in technological competence and information and
communication technology that supports the development of the creative economy.
9. Transportation & Accessibility (7,6%)

There is an infrastructure that supports the accessibility of stakeholders related to the creative
economy, such as road networks, railways, shipping, and aviation.
10. Business Activity & Economy (4,6%)

There are leading creative economy sub-sectors that contribute to Gross Regional Domestic
Product (GRDP) and support for capacity building for creative economy actors such as business
standardization, professional certification, and so on.
25
10
21 03
25 09
15
04 22
14
24
12 07
23 17
26 19
02
11
16 01
06 05
27 20
08
13
18
01 Bandung Regency 10 Karawang Regency 19 Bandung City

02 Bandung Barat Regency 11 Kuningan Regency 20 Banjar City
03 Bekasi Regency 12 Majalengka Regency 21 Bekasi City
04 Bogor Regency 13 Pangandaran Regency 22 Bogor City
05 Ciamis Regency 14 Purwakarta Regency 23 Cimahi City
06 Cianjur Regency 15 Subang Regency 24 Cirebon City
07 Cirebon Regency 16 Sukabumi Regency 25 Depok City
08 Garut Regency 17 Sumedang Regency 26 Sukabumi City
09 Indramayu Regency 18 Tasikmalaya Regency 27 Tasikmalaya City
26
Cities/Regencies Indicator Weight Range ≥ 78,21 – 82,71
Kota Bandung
Kota Cimahi
Kota Cirebon
Kota Tasikmalaya
Kabupaten Sumedang
Kota Bogor Kabupaten Bandung Barat Kabupaten Purwakarta

Kota Sukabumi Kabupaten Bogor
Kabupaten Bandung Kabupaten Cianjur
Kota Bekasi Kabupaten Kuningan

Kabupaten Ciamis Kabupaten Sukabumi
Kabupaten Garut
Kota Depok Kabupaten Karawang Kabupaten Subang

Kabupaten Bekasi Kabupaten Majalengka Kabupaten Tasikmalaya
Kabupaten Cirebon Kabupaten Pangandaran
Kota Banjar
Kabupaten Indramayu
27
West Java
Creative Cities/
Regencies Profile
28
29
West Java Creative Cities/Regencies Profile:
Bandung Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Bandung Regency
Culture, Recreation & Tourism 75%

66,7%
Creative Output & Employment 75%

69,4%
Cultural Capital & Participation 83,3%

86,7%
Venues, Resources & Facilities 58,9%

57,2%
Human Capital, Talent & Education 90,5%

78,3%
Government & Regulations 56%

42,4%
Entrepreneurship 75,9%
72,5%
Technology & ICT 79,2%

72,4%
Transportation & Accessibility 56,3%

56,7%
Business Activity & Economy 55,6%

73,7%
Average Bandung Regenncy
Creative Economy Subsector Developed in Bandung Regency

˼ Product Design ˼ Culinary
˼ Fashion ˼ Music
˼ Film, Animation and Video ˼ Performing Arts
˼ Photography ˼ Fine Arts
˼ Craft
Source Person ˼ Muhammad Sofiyurahman, Kasi Ekonomi Kreatif, Dinas Pariwisata dan Kebudayaan
30
West Bandung Regency
Comparison of Province Average Creative Cities/Regencies Indicators with West Bandung Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%
Business Activity & Economy 100%

73,7%
Average West Bandung Regency
Creative Economy Subsector Developed in West Bandung Regency

˼ Interior Design ˼ Culinary
˼ Fashion ˼ Music
˼ Photography
˼ Craft
Source Person ˼ Pia Riyani, Kasi Pengembangan Sumber Daya Pariwisata dan Ekonomi Kreatif, Dinas Pariwisata dan Kebudayaan
˼ Cynthia Lestiary, Kasi Fasilitas Ruang Kreatif, Dinas Pariwisata dan Kebudayaan
31
Bekasi Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Bekasi Regency

66,7%

69,4%
Cultural Capital & Participation 70%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Bekasi Regency
Creative Economy Subsector Developed in Bekasi Regency

˼ Fashion
˼ Craft
˼ Culinary
˼ Performing Arts
˼ Game Development
Source Person ˼ Supardan, Kasi Pengembangan Ekosistem Ekonomi Kreatif, Dinas Pariwisata
˼ Qamarunisa, Ketua Kabupaten Bekasi Creative Hub
32
Bogor Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Bogor Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%
Transportation & Accessibility 75%

56,7%

73,7%
Average Bogor Regency
Creative Economy Subsector Developed in Bogor Regency

˼ Interior Design ˼ Photography ˼ Music
˼ Visual Communication Design ˼ Craft
˼ Product Design ˼ Culinary
˼ Fashion ˼ Game Development
Source Person ˼ Dadan Siradzudin, Kasi Ekonomi Kreatif, Dinas Kebudayaan dan Pariwisata
˼ Robby Firliandoko (Perspektif), Chaniago Fauzan (Bengkel 3&4), Ibrahim Richard, Luthfi Nurseptian, (Gerakan Seni
Rupa Bogor), Akbar Savio (Kisruh Dotcom), dan Andre Rudiyanto. (Komite Ekonomi Kreatif Kabupaten Bogor)
33
Ciamis Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Ciamis Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Ciamis Regency
Creative Economy Subsector Developed in Ciamis Regency

˼ Fashion
˼ Craft
˼ Culinary
Source Person ˼ Andre Rahmadi, Kasi Penyediaan Prasarana Ekonomi Kreatif, Dinas Pariwisata
˼ Imang, Ketua Boboko
34
Cianjur Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Cianjur Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Cianjur Regency
Creative Economy Subsector Developed in Cianjur Regency

˼ Application ˼ Fine Arts
˼ Visual Comm. Design ˼ Music
˼ Fashion ˼ Performing Arts
˼ Craft ˼ Photography
˼ Culinary ˼ Film
Source Person ˼ Dera Firman F, Pengelola Usaha Kepariwisataan, Dinas Pariwisata

˼ Gita Rusdinar (Ketua), Fikri, Asri, Mario Devys, dan Gandhi Sucipto (Cianjur Creative Network)
35
Cirebon Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Cirebon Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Cirebon Regency
Creative Economy Subsector Developed in Cirebon Regency

˼ Fashion
˼ Craft
˼ Culinary
Source Person ˼ Sri Sumartini, Kasubbag Perencanaan, Evaluasi, dan Pelaporan Dinas Kebudayaan, Pariwisata, Pemuda, dan Olahraga
˼ Gunawan, Pengurus ARLI Fashion & Craft
36
Garut Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Garut Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Garut Regency
Creative Economy Subsector Developed in Garut Regency

˼ Film
˼ Craft
˼ Culinary
˼ Video
˼ Animation
Source Person ˼ Rama Diana, Kasi Industri Pariwisata, Dinas Pariwisata dan Kebudayaan
˼ Teguh M. Hidayat, Ketua Garut Creative Hub
37
Indramayu Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Indramayu Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Indramayu Regency
Creative Economy Subsector Developed in Indramayu Regency

˼ Fashion
˼ Culinary
˼ Performing Arts
Source Person ˼ Sodikin, Kasi Pengembangan Ekonomi Kreatif, Dinas Kebudayaan dan Pariwisata
˼ Putri, Pengurus Wirausaha Muda Indramayu (WMI)
38
Karawang Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Karawang Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Karawang Regency
Creative Economy Subsector Developed in Karawang Regency

˼ Craft
˼ Culinary
˼ Performing Arts
˼ Music
Source Person ˼ Kustia Wildan Priyana, Kasi Pengembangan Destinasi Wisata dan Ekonomi Kreatif, Dinas Pariwisata dan
Kebudayaan
˼ Asep Ruhyani, Ketua Forum Ekonomi Kreatif Karawang
39
Kuningan Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Kuningan Regency

66,7%

69,4%

86,7%
Venues, Resources & Facilities 33%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Kuningan Regency
Creative Economy Subsector Developed in Kuningan Regency

˼ Craft
˼ Culinary
˼ Performing Arts
Source Person ˼ Dedi Setiana, Kasi Ekonomi Kreatif, Dinas Pemuda Olahraga dan Pariwisata
˼ Udin, Komite Komunitas Pelaku Seni (PAMMI)
40
Majalengka Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Majalengka Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Majalengka Regency
Creative Economy Subsector Developed in Majalengka Regency

˼ Craft
˼ Culinary
˼ Performing Arts
˼ Music
Source Person ˼ Igun Arief Gunawan, Bidang Ekonomi Kreatif, Dinas Pariwisata dan Kebudayaan
˼ Tesa Sholih Perdana, Kasi Pengembangan Kreativitas, Dinas Pariwisata dan Kebudayaan
˼ Ginggi S. Hasyim, Direktur Jatiwangi Art Factory (JAF)
41
Pangandaran Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Pangandaran Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Pangandaran Regency
Creative Economy Subsector Developed in Pangandaran Regency

˼ Culinary
˼ Performing Arts
Source Person ˼ Tatik Ika Mustika, S.IP, M.Si, Kabid Industri Pariwisata dan Ekonomi Kreatif, Dinas Pariwisata dan Kebudayaan
˼ Asep Ali Imron, Ketua Kelompok Saung Kalapa
42
Purwakarta Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Purwakarta Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Purwakarta Regency
Creative Economy Subsector Developed in Purwakarta Regency

˼ Craft
˼ Culinary
˼ Performing Arts
Source Person ˼ Agus Fitradona Akhmadi, Kasi Industri Pariwisata dan Ekonomi Kreatif, Bidang Pariwisata, Dinas Kepemudaan
Olahraga Pariwisata dan Kebudayaan
43
Subang Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Pangandaran Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
Entrepreneurship 73%
72,5%

72,4%

56,7%

73,7%
Average Subang Regency
Creative Economy Subsector Developed in Subang Regency

˼ Desain Interior ˼ Fotografi ˼ Seni Rupa
˼ Desain Komunikasi Visual ˼ Kriya
˼ Desain Produk ˼ Kuliner
˼ Fesyen ˼ Musik
˼ Film, Animasi, dan Video ˼ Seni Pertunjukan
Source Person ˼ Ida Erlinda, Sekretaris Kabid Destinasi dan Produk Wisata, Dinas Pariwisata, Kepemudaan, dan Olahraga
˼ Adrianto Akbar, Ketua Subang Creative Hub
44
Sukabumi Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Sukabumi Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Sukabumi Regency *Data not available
Creative Economy Subsector Developed in Sukabumi Regency

˼ Fesyen
˼ Fotografi
˼ Kriya
˼ Kuliner
Source Person ˼ Muhammad Reza Fauzan, Analisis Pariwisata, Dinas Pariwisata

˼ Yuningsih, Ketua Komunitas Paguyuban Lahan Parahyangan (Palapah)
45
Sumedang Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Sumedang Regency
Culture, Recreation & Tourism 0%*

66,7%

69,4%

86,7%

57,2%
Human Capital, Talent & Education 81%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Sumedang Regency *Data not available
Creative Economy Subsector Developed in Sumedang Regency

˼ Craft
˼ Culinary
˼ Music
Source Person ˼ H. Arif Junaedi, Kabid Ekonomi Kreatif, Dinas Pariwisata, Kebudayaan, Kepemudaan, dan Olahraga
˼ Vicky, Sekretaris II Sumedang Creative Hub
46
Tasikmalaya Regency
Comparison of Province Average Creative Cities/Regencies Indicators with Tasikmalaya Regency

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Tasikmalaya Regency
Creative Economy Subsector Developed in Tasikmalaya Regency

˼ Prodcut Design ˼ Music
˼ Fashion ˼ Publishing
˼ Photography ˼ Performing Arts
˼ Craft ˼ Fine Arts
˼ Culinary
Source Person ˼ Budi Prayoga, Kasi Ekonomi Kreatif, Dinas Pariwisata Pemuda dan Olahraga
47
Bandung City
Comparison of Province Average Creative Cities/Regencies Indicators with Bandung City

66,7%

69,4%

86,7%

57,2%

78,3%
Government & Regulations 58,0%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Bandung City
Creative Economy Subsector Developed in Bandung City

˼ Application ˼ Fashion ˼ Music ˼ Fine Arts
˼ Architecture ˼ Film, Animation and Video ˼ Publishing ˼ TV and Radio
˼ Interior Design ˼ Photography ˼ Game Development
˼ Visual Comm. Design ˼ Craft ˼ Advertisement
˼ Product Design ˼ Culinary ˼ Performing Arts
Source Person ˼ Yeti Kurniawati, Kasi Pengembangan Kreativitas Tradisi Disbudpar Kota Bandung
˼ Dwinita Larasati, Ketua Bandung Creative City Forum (BCCF)
48
Banjar City
Comparison of Province Average Creative Cities/Regencies Indicators with Banjar City

66,7%
Creative Output & Employment 0%*

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Banjar City *Data not available
Creative Economy Subsector Developed in Banjar City

˼ Photography
˼ Craft
˼ Culinary
˼ Performing Arts
Source Person ˼ Asep Jeni Ardiansyah, S.IP, Pelaksana Dinas Pemuda, Olahraga, dan Pariwisata
˼ M. Ubaedilah, Ketua Pokdarwis Patromanjaya
49
Bekasi City
Comparison of Province Average Creative Cities/Regencies Indicators with Bekasi City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Bekasi City
Creative Economy Subsector Developed in Bekasi City

˼ Application ˼ TV and Radio
˼ Architecture
˼ Product Design
˼ Culinary
˼ Performing Arts
Source Person ˼ Yakub Hadiansyah, Kasi Pengembangan Masyarakat Pariwisata, Dinas Pariwisata dan Kebudayaan
˼ Anita, Koordinator Econnectionspace
50
Bogor City
Comparison of Province Average Creative Cities/Regencies Indicators with Bogor City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Bogor City
Creative Economy Subsector Developed in Bogor City

˼ Fashion
˼ Craft
˼ Culinary
Source Person ˼ Ica, Dinas Pariwisata dan Kebudayaan

˼ Georgian Marcellon, Ketua Umum Reka Bogor
51
Cimahi City
Comparison of Province Average Creative Cities/Regencies Indicators with Cimahi City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Cimahi City
Creative Economy Subsector Developed in Cimahi City

˼ Craft ˼ Fine Arts
˼ Culinary
˼ Music
˼ Game Development
Source Person ˼ Nursaleh, M.M.Pd, Kabid Kebudayaan dan Pariwisata, Dinas Kebudayaan, Pariwisata, Kepemudaan, dan Olahraga
˼ Rizki Uba, Sekjen Cimahi Creative Association (CCA)
52
Cirebon City
Comparison of Province Average Creative Cities/Regencies Indicators with Cirebon City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Cirebon City
Creative Economy Subsector Developed in Cirebon City

˼ Product Design ˼ Performing Arts
˼ Fashion ˼ Fine Arts
˼ Craft
˼ Culinary
˼ Music
Source Person ˼ Eha Suhati SW, S.E.,M.Si., Kasi Pengembangan Sumber Daya Pariwisata dan Ekonomi Kreatif, Dinas Kepemudaan
Olahraga Kebudayaan dan Pariwisata
53
Depok City
Comparison of Province Average Creative Cities/Regencies Indicators with Depok City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Depok City
Creative Economy Subsector Developed in Depok City

˼ Film, Animation, and Video ˼ Craft
˼ Application ˼ Culinary
˼ Game Development ˼ Performing Arts
˼ Fashion
˼ Photography
Source Person ˼ Christine Desima, Kasi Pengembangan Destinasi dan Industri Usaha Pariwisata, Dinas Pemuda Olahraga,
Kebudayaan, dan Pariwisata
˼ Didi Diarsa, Pendiri Code Margonda
54
Sukabumi City
Comparison of Province Average Creative Cities/Regencies Indicators with Sukabumi City
Culture, Recreation & Tourism 0%*

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Sukabumi City *Data not available
Creative Economy Subsector Developed in Sukabumi City

˼ Film, Animation, and Video
˼ Photography
˼ Culinary
˼ Music
Source Person ˼ Nurlaila Permana, Kasi Pengembangan Ekonomi Kreatif, Dinas Kepemudaan, Olahraga, dan Pariwisata
˼ Rio Kamase, Manajer Program Sukabumi Creative Hub
55
Tasikmalaya City
Comparison of Province Average Creative Cities/Regencies Indicators with Tasikmalaya City

66,7%

69,4%

86,7%

57,2%

78,3%

42,4%
72,5%

72,4%

56,7%

73,7%
Average Tasikmalaya City *Data not available
Creative Economy Subsector Developed in Tasikmalaya City

˼ Craft
˼ Culinary
˼ Music
Source Person ˼ Ermayanti, SST.Par, Kasi Pengembangan dan Ekonomi Kreatif, Dinas Kepemudaan, Olahraga, Kebudayaan, dan
Pariwisata
˼ Roni Fitra, Ketua Tasikmalaya Creative & Innovation Comittee
56
57
West Java
Creative Economy
Subsectors Profile
58
59
60
West Java Creative Economy Subsectors Profile:
Application
Human Resource There are two ways for a business plan to be implemented
in the application subsector, individually or with a team
that has several supporting divisions. For working on
several large-scale projects, the company usually prefers
to employ freelancers or divide the work with their
business partner.
The business practitioners are usually given special

trainings that is carried out independently. However, the
pandemic has changed the trainings and seminars to
be online. In addition to that, the average productivity
of running the business is declining and it affects the
employees’ income. Thus, the frequency of webinars held
specifically for the application subsector is hoped to be
more, with a competent mentor in order to improve the
quality of human resource.
61
Application
Ecosystem Since the pandemic, the investors have not paid much
attention to this subsector. The business practitioners
usually deal with this troubling matter by implementing a
long-term contract or using down payment. To keep their
business running, they decide to allocated their funds in
details. They even postpone many things from postponing
their planned innovative program to postponing paying
the employee wages.
Focusing on service business, the income is influenced

by the client’s condition. In addition to adjusting to the
client’s ability by lowering the price, most of them change
their approach where they originally focusing on the
MSMEs, they now focused on the bigger companies
by maximizing the promotion in digital marketing. This
alternative is rather effective because even though the
projects are few, it raises the income.
62
Application
Institutional So far, the associations or institutions related to the

application subsector are not yet the main option for the
industry players as a forum. Each of them prefers to build
a network personally and informally. In the end, they use
this network to share their projection with the need of a
greater business capacity.
However, most of them hope to enter and register

themselves to a wider network. One of the purposes is for
them to be able to register for the Intellectual Property
Rights which generally can be proposed for around
two years. In addition to that, most of the application
subsector players want an easier access to the relevant
information regarding the industry. This indicates that
many information circulates on certain scales.
63
64
Architecture
Human Resource In the architecture subsector, the company normally

divide the job to several divisions including the Studio
Manager, the Business Director, the Technical Person
in Charge, and the Estimator which is mostly handled
by start-ups. Improving the human resources in this
subsector is mostly done independently by directly
involved in an ongoing project which then assisted by a
mentor from the Indonesian Institute of Architects (IAI).
The pandemic is more or less affects the sustainability
of the architecture subsector. Even if meetings and
consultations can still be held effectively online,
several site visits have to be postponed because of the
Community Activities Restrictions Enforcement.
65
Architecture
Ekosistem Like two sides of the same coin, the industry ecosystem
of the architecture subsector is experiencing ups and
downs. For example, the client often unilaterally cancels
an ongoing project but on the other hand, small-scale
projects like renovating bedrooms, kitchens, and so on,
help with the sales.
66
Architecture
Institutional The institution on the architecture subsector is one to

be taken into account. They have a competent network
known as the Indonesian Institute of Architects who
is active in disseminating knowledge and information
and also helps creating a healthy competition in the
industry. However, the Intellectual Property Rights is not
of high importance in this subsector. As for the Architect
professional certification, the process is quite clear
and they can obtain it by proposing for a mentor which
is facilitated by IAI or working in a bureau or with an
Architect that has obtained their certificate.
The problems afflicting this subsector often revolve

around the government’s lack of attention to the
architects of social buildings. In addition to that, most of
them want an even distribution of needs for Architects
so it not only focusing on the Java Island and Bali Island.
They also want a simpler method for the “practice letter”
so they can reach out to the other areas.
67
68
Interior Design
Human Resource The interior design subsector normally groups the work
division according to the importance of business needs.
Many of the business practitioners often studying about
software by themselves and participating in an internship
to improve their ability and gaining experiences in the
industry. In addition to that, comparative studies at home
and abroad also very relevant in this line of business in
order to practice the imagery of feelings in the mind of the
practitioners.
69
Interior Design
Ecosystem As a matter of fact, the pandemic is slowly giving many

impacts to the business sustainability. On the production,
the interior design subsector not only has to highly
encourages business activities to be carried out online,
but we also have to accept the decrease of almost 70%
on income. However, on the research and development,
this situation gives birth to a new idea of writing a disaster
or pandemic mitigation guide book with the educational
institution of the related fields. In addition, carrying out
research and providing data that can help the MSMEs
to keep on running in this difficult time is necessary. The
research is best done by a specialized research institute
that facilitates strategic planning.
70
Interior Design
Institutional On the networking, the interior design subsector has an

institute known as Indonesian Society of Interior Designer.
The association has often collaborated with other sectors,
one of them is with the Indonesian Institute of Architects.
The interior design sector is having a bias against the

Intellectual Property Rights because it directly involves
unstructured feelings and atmosphere. It is why there is
a slim chance on registering for the Intellectual Property
Rights. The subsector deals with this problem by giving
copyrights on writings or other field of study on design.
Most practitioners request for the government to make
the definition of the Intellectual Property Rights on the
interior design subsector to be clearer.
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72
Visual Communication Design
Human Resource Business needs is the main consideration for the Visual
Communication Design (DKV) Subsector to determine the
number of employees. Usually, the employment problem
in the DKV subsector is revolving around the designer
certification which integrates the whole discipline
(considering there are many specializations for designers)
and the difficulty in finding a person with the same
vision and mission. These two things are actually able to
determine their rate. The employment problem aside, the
DKV subsector often participates in workshops to improve
their competence.
73
Ecosystem The pandemic not only changes the training to being

held online but it also specially affects the availability
of the base fund of the training institution so it creates
labor limitation. The sales on service are also decreasing.
As a result, most of them turn to the education sector
which, in fact, makes the source of funding stable. As for
doing research, they cannot fully do it digitally and have
to go on site. The practitioners in this industry hope for
an additional ‘support’ that can provide funds for quality
development through workshops or seminars.
74
Institutional The DKV subsector has the Indonesian Visual

Communication Design Association which can assist
designers to register for the Intellectual Property Rights,
even if it takes time. The transparency of information from
the government regarding the legalization of profession or
studio is added to their expectation for the future.
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76
Product Design
Human Resource Similar to the other sectors, the product design subsector
also divides their job according to the company’s
business needs. They normally make use of workshops
or trainings to improve their ability but the pandemic
makes the information regarding the training limited. On
the other hand, the product design subsector is having
difficulty in determining an appropriate rate because of
the absence of a fixed standard. In addition, the number
of new professionals in this subsector is decreasing over
time. They hope for new talents especially for design
researcher and copywriting design.
77
Product Design
Ecosystem Some of them thinks their productivity is relatively stable

in the midst of the pandemic. They receive many projects
from the clients who need a research and development
service. However, the pandemic limits their promotion
because there is no exhibition to market their products.
Generally, they collaborate with craftsmen from various
areas that have little information on the marketing of
product design so the sale is done traditionally. In this
digital era with information disclosure, the practitioners
of this subsector wish for a specific platform like a
marketplace that connects craftsmen with the designers.
78
Product Design
Institutional The Indonesian Association of Product Designers is the

main institution where the product design practitioners
are networking. Even if most of them wish for another
place or platform for conversation and discussion that
involves many parties, such as the SMEs.
So far, their difficulty lay on the absence of designer

certification that can group their ability into several
level of competency such as beginner, intermediate,
and professional. This is one of the reasons that makes
determining the rate difficult. Other than that, they hope
the exposure they get is comparable to the big amount
of money being paid for registering on gaining the
Intellectual Property Rights so the public may know better
about who made the product.
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80
Fashion
Human Resource In the fashion subsector, most of them choose to employ

the workers according to the company’s need because
improving their competency is done independently, and
training like on digital marketing is oftentimes participated
only by the company owner. This sector is facing difficulty
in finding specialized tailors (for example someone who
specializes in children’s clothes, women clothes, and so
on). They hope there will be professional trainings on
raw materials and capital for them so they can keep on
creating.
81
Fashion
Ecosystem Even though the government frequently giving financial

assistance, most of them regret that the fund is often
directed to the wrong person. The productivity on the
fashion subsector decreases significantly. The emergence
of the pandemic is fatally impacting this subsector
because it forces the company to laid their employee
off. However, they take advantage of the time amidst the
pandemic to produce suitable items for the situation such
as face-masks and PPEs. Other than that, many turn their
selling method from ready-stock to pre-order in order to
press the expenses.
82
Fashion
Institutional Not having a special association makes most of them

decide to networking by founding a community. Although
in practice, it is often hampered by each other’s ego that
sees the networking as a violation on the information
privacy of the industry. They also hope registering for the
Intellectual Property Rights can be done for free.
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84
Film, Animation, and Video
Human Resource The film animation and video subsector also determine
the job division according to the business needs. This
is because the quality development is mostly done
independently in the form of trainings or seminars and
film festivals where they can test their skill in the industry.
In addition, they regularly hold a ‘watch’-together and
discussion session with the stakeholders personally. But
on the other hand, they are feeling troubled because of
the number of ‘ready-to-use’ human resource because
their competence does not meet the qualification. Thus,
they hope there will be more platform that provides
trainings/seminars/workshops relating to the film industry.
They also hope the educational curriculum can be
developed following the needs on the business world.
85
Ecosystem Another problem faced by the film practitioners amidst the

pandemic is things regarding permit, the availability of the
supporting equipment, and budget. Most of the time, the
project is cancelled in the middle of production because
the prohibition of gathering, inability to explore for places
for filming, limited equipment, and in the end, they have
to temporarily close the production house because the
needed funds is blocked by the delays in production. In
the end, many of them decided to turn to digital platform
such as YouTube and Instagram. Even if the income is
not as much, they choose to maintain good relations with
the clients in hope of the prolonged cooperation. They
also generally consider the movement to be a part of the
industry innovation.
86
Institutional They also have done a lot of efforts in building networks

by joining many film associations in the country to get
easy access to information about projects, assistance,
and collaboration offers.
87
88
Photography
Human Resource Similar to the film subsector, the photography subsector

also divides the job according to the company’s need
because the quality development of the photographers
is done independently through trainings, seminars, or
workshops. This subsector is one of the fields that has to
be in line with the digital era which means that when they
are unable to compete or innovate, they have to admit
they are losing the game. In addition, many complain
about how little the information on the professional
certification and they also hope for the regulation
regarding the succession planning for photographers.
89
Photography
Ecosystem The pandemic is also affecting the sustainability of the

photography subsector because it highly impacting the
increase on production cost, for example the added
expenditure for health protocol, and the raise of printing
cost. In addition, the pandemic makes the working
hours erratic which often ends up with overtimes while
the salary remains the same. This problem arises
because there is no appropriate fixed salary rate for the
photography subsector. This case makes them hope that
the related association could create a suitable regulation
regarding the standard rate.
90
Photography
Institutional The association of the photography subsector has not

evenly distributed to every region. Many photographers
decide to build relation in a community or personally.
Because of this, they expect the government to be more
aware of favorability toward certain profession. They hope
the government could even it out by providing trainings
or collaborations with the other sectors. Registering for
the Intellectual Property Rights (IPR) also takes a lot of
time even though the IPR is the shield to protect their art
from irresponsible parties. With many problems revolving
around the institution, many photographers advise
everyone who is not in the association to join it soon so
the association is willing to spread their influence to the
other member’s region.
91
92
Craft
Human Resource Crafts or handicrafts is one of the business subsectors

that on its operation, divides the job according to their
needs. However, due to the pandemic, many business
practitioners in this subsector have to lay their employees
off because of the declining of the company’s monthly
turnover. They are offering a low salary by opening
internships for the stakeholder who wants to engage in
the handicrafts industry. Though in the end, only one in
ten who is able to persist until the end of the working
period. It is one of reasons for the difficulty in succession
planning in the Crafts Subsector. Because of it, the
craftsmen have high hopes for the government to pay
more attention by providing trainings free of charge for a
qualified ecosystem.
93
Craft
Ecosystem This drastic decline in turnover is caused by the loss

of events which are their main place to sell their crafts.
The situation forces the capital owner to keep searching
for a solution. They also have applied for a capital loan
but it was declined due to the business legality. As they
wait for the government to provide a platform for the
Crafts Subsector, most of them decided to advertise their
products online in order to keep their business going.
94
Craft
Institutional Most of the business practitioners in this subsector has

joined many associations in order to make accessing
information regarding the registration of the Intellectual
Property Rights which generally takes three years to
process easier.
In fact, craft has the potential to create many job

opportunities and make their region well-known.
However, it can only be well-realized if every stakeholder
such as the local government, related agencies, youth
organizations, and the village government is willing to pay
more attention to the condition of the Crafts Subsector.
95
96
Culinary
Human Resource Both an individual businesses and joint ventures in the

culinary subsector generally divide their jobs according to
their needs. Some of them employs contract employees
and freelancers when they are handling a large-scale
project. Even if there are no official quality development,
individual business usually passes down their recipe from
generation to generation on their family members so the
business can hold on for a very long time. Besides from
a part of culture, it is done because of the difficulty of
finding the suitable person to the owner’s needs.
The pandemic makes many entrepreneurs in this

subsector cut off on expenditure which resulting in wage
deduction or the termination of employee contract. On the
other hand, the business practitioners of this subsector
need an official information regarding employee welfare
such as subsidized financial assistance and the Employee
Social Security System.
97
Culinary
Ecosystem In addition, the pandemic also forces them to open their

business for 24 hours on the food delivery application
which resulting in the increase on working hours to be
above-average for the employees. Another problem
commonly found in the culinary subsector is lack of
understanding of social media as a place for advertising.
Because of that, many of them are hoping for trainings on
digital marketing to optimizing their business promotion.
98
Culinary
Institutional For networking, they generally join a community to

exchange things regarding the development on the
culinary industry. Even though in reality many still
thought there is little information about the legality of
a product such as about the procedures and the fee for
it. They request the local government to make the halal
certification easier to handle.
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Music
Human Resource The music subsector in West Java is one of the subsectors
with the most industry players. The division of tasks in
the creative process is according to the kinds of music
offered. As on the management, a person can do two to
three jobs at the same time, like financial management,
business planning, to looking for gigs to perform.
This subsector is quite flexible because the quality
development can be done independently bot formally
and informally. Time is still the main concern most of the
musicians in the industry considering many of them have
another occupation outside of doing music.
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Music
Ecosystem For the funding, most of them use personal money or pay
from gigs and sales of physical releases/merchandise.
The productivity during the pandemic is also adapting

to the new normal. Offline stage has to turn virtual, then
the creative process is also done online, and there is a
delay in recording because of the Community Activities
Restrictions Enforcement.
Even though they have been promoting continuously on

social media, many still hope for more trainings/seminars/
digital marketing regarding the music subsector so they
can keep on making music amidst the pandemic.
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Music
Institutional Networking is a must in this industry. Generally, the build

their relation with community including Event Organizer,
recording label, and the local government. However, many
of them ignore the importance of copyright for their work
because the information regarding it is still limited. So,
they hope to build new relations that can bring them to a
better condition.
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Publishing
Human Resource The publishing subsector is generally divided into two

groups, writer and publisher, which are suitable for the
business needs. Especially for writers, some of them
need a team for in-depth research. Most of them often
participate in a master class in the form of trainings/
seminars which resulted in many of both writers and
editors to have been certified but the certification does
not guarantee the writers in this subsector to avoid the
writer’s block.
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Publishing
Ecosystem For the writers who are marketing their writings by

themselves, the fund oftentimes comes from their own
pocket which relies on the research result pay. They
allocated the fund to the production and publishing costs
which they think is getting more expensive as the days
go by. In addition to the high price, the print specification
like the type of paper being used is not up to standard. To
handle the high production rate, they raise the quality of
their writing and printing. Different with writers under a
publisher. The pandemic inspires many publishing houses
to collaborate with the government to publish books
which will later be given out free of charge. Books are still
the favorite of the consumers as a medium to appreciate
the writer’s work. Most consumers thought that books
have more value than e-books which are published
digitally. As a result, the industry practitioners decide
to market their books on social media and ecommerce
platforms.
Because of such problem, they ask the government to

be able to issue a regulation regarding publishing and
to launch an ecommerce platform specifically for this
industry to connect the writers, publishers, and readers.
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Publishing
Institutional Most of the industry practitioners actually have joined in

various community whose members are writers, publisher,
and the local government. However, the network they
have built has not given an effective solution for the
problems in the industry.
For example, the legalization of a publishing house to be

a registered company is still below the qualification. This
can result in damaging the publishing ecosystem and the
decline of printing quality. As for the writers, their obstacle
in the industry is the limited marketing area. They only rely
on social media because not all bookstores can become
their distribution channel.
The industry practitioners hope there will be a

synchronization that can benefit both the writers and
publishers. In addition, they want the authority who is in
charge of the library distribution permit to renovate the
library and hold more activity in order to increase reading
interest.
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Game Development
Human Resource From time to time, the game development industry always
successfully increases the market’s interest. Because
of it, they divide the job according to specialization or
divide it according to the project in which a person has to
handle more than one workload. The quality development
is also generally held internally in the company by giving
a mentoring and also referencing from another related
business to later be done independently.
Even during the pandemic, this industry is able to recruit

more staff. Unfortunately, the increase of employee is not
accompanied by the commitment to bring this subsector
to be better. This is the result of a short-term employment
contract while in fact, improving the quality in the game
development subsector needs a quite long time.
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Game Development
Ecosystem According to them, the capital that have been supporting

the business continuity come from the investor. Even if
the pandemic is not affecting the policy, they are hoping
for another source of funds to support them in order
to catch up to the standard. This difficult time instead
making require them to develop games that have to be
played face to face, one of them is game enterprise.
As for the productivity, the pandemic changes the working

system in this industry to become online. This is affecting
the working efficiency because not all employees have the
devices with a suitable specification and there is a lot of
miscommunications.
The promotion done in this subsector is almost fully digital

by using the company’s social media, even though once
in a while, they use the conventional way by visiting the
other companies to be invited for cooperation.
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Game Development
Institutional The Indonesia Game Association is an establishment

where the industry practitioners build relations
and exchange information relating to the industry
development. The implementation of the work program
is relatively stable because they can be done online.
However, the industry practitioners who are members of
the association regret that many online events that are
being held locally has to be stopped for a long time. Those
events, in fact, help in educating the local stakeholder to
improve their standard of quality development.
The industry practitioners request the government to hold

many collaborations locally, especially in West Java, to
jointly provide education regarding the potential of the
game development industry. In addition, they hope the
national game industry can catch up with the standard in
every aspect so they can compete globally.
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Advertisement
Human Resource The advertising industry is normally difficult to run alone

and there has to be many teams for it to reach its full
potential. This subsector divides the job according to
skills. However, many of them often hire freelances when
handling a large-scale project. The quality development is
optional, they can do it independently or proposing to the
company’s management.
A lot of applying for and resigning from the job during

the pandemic force the company in the advertising
industry to restructure their business. In addition, the
policy on expenditure limit also forces them to sacrifice
many things, like postponing trainings and recruitment,
and move them to a smaller workplace. The advertising
industry is one of the sectors that is quite selective
regarding team building because they have to review the
applicant’s skill in detail.
To gain the needed soft skill, they hope for a program

focusing on interpersonal skill development on a
bureaucracy and association level will be available, not
only focusing on hard skill.
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Advertisement
Ecosystem The advertising subsector in West Java has not

implemented a structuralize funding. Even if not much,
the initial fund is disbursed from the company owner’s
personal fund. Working online also prolong the working
hour because the time has to be adjusted to the client’s or
business partner’s working hour.
For a stable company finance, most of them target

corporate business as the main client, even if in practice,
the employment contract during the pandemic is shorter
in duration.
Thus, the advertising industry practitioners hope for a

regulation regarding the funding system and cooperation
which is strategically made to support the industry
sustainability.
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Advertisement
Institutional The advertising industry, specifically in Kota Bandung and

generally in West Java, has several official associations
by they seem to be inactive. Networking amidst the
pandemic is also neither the focus of the company or
an individual. They are focusing more on the company’s
internal affairs in order to keep on running in this
time of crisis. In addition, identifying the advertising
practitioners is difficult which, in the end, makes them
prefer to collaborate or just exchange information with the
advertising subsector in another city like Jakarta.
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Performing Arts
Human Resource The performing arts subsector is an industry whose job

divisions are followed by their skill, and the number of
people is in accordance with the company’s need. The
performers in this industry can further develop their skill
by participating on trainings like joining a specialized
class or seminars. The pandemic does not decrease
the number of practitioners in this industry, but all are
focusing on their job and the training has to be held at
home. In addition, the most important thing during the
pandemic is the decreasing income because many work
plans have to be postponed or even cancelled. Because
of it, they have a financial problem in terms of funding and
properly paying the employee wages.
The talents in this industry are very promising. So, they

have been using their personal fund to support the
business and many decided to cooperate with another
field to keep the business going.
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Performing Arts
Ecosystem The productivity is, in fact, declining drastically and only

they rely on online events which pay is not worth the
demand. Even if the offered rate is relatively low. Many
of them are, in the end, hoping for the government to
disburse a venture capital assistance. In addition, they
also request a regulation regarding Performing Arts
during the still going pandemic.
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Performing Arts
Institutional They have actually put a lot of effort on networking.

However, the synergy between the practitioners in the
industry is still weak and becoming the obstacle that
makes the performing arts industry going nowhere. With
many cases like that, they asked every stakeholder to be
more aware for the business sustainability.
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Fine Arts
Human Resource The fine arts subsector divides the job according to the
needs or preference on each applicant. It is possible
that most of the industry practitioners have to do more
than one workload even if many of the practitioners hire
freelancers or volunteers.
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Fine Arts
Ecosystem Since the pandemic, many cooperation that has been

planned for the past 2-3 years have to be cancelled and
drastically decrease the income. On the other hand,
the company’s operational cost increases because of
the regulation on the health protocol and turning all
exhibitions online. Most of them handle this situation by
continuously promoting and selling their works on both
the company’s social media and theirs so their works can
be more appreciated by the fans and collectors.
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Fine Arts
Institutional Many of the artists build relation by founding a community

in various field of study because this difficult time
motivates them to be more in synergy through exchanging
information, opinion, projection, and experience.
Therefore, the fine arts subsector wants more offline
exhibitions to be held because not only it returns the main
source of income, offline exhibitions also have a different
aesthetics.
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TV and Radio
Human Resource Needing various skills makes the broadcasting subsector

divides the job according to their needs and employee
preference even now. Most companies in the industry
leave the quality development to the related individual. It
is caused by a limited amount of the company’s funds to
hold the quality development training. In addition, they
often deduce wages and lay off the employee amidst the
pandemic because their finance is not getting better.
125
TV and Radio
Ecosystem Relying on entertainment makes the continuity of the

broadcasting industry being determined by the number of
advertisers. The pandemic itself forces the cooperation
that has existed for the past several years to cut the
contract fee, postpone the payment, or even annul it. So,
it is not rare for the owner in this industry to spend quite a
lot of funds in order to keep the business.
The success of an entertainment program is, in fact, seen

from the number of its fans. When the program is ongoing,
if it does not get enough attention, there is a possibility
for the program to be cancelled. In addition, every event
that are usually hold offline have to be held online. While
on the promotion, social media is still their main medium
to use. The promotion is done by consistently posting
contents that are relevant with the company’s value.
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TV and Radio
Institutional The networking in this industry is said to be unhealthy.

It is caused by lacks of brainstorming on presenting a
program so the programs are similar to each other. Even
so, most of them thought this matter is neither taboo nor
of importance. The broadcasting industry put their hope
on the government to pay more attention and willing to
be in synergy with them by routinely holding trainings/
seminars/brainstorming which invite a competent
practitioner for the industry sustainability.
127
West Java
Creative
Economy Towards
Sustainable
Development
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129
International Year of
Creative Economy for
Sustainable Development
130
The 74th United Nations General Assembly Under this theme, several activities will highlight
in 2019 declared 2021 as the International the power of creativity for resilience in times
Year of the Creative Economy for Sustainable of pandemic and share best practices and
Development. Indonesia is the main sponsor of experiences, increase human resource capacity,
the proposal, which was also presented by other promote an enabling environment at all levels,
global countries such as Australia, China, India, and address the challenges of the creative
Mongolia, the Philippines, and Thailand. economy.
The International Year of Creative Economy With this spirit, the PROSPEK West Java 2021
for Sustainable Development could not have book also presents a dialogue with four creative
come at a more appropriate time. The COVID-19 economy enterprises in West Java that have
pandemic has paralyzed the creative economy. started running their enterprises with the
No party in the creative value chain is spared principles of sustainable development. The
its impact from creation, production, and dialogue results have also been synthesized
distribution to access. into an example of the Sustainable Business
Model Canvas, which is expected to be
Sustainable business development is about an inspiration for other creative economy
maintaining a balance between social, businesses in West Java to run their business
economic, and environmental concerns in more sustainably.
corporate decision making, protecting the
natural resources used by the company,
compensating the communities in which the
company works, and promoting the creation of
long-term value for stakeholders.
131
Sustainable
Business
Model Canvas
Example
132
Positive Impacts Negative Impacts
(What are positive 2nd and 3rd order impacts of your product on (What are negative 1st, 2nd and 3rd order impacts, and how can
planet, society, the economy or your organisation (e.g. brand)? these be minimised? Is harmful waste generated that requires
How can these impacts be maximised along the complete product expensive disposal? Are there rebound & induction effects or new
life cycle?) technological risks?)
Sustainable Partners Sustainable Value Sustainable Value Sustainable Customer Responsible Customers
Creation Proposition Relation
(Who are possible (Which are our key (Which problem do we Which customer (Who are our customers?
partners in becoming activities? How can solve, which value do we relationships satisfy How can we enable them
more sustainable? weadjust them (e.g. create? customer expectations to act sustainably?
manufacturing) toensure and are sustainable?
How can we make the sustainability? What are function & Which target customers
whole supply chain form of our product or How can we make may help to promote our
sustainable, transparent Which enabling service? current relationshipsmore sustainable solution?)
and circular? sustainabletechnologies sustainable?)
can be used?) Can we solve our
Can we cooperate customers’ problems
with partners form more sustainably?
otherindustries to form Sustainable Tech & Sustainable Channels End of Life
an industrial symbiosis? Resources Can we transform
sustain-ability
Can we shape anticipated (Which 1) natural, 2) intocustomer value? (How can we make our (What happens at the
environmentalregulations energy and 3)technical distribution channelmore end of the productlife
by partnering and resources do we need? Is ownership necessary sustainable and circular? cycle?
cooperatingwith relevant or is the productas
regulatory bodies?) Can we substitute any a service model How do we best Can the product be
for moresustainable applicable? communicate profitably recycled,
resources?) thesustainable aspect of upcycled, reused,
Can we extend the our product / service?) refurbished?)
product life cycle?)
Cost Structure & Additional Costs Subsidization Revenue & Sustainability Premium
(What are the required costs and investments for my (Do tax bonuses & (Which are existing and possible revenue sources?
endeavour? subsidies or 3rd party
funding exist for my Are customers willing to pay a premium for
Which resources / activities are the least endeavour?) sustainability?
sustainable? Do sustainable alternatives exist? Is
switching economically reasonable?) Can we create a unique advantage due to sustainable
proposition elements?
Do price structures exist that incentivize sustainable

customer behaviour?)
133
TRASHSMITH
Successfully Turns
Plastic into Antique
134
Plastic has always been the main ‘enemy’ for From there, they see that plastic recycling
the inhabitants of this earth. Many surveys have has an opportunity to become a successful
stated that plastic is one of the most difficult business. Especially with the market which is
materials to break down. Many experts say that targeting young people, the products produced
decomposing a plastic takes up 500 to 1000 are still relating to lifestyle.
years.
Apart from plastic recycling, what do you expect
Various environmental campaigns to stop the from Trashsmith’s presence on the general
plastic usage have been intensified in many public?
parts of the world. But in fact, the impact is
still not thoroughly felt, considering many We want to build and always be at the top of
manufacturers still involve plastic as their main the minds of the people regarding plastic waste
raw material. recycling. So far, it has been reasonably proven
because the branding we have done is quite
A glimmer of hope is tried to be realized by optimal.
Bintang and his friends in Trashsmith, a knick-
knack manufacturer who has succeeded in Aside from that, what distinguish Trashsmith
recycling plastic waste into handicrafts that are among similar businesses?
unique and full of aesthetic value.
Even though they are both about plastic
We got an opportunity to interview Bintang recycling, Trashsmith’s products support
about Trashsmith’s effort on keeping their people’s lifestyle because they are portable and
embers of fighting spirit against plastic waste. convenient to use anywhere, and the products
Please read the result of our interview below are quite inclusive. These things are what make
us more excited in recycling the plastic waste.
Plastic is indeed has become something that The type of waste produced is small pieces
manages to frustrate many people. What is of plastic which can later be reprocessed into
the main reason that underlie the founding of another product.
Trashsmith?
Speaking of production, why is plastic chosen
It started from a practical coursework. There, as the main raw material? And can you explain
our founder was involved with plastic recycling the process of production from the beginning
and did a lot of exploration. Even the final into finally it become a product that can be used
project uses this topic. by the consumers?
135
In our opinion, plastic is a significant problem Meanwhile, in terms of the product distribution,
in the current situation. The raw materials is it entirely environmentally friendly?
are also easily found. Especially now that we
have collaborated with many coffee shops and When the product is going to be delivered to the
drinking water refill depots. consumers, we wrap it in a carboard that has a
written information that the box can be reused.
The procedure is more or less divided into five
stages, starting from collecting the plastic
waste, enumeration, then entering into the Is there another point that is showed as the
washing process, and then heating, and the last added value of sustainability as a producer?
is finishing. Of course. On our social media, Trashsmith
always presents the product that can educate
The process itself, we thought, is not entirely the consumers through the processed product
environmentally friendly yet because it uses from plastic waste.
electricity and producing emission in the
process of heating. How do the consumers respond to the idea and
method that Trashsmith has implemented so
Then, does it still leave waste in its production? far?
If so, how to solve it?
When viewed from consumers enthusiasm, we
The waste produced is the pieces of plastic left think they quite enjoy what we present. It can
from the production. But, the problem can be be seen from the rather good sales.
solved by the dissolution process which then
can make another product.
136
It was mentioned that Trashsmith collaborates
with many coffee shops and drinking water refill
depots. What is the main reason that makes
Trashsmith to finally choose them as a partner?
In choosing partners for cooperation,

Trashsmith pays attention to the company’s
vision, is it in line with ours or not.
That means a brand image also influences the

selection of a partner, doesn’t it? Last question
to end this interview, what are the obstacles
Trashsmith has faced when running the
businesss?
The obstacle on business sustainability is

perhaps on the access to the production
equipment, and the consumers who use
Trashsmith’s products are still relatively
segmented.
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138
˼ Reduce waste by upcycling. ˼ There are still electricity emissions in the upcycling process.
˼ Empower local workers in waste collection and selection. ˼ There is still microplastic waste that cannot be processed.
˼ Increase public awareness in managing waste through education.
˼ Other businesses that 1. Waste collection. ˼ Providing recycling ˼ Social Media. Young adult.
share the same vision, 2. Waste counting. education is fun. ˼ Involving consumers in
values, and concerns. 3. Waste washing. ˼ Upcycling waste into a recycling and upcycling
˼ Other business that 4. Heating/pressed. lifestyle product that is processes.
can take advantage of 5. Finishing. easy to go anywhere.
upcycling products. ˼ Inclusive product.
˼ Parties who can help
find and sort waste.
Sustainable Tech & Sustainable Channels End of Life

Resources
˼ Plastic waste. ˼ Educational notes in Extend product life with

˼ Oven. the packaging. processing innovation
˼ Alternative tools that ˼ Educational content on and material exploration.
are more sustainable Social Media.
are still not affordable.
˼ Personal capital. ˼ Investors. ˼ Product sale.

˼ Purchase of tools. ˼ Grant. ˼ Enthusiast customers who pay more.
˼ Purchase of raw materials from collectors.
˼ Operational.
˼ R&D.
139
GOODBELLY
Goodbelly, A Lifestyle
Exploration Bringing
Forth Life.
140
Vegetarianism, a lifestyle that abstains from Hi Rhea! Living as a vegetarian turns out to be
the consumption of food obtained from animals successful for you in making the most of the
such as meat, poultry, and fish, has been potential in it. Can you tell us about the start of
practiced in various parts of the world for quite Goodbelly?
a long time. Those who practice vegetarianism
are known as vegetarian. The main spark for the founding of Goodbelly
was my penchant of exploring various types of
Vegetarian, in the process, is often considered vegetarian food menu. Especially in the midst
as vegan, even though the two are relatively of a pandemic, I have a lot of free time that can
different in terms of meaning. If a vegetarian be used and I get the idea to sell the creations
still eats vegetables, fruits, nuts, seeds, which is from the menu.
accompanied by milk, eggs, and honey; a vegan
is a vegetarian who completely forbear meat While doing market research, the menu was
and other animal-derived products. initially sold by implementing a pre-order
system. And turns out over time, the feedback
Many things underlie a reason for someone to from the market regarding the vegetarian
ultimately choose to become a vegetarian. lifestyle is rather good. In the end, the funds
In addition to consciously fully respect the life raised from there is used to open a small kiosk
and freedom of animals, generally they want to that sells many variants of the menu.
live a healthy life in order to avoid various types
of disease, early death, and obesity. Although fairly simple, the existance of
Goodbelly is of course brings a purpose. What
One of them is Rhea, a woman who has chosen is the goal?
to live her everyday life for the last 16 years as a
vegetarian. The role of her parents who adopt a Because it’s a healthy food, I want to introduce
healthy lifestyle was successfully followed until a healthy lifestyle through vegan foods or which
finally their daughter did a lot of exploration of is known as a plant-based diet. In addition to
her food menu. Thanks to her tenacity, Rhea that, I want to educate the market regarding
even manages to take advantage of the great issues relating to the environment, social
potential of what she perseveres on doing into issues, and food issues. My greatest wish is
a food business called Goodbelly. Check out for them to be moved and willingly switch to a
on our interview with Rhea on the founding healthy life as a vegetarian.
of Goodbelly as her way of introducing the
importance of healthy living through a plant- Then, how do you apply the concept that has
based diet! been design into a business?
141
Here, I try to show the data regarding the To reduce waste, Goodbelly partnered with
plant-based diet that is proven to be more an application called Surplus to sell the foods
environmentally friendly in terms of emission which are nearing their expiration date at a
usage. On the other hand, Goodbelly builds a discounted price. On the other hand, Plastavfall
network by collaborating with many partners for Bank is the official partner of Goodbelly for our
our business’ waste treatment. Then we try to waste treatment and disposal. In addition, we
utilize farmers’ crops so they can be enjoyed by emphasized to our customers that the glass
farmers again as they should. packaging provided by Goodbelly is reusable.
Using data as the basis of things indeed make Has the packaging implement environmentally
the consumer’s trust increase significantly. Then friendly things completely?
how about the production system that is run? Is
everything 100% environmentally friendly? Many things are handled by using plastics
made from cassava and using wooden spoons.
Our production system can be said to be made It’s just that specifically for take-aways, paper
from scratch and freshly made. In a sense, packaging with a plastic layer is still used so
because our store is small, we produce the that the food is much safer aka not easily
patties at home in large quantities then froze leaking. This is managed by encouraging
them, and take them to the shop. The other consumers who intend to make take away
ingredients are processed directly in the shop purchases to bring their own utensils from
according to the sale demand. home.
The raw materials we use are brought In addition to that, are there steps that have
directly from the farmers in Lembang in order been taken so that both Goodbelly and the
to create a much healthier ecosystem. In consumers are cooperating toward the same
terms of technology, it is not yet completely value and goals?
environmentally friendly because it is still on the
scale that is usually done in the home industry. So far, the means to achieve the intended
The existence of an alternative method such value and goals is by campaigning through
as using compost gas is still less likely to be the presentation of attractive promotional
adapted. contents on social media and adding a lot of
collaboration with cross-business brands.
If that’s the case, then the production is still
generating waste. How does Goodbelly do its In terms of collaboration with brands, is there an
waste treatment? underlying factor for choosing a partner?
142
The thing that underlies the selection of a The second obstacle is the cost for an entirely
brand for collaboration is of course the value environmentally friendly technology and raw
of that brand. Is it of the same value as us or materials are very high.
contradictory. Then, whether there is an impact
on environmental, social, and food issues or
not.
Even profit does not guarantee a collaboration

if the things stated above cannot be realized.
Then, how is the response of the partners

regarding this?
The partners responded well to what was

offered because we both fight for the same
cause.
So, is there any impact from the implementation

of the concept which is designed on business
sustainability so far?
Overall, our market is pointing to the growth

in terms of numbers. In addition to that, most
of them give direct appreciation related to
the presentation from the promotion to the
environmentally friendly packaging. Pretty
happy for that!
A positive appreciation is in truth the fuel that

ignites the spirit to keep on producing good
result, isn’t it. Lastly, what obstacles has
Goodbelly face so far?
The first obstacle is time. In a sense that the

consumers need time to live a healthy life
consciously and without coercion.
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144
˼ Plant-based raw materials are more environmentally friendly. ˼ Waste from the production process.
˼ Provide fair purchase prices to local farmers. ˼ Cooperate with others for waste treatment.
˼ Local farmers. ˼ All processed ˼ Introducing an ˼ Educational content ˼ Consumers who

˼ Other businesses that ingredients environmentally through social media already understand the
have the same value. are produced responsible vegan and websites. vegan lifestyle and vice
˼ Other businesses that independently. lifestyle. ˼ Ask for feedback from versa.
have an impact on ˼ The final product ˼ Introducing consumers. ˼ Angel customers.
social, environmental is also produced environmental, social,
and food issues. separately. and food-related
issues.

Resources
˼ Resources from local ˼ Cassava Bag ˼ Promotion to spend

farmers. packaging and wooden products, so they don’t
˼ Conventional machine. cutlery for takeaway. become waste.
˼ Alternative resources ˼ Social media. ˼ Application to sell food
are not considered in a closed hour.
efficient for the f&b
business.
˼ Capital from the founder with a profit-sharing ˼ Investors. ˼ Product sale.

scheme. ˼ Grant. ˼ Enthusiast customers who pay more.
˼ Raw material.
˼ Operational.
˼ R&D.
145
TWFT
Changing Waste into

Style.
146
In the environmental campaign, upcycle is not idea came from our founder’s concern about
relatively well-known to people as an effective textile waste. Especially in Indonesia, turns out
solution to waste management. So far, we only many have no concern of this issue.
know of 4R (Reuse, Recovery and Reduce,
Recycle) to make the waste be more useful. What is your expectation of TWFT for the
fashion industry, especially on a local scale?
In a sense, upcycle is similar to recycle, both
of them recycle trash. But they have different To put it simply, we don’t want the waste to just
meaning. Recycle is the dissolution of waste ends up at the landfill and go to waste.
to be reused as a new item, while upcycle is a
recycling process that changes the value of an This has to be the first step toward the
item so it can be reused without going through sustainability of the fashion industry. Then, what
the dissolution. is the core value or the difference TWFT has in
comparison with other similar businesses?
TWFT, or Turn Wate into Fine Taste, a clothing
brand who manages to steal attention and We have a core value which incorporates
whose action needs to be taken into account. the “3 SDGs”, gender equality; responsible
They successfully turn waste into a commodity consumption and production; and climate
with high value! action, and transforming the linier business to
circular business.
Engaged in fashion, TWFT focuses on
outerwear and jacket. It is a comparatively rare Can you elaborate the process on how you
movement, especially in Indonesia because the turn the materials you found into an item being
manufacture uses waste from various kinds of marketed to the consumers?
clothes.
The process comprises five steps including
Some time ago, we managed to interview Vindi, doing quality control twice. Therefore, the
a representative from TWFT. Check our chat process is sourcing materials, quality control,
out on sustainable development in the creative redesign, then quality control again, and the
industry below! product is ready to be marketed.
Among the clothing brands that are synonymous As for the main materials or the textile waste,
with fast fashion, TWFT comes with an opposite we sort them into two. The first is the sorted
approach to them. What sparks the idea? material which we get from close friends or the
local brands we have collaborated previously.
It could be said like that. In the beginning, the The second is the unsorted material such as the
147
pieces of fabric used for patchwork that we get If in your opinion the production still has not
directly from the remnant of clothes production. showed its sustainability, how do you present
TWFT to the consumers?
Is the technology being used in TWFT’s
production relatively environmentally friendly? So far, we are using an environmentally friendly
And if waste is generated, how does TWFT do packaging, the ‘plastic’ cassava.
the waste management?
The material for that packaging is indeed eco-
We are using the equipment with general friendly. So, do you have another approach that
standard such as sewing machine and washing has been implanted to achieve your main goal?
machine. I have to admit that the sustainability
can’t be seen clearly. TWFT always post educational contents
regarding environment so the public, at least,
As for the waste, our production also generates gains awareness and concern on sustainable
waste. Coincidentally, we are planning to fashion. In addition to that, we actively
upcycle our own products which mean that if participate as a speaker in various webinar take
our consumer is losing interest on their item or part in “The 4th Economy Forum” especially on
if it is unusable, they can mail the item for us the clothing line of business.
rework as best as possible.
You mentioned that TWFT and several brands
This shows the importance of a circular are doing collaboration. How do you cooperate
business where the materials are always and what is the qualification on choosing the
available. partner?
148
That’s right, we are collaborating with the local
brands regarding the production materials. In
addition to that we also join hands with home-
tailors so they can donate their waste to TWFT.
Because we pay attention to the material, the
qualification is they can provide decent fabrics.
Lastly, to finish this interesting talk, every

business certainly has its own twist and turn.
What is the main obstacle that TWFT face since
the time of founding?
The market seems to hasn’t fully understand

about upcycling so we think we have to
continually show them that even if it is made
from textile waste, it is decent to wear and has
value. In addition to that, the product market
that is challenging, then the human resource
needed to sort the materials, and the last is the
redesigning itself.
149
150
˼ In general, it positively impacts the environment, social, and ˼ Fabric waste left over from production.
economy. ˼ Fabric waste continues to be reused.
˼ Reduce fabric waste.
˼ Collaboration with home tailors.
˼ Collaboration with local brands.
˼ Home tailors. 1. Look for materials. ˼ Concern for clothing ˼ Social media The market that has
˼ Local brands. 2. QC materials. waste. campaigns. understood upcycling
˼ Others focus on the 3. Process redesign. ˼ Attention to issues ˼ Active in forums. fashion and vice versa.
same concern. 4. Final product QC. of gender quality, ˼ Education for those
5. Products are ready responsible production, who don’t understand
for sale. and climate change. upcycling fashion.
˼ Transformation of
linear business into
circular business.
˼ Upcycling of clothing
waste.
Resources
˼ Fabric waste. ˼ Packaging cassava ˼ The product life will not

bag. expire.
˼ Social media contents ˼ If bored, consumer can
send the product to
the manufacturer for
reprocessing.
˼ Capital from the founder. ˼ Investors. ˼ Product sale.

˼ Cost of raw materials from collectors. ˼ Grant. ˼ Enthusiast customers who pay more.
˼ Operating costs.
˼ Additional costs from challenging product markets,
sorting raw materials, and redesigning processes.
151
SAGALA.ID
Utilizing Technology
to Raise the Dignity of
Farmers
152
Over times, technology has undergone Speaking of the concept of sustainability, what
semantics broadening (or a generalization of are the main thing that actually drives the
meaning), even if in essence, a technology founding of Sagala.id?
exists to facilitate all the needs of its user to be
faster and more precise. It is undeniable that It all started because of the pandemic. When it
technological advancement has had a huge continue to climb, there is one thing considered
impact on a development of an era. to be crucial there. It is food issues. From
there, we thought we want to help the affected
The era you are living in is the digital era, people, both as sellers and buyers.
where everything can be obtained very easily
and practically. Almost every aspect of life has It is true that the pandemic has changed life
turned digital. Age did take it there, and those 180°. All sectors are affected. Then, what
who cannot adapt, it’s not a mere fairy story benefit does Sagala.id expect from a business
that they will be completely “swallowed” by it. perspective and the environmental sustainability
in general?
A breakthrough is freshly presented in the
food sector. Instead of directly helping the From the very beginning, the main purpose is
vegetable and fruit farmers who are affected by simple. We only want to directly connect the
the pandemic, Sagala.id is taking advantage of fruit and vegetable farmers who are affected
the technological advancement by creating a with the buyers online. From this step, at least
website to connect them with buyers. we can reduce the middlemen and the farmers
can get the appropriate or proper income.
Gaining positive responses from many parties
does not make Sagala.id conceited about what Meanwhile, in terms of value, what is the main
they have achieved. Sagala.id is expanding difference between Sagala.id in comparison to
its business by creating a delivery service similar businesses?
application for basic necessities. It gets more
interesting when all the sale profits made on The main value that can distinguish us with
the apps are used for the breadwinner of drivers others is we provide complete basic needs,
and merchants. starting from vegetables, fruits, ingredients
containing carbohydrate and protein, herbs,
We were able to interview Rinaldy, one of the spices, complimentary kitchen needs, ready-to-
representatives of Sagala.id. Let’s see how the eat food, and frozen food. In addition to that,
the result of the interview below! the quality is different.
153
What differ the quality of the basic needs It was mentioned on our main focus, the income
mentioned before? of the affected farmers. Here, we offer a higher
price to the farmers than the supplier cost.
It’s different. Every ingredient we sell is directly
from the farmers. As a result, the freshness So far, what steps has Sagala.id take so the
level of the products is still high. consumers willingly cooperate in reaching
the goals or implementing the value of this
More or less, the procedure is like this: we business?
collaborate with many farmers, their harvest
is collected in the warehouse, we do quality We try to educate them by consistently showing
control, packaging, then at last distribute it the value of sustainability on Sagala.id’s media
directly. social.
Then, from the described procedure, is there That’s right, you mentioned on working a lot with
any waste generated? If there is, what steps farmers. How does Sagala.id choose the partner
does Sagala.id take? for the collaboration?
There is waste, but it is only the remnants of For this matter, Sagala.id has a special
vegetables and fruits. The waste can be used as standard in product selection. We go directly
a fertilizer for plants. to the field to seek the farmers out and look
at their harvest. That’s where we invite them
Regarding the procedure, in terms of for collaboration with the benefits described
distribution, have you use the environmentally before, without going through many middlemen,
friendly packaging? and by offering an appropriate wage.
As for the packaging, we haven’t but we For the general impact, what has Sagala.id feel
definitely will. So far, we are researching what so far?
is suitable to be used here. Because we are
currently focusing on the farmers’ income. We are enthusiastic that the steps we took are
Apart from farmers, we also work closely with worthwhile and beneficial to the general public.
traders in the traditional markets. In addition, we can empower the farmers and
the traders in the traditional market.
If that is so, how does Sagala.id show the added
value of this business?
154
What obstacles does Sagala.id face when
running the business?
Internally, several positions that need specific

skills have only recently been opened because
in the beginning, we recruit close people who
were laid off due to the pandemic.
While externally, when the negotiation with the

farmers is underway, there are middlemen who
felt disadvantaged. We handle this matter by
inviting them to join the collaboration by helping
in marketing several requested products.
155
156
˼ Synergy with local farmers and traders. ˼ Vegetable waste.

˼ Buy at a higher price than the supplier. ˼ Processing of waste back into fertilizer.
˼ Local market farmers 1. Collaboration with ˼ Reducing middlemen in ˼ Interaction through Consumers who want to
and traders. farmers. the industry. social media. shop from home because
˼ People affected by 2. The harvest is ˼ Connecting farmers of the pandemic.
layoffs due to the collected in the directly with buyers.
pandemic. warehouse. ˼ Paying proper wages to
3. Sort, pack, distribute. farmers.
˼ Basic products/
complete kitchen
needs.
˼ Good quality because
it is direct from the
Sustainable Tech & source. Sustainable Channels End of Life
Resources
˼ Resources from local ˼ Network of farmers and ˼ Product waste can be

traders and farmers. market traders. reused for fertilizer
˼ Platform websites. ˼ Value sharing through manufacture.
social media content. ˼ Continuous
improvement.
˼ Purchase of crops. ˼ Investors. ˼ Product sale.

˼ Operational. ˼ Grant.
˼ Platform development & maintenance.
˼ Additional costs when dealing with middlemen who
feel aggrieved.
157
West Java
Creative Economy
Development
Opportunities
158
159
Creative Economy Regulatory
Synergy Program
West Java Creative Economy Development Action Plan
West Java Province currently has the West Java Creative Economy
Development Action Plan 2021 - 2025, as stated in the West Java
Governor Regulation (Pergub) Number 44 of 2021.
This Pergub provides a clear working foundation for West Java creative
economy stakeholders in launching programs related to creative economy
development at the provincial level.
In general, this Pergub contains 3 Objectives, 4 Objective Indicators, 7

Policy Directions, 12 Strategies, 26 Programs, and 7 Priority Programs for
the creative economy of West Java which is getting stronger, integrated,
coordinated to build a creative economy that is competitive and supports
regional economic development and society.
160
West Java Creative Economy Development Goals, Targets,
and Indicators 2021-2025
1st Goal 2nd Goal 3rd Goal

Improving the Quality Building a Competitive Developing a Synergistic and Collaborative
and Quantity of West West Java Creative West Java Creative Economy Institution.
Java Creative Economy Industry Ecosystem
Actors. through the Utilization
of Technology.
Target
2021 1.000 8 5 24
2022 2.000 10 5 36
2023 2.000 10 5 36
2024 3.000 11 5 48
2025 3.000 11 2 48
Total 11.000 50 22 192

Creative economy Main activities related Creative economy Collaboration across
actors who receive to developed creative institution that was government agencies
competency-based industries. formed. related to the creative
training. economy.
161
Creative Economy Human Resource
Development Program
KREASI West Java Programs
Images: KREASI Jabar

Capacity Building
Capacity building for creative economy actors
representatives in 27 cities and regencies in West Java.
• Held since 2019
• Done in 5 batches
• Total Participants: 300 creative economy actors
Virtual Talkshow
A virtual talk show with a specific theme, such as an
architectural virtual talk show that coincides with the
100th anniversary of Gedung Sate.
• Held since 2020
• Done 6 times
National Seminar
Seminar held in the context of recovering the creative
economy during the pandemic.
• Held in 2020
• Done once
Jejak Jenama
Sharing session with creative economy actors whose
brands have been successful in the market.
• Held in 2021
• Done 11 times
• Total Participants: 30 brands
162
KreatiForum / Kreasi Bersama Komunitas (KBK)

KBK and Kreatiforum are inter-community forums in West Java. Aims for synchronization and
collaboration of creative economy development programs.
• Held since 2020
• Done 16 times
163
Wakunjar
Sharing session with experts to increase knowledge/insight about the subsectors of creativity,
business, and the creative economy.
• Held since 2020
• Done 26 times
• Program Target: 12 activities/year dan 50 participants/activities
• Total Participants: 1.717 participants, 2.033 registrants
164
Kelas Kreasi
Learning and hands-on classes with online/offline methods aim to increase product development
capacity, finance, marketing, digital, and managerial with tutorials from experts in each field.
• Held since 2020
• Done 19 times
• Program Target: 27 activities/year and 100 participants/activities
• Total Participants: 883 participants and 1.424 registrants
165
Cross-OPD Programs
DISPARBUD DISPERINDAG
Desa Wisata Pembinaan Kerajinan Jawa Barat (Dekranasda)

Development of tourism destinations through Monitoring market prices in order to support the
the development of tourism villages and activities of enterprises and consumers.
community empowerment. Objective: to assist and increase the
Objective: to encourage the creation of a effectiveness of enterprises and consumers in
tourism village that is prosperous, independent, decision making.
and with sustainable local values.
Creatism Talk
Talkshow about the creative world and West
Java tourism. DISDIK
Objective: to increase insight and knowledge
about the relationship between tourism and the Pembentukan Badan Layanan Umum Daerah
creative economy. untuk SMK.
Objectives: (1) Flexibility in the pattern of
Pasanggiri Mojang Jajaka financial management; (2) Improving the quality
Award ceremony for West Java tourism and of human resources (HR); (3) Improving the
creative economy ambassadors. quality of learning; (4) Improving the quality of
Objective: To find potential and superior human facilities and infrastructure; (5) Strengthening
resources to become the driving force for character education; (6) Increased cooperation.
the development of tourism and the creative
economy of West Java.
166
DPMD
Sakola Bisnis Desa (Sabisa)

School for BUMDes (village-owned enterprises)
human resources.
Objective: Increase the capacity of BUMDes
management.
CEO BUMDes
Regarding the Utilization of Professional
Assistance Personnel (TPP) at the Ministry of
Villages and PDTT.
Objective: Assisting the establishment of
BUMDes in villages that have not yet been
established and assisting the registration of
BUMDes as a legal entity through the Village
Information System (SID).
Patriot Desa
Assistance program in developing villages in
West Java.
Objective: Explore the potential and increase
understanding of villages in West Java to be
later supported through capacity building
programs, increasing marketing access, and
network development.
167
Creative Economy Products/Works
Development Program
Photo: Humas Jabar
Incubation Formation of borongdong.id Jenama Lokal

Incubation for the formation of a West Java West Java creative MSME packaging design
creative MSME platform with the main ASN facilitation.
market in West Java. The platform is available • Held in 2020
on desktop and playstore. • Done once
• Held since 2021 • Total Participants: 62 brands
• Done 11 times
• Total Participants: 158 creative economy
subsectors as partners (31 October 2021)
168
Cross-OPD Programs
DPMD DISKUK
Shopee Center Bimbingan Teknis Kemasan

Business activity center connected to the Packaging design assistance and training.
Shopee marketplace. Objective: Facilitate the renewal/making of
Objective: Develop a village business that can MSME product packaging designs.
compete in the Shopee marketplace.
Tokopedia Center
Business activity center connected to the
Tokopedia marketplace.
Objective: Develop a village business that can
compete in the Tokopedia marketplace.
Pusat Digital Ekonomi Desa (Talesa)

A center for village business activity and
capacity building that is connected to the digital
ecosystem.
Goal: Develop village businesses that can
compete in the digital market.
169
Creative Economy Research and
Development Program
kreasijabar.id • Held since 2019

West Java creative economy data collection • Total Participants: 702 creative economy
platform in the form of a website. actors signed (November 2021)
170
Publication
Publication of data and research related to the creative
economy in the form of books, catalogs, etc.
• Held since 2020
• KREASI West Java publications:
- PROSPEK
- Katalog Produk Ekraf
- Potensi Ekraf Jabar
- Pedoman Creative Center
Research Assistance Related to the Creative Economy

• Held since 2020
• 20.000+ data collected from Disparbud, DisKUK, and
KemenKopUKM
• Ongoing research:
- West Java Creative Economy Profile (Diskominfo)
- Creative Cities/Regencies Indicators (Disparbud)
- Design Trend Guideline (Disparbud)
- MSMEs Innovation in Pandemic (Diskuk)
171
Cross-OPD Programs
DISKOMINFO
Satu Data Jabar Kajian Profil Ekonomi Kreatif

An application for managing and sharing data Study of mapping the profile of West Java
for all regional device organizations within the creative economy business actors.
West Java Provincial Government’s internal Objectives: To find out the development of West
environment. Java creative economy enterprises actors as
Objective: To encourage the establishment of a a reference in making policies and programs
measurable and data-based system of decision following the needs of West Java creative
and policy making. economy enterprises actors.
Target: 38 OPD in the West Java Provincial
Government as active users of the West Java
Data Ecosystem
Sapawarga
Provision of services in the form of applications
for the delivery of information, channeling
aspirations and providing public services.
Objective: To build more efficient, responsive,
and transparent communications and public
services.
172
DISPARBUD DPMD
Kajian Indikator Kota Kreatif West Java Rural Platform

A study to conduct an assessment of West A digital platform containing Village MSME
Java’s creative cities/regencies indicators. products.
Objectives: To prepare a study document for Objective: Connecting the products made by
the development of the creative economy villagers with the digital market.
to support the policy direction of creative
economy development and to develop activities
to increase the capacity of West Java creative
economy actors.
173
Creative Economy Marketing Program
Teras Indonesia
• Held since 2020 • Average sales per brand:
• In partnership with Dekranasda and IKEA Rp2.440.538,- (April-May 2021)
• Total participants: 451 creative economy • Total sales:
actors and 5.462 visitors (April-August 2021) Rp39.048.600,- (April-May 2021)
174
ICALAN • Held since 2020
Inovasi Cara Penjualan is an onboarding • In partnership with borongdong.id
program for creative MSME actors to digital • Program Target: 1 activity/year and 300
platforms. participants/activity
Objectives: Opening market access, • Total Participants: 1.258 creative economy
wider financing, and data-based business actors, 4.259 member buyers, 9.127 ready
development. stock products and 4.811 sold products
175
Cross-OPD Programs
DISKUK DISPARBUD
Business Gathering and Network Development Gelar Produk Ekraf

MSME meeting with prospective offtakers. West Java curated exhibition of creative
Objective: Opening market access for MSME economy products.
products. Objective: To facilitate creative economy actors
to develop marketing products and services and
access to financing in the context of economic
recovery from the impact of the Covid-19
DPMD pandemic.
Blanjakeun.id Pekan Ekraf Jabar

Encouraging Village MSME products to enter An annual event to report on West Java
the digital platform. creative economy trends, developments and
Objective: Increase access to digital marketing opportunities.
and financing for Village MSMEs. Objective: To build a network and collaboration
of the West Java creative economy pentahelix.
176
Creative Economy Financing Program
Giving Prizes to 6 Creative Cities and Regencies

• Held in 2019
• Awarded to Subang Regency, Bogor City,
Bekasi City, Cirebon City, Tasikmalaya City,
and Purawakarta Regency
UDUNAN
Usaha Dukungan Keuangan is a financing
facilitation program for creative economy
enterprises actors.
Objective: To increase the capacity of creative
economy enterprises actors and access to
banking and non-banking financing sources.
• Held since 2020
• Program Target: 1 activity/year and 300
participants/activity
• Done 2 batches
• In 2020 (batch 1), total participants: 23
creative economy actors, 1 get investment of
total Rp50.000.000,-
• In 2021 (batch 2), total registrants: 128
registrants with proposed fund up to
Rp1.515.000.000,-
Photo: Hibrkraft
177
Cross-OPD Programs
DISPARBUD DISKUK
Tourism Collaboration Talk Bimbingan Pengembangan Akses Pembiayaan

Talkshow about cooperation in developing West (Platform Kabayan)
Java tourism destinations and marketing. Connecting MSMEs with Banking and Non-
Objective: Increase collaboration between West Banking through the KABAYAN Platform.
Java tourism stakeholders. Objective: Increase the capacity of MSME
actors and access to banking and non-banking
Matchmaking Talk financing sources. Target: 1000 SMEs
A meeting between West Java tourism and
creative economy actors and potential business
partners. DPMD
Objective: Opening market access and financing
for West Java tourism and creative economy Fasilitasi Bantuan Keuangan oleh Kemendes
actors. Direct financial assistance program for Villages.
Objective: Accelerate village development
through financial assistance directly to the
Village.
DISPERINDAG
Halal Industry Facilitation

Facilitate halal product certification for business
actors.
Goal: Strengthening the halal industry
ecosystem in West Java.
178
Creative Economy Technology and
Infrastructure Program
Photo: radarcirebon.com Photo: archdaily.com
Photo: Bekasi Creative Hub Photo: Subang Creative Hub
Creative Center Activation

• Held since 2019 Subang Regency, Indramayu Regency,
• 2 cities/regencies already in operation (Bogor Sumedang Regency, Purwakarta Regency)
City and Cirebon City) • 5 cities/regencies already have DED (Tasik
• 6 cities/regencies in the process of City, Bandung Regency. West Bandung
development (Bekasi City, Cianjur Regency, Regency, Sukabumi City, Bekasi Regency)
179
Photo: Yogie Chandra
Desa Kreatif Workshop Furniture

Empowering rural communities by introducing • Held since 2019
creative and design thinking patterns for • Total Participants: 65 active participants,
product and business development. 5 cities/regencies participants origin, 15
Objective: Encouraging the creation of furnitures target.
independent villages with creative and
innovative human resources.
180
Cross-OPD Programs
INDAG DPMD
Pasar Kreatif Development Pusat Digital Energi dan Energi Warga (Sadewa)
Development of an integration area for West Business activity center and refueling place at
Java creative economy activities. village level.
Objective: To strengthen the creative economy Objective: To provide easy access to fuel while
ecosystem in one area, starting from the providing a place to learn to do business.
production process, market access, business
development, to support for government
services.
181
Creative Economy Institutional Program
Photo: Humas Jabar
Activation of Creative Economy Institution • Tim Perintis Kab Bandung Creative Hub
12 institutions have been formed (7 • Komite Sukabumi Creative Hub
Committees, 2 Forums, 2 Communities and • Tasik Creative & Innovation Committee
1 Association) at the cities and regencies • Komite Ekonomi Kreatif & Inovasi Cianjur
levels. Six Institutions were formed after the • Komite Ekonomi Kreatif Subang
Committee at the provincial level was formed: • Forum Ekonomi Kreatif Karawang
• Komite Ekonomi Kreatif Bandung • Forum Ekonomi Kreatif Bandung Barat
• Cimahi Creative Association • Komite Ekonomi Kreatif Kuningan
• Komite Pengembangan Ekonomi Kreatif • Komite Ekonomi Kreatif & Inovasi Kab.
Majalengka Purwakarta
182
Cap Jabar
Curation of West Java’s Featured Products, a step to start a culture of appreciation for the quality of
developing reliable ideas, processes and outputs.
183
Cross-OPD Programs
DISPARBUD
Connecti:city Lomba Subsektor Ekraf

International conference on the development Competition and awards for West Java creative
of creative cities at local, national and global economy works.
levels. Objective: To facilitate creative economy actors
Objective: To build networks and collaborations in developing ideas and creativity of creative
between West Java creative cities and creative economy actors through capacity building and
cities in other areas. empowerment of creative economy actors.
Festival Film Bandung

Awards event for national films.
Objective: To facilitate the development of
the creative economy of the film subsector in
order to support ideas and creativity of creative
economy actors.
184
185
West Java
Creative Economy
Development
Recommendations
186
187
West Java Creative Economy One Data
Photo: Jabar Digital Service
188
Through inclusive, unified, and factual West Java will also soon initiate an integrated
data collection to accurately determine the platform for publishing intellectual works,
conditions and potential of the West Java particularly Copyright, with the Indonesian
creative economy, the information produced Ministry of Tourism and Creative Economy to
can be relied on in policymaking. Data encourage IPR-based financing and marketing
collection carried out synergistically will also according to the RPP UU no. 24 2019.
support the development of the creative
economy ecosystem in West Java because Specific strategies to attract more actors and/
each party has the same information. or West Java creative economy enterprises
to join kreasijabar.id and information system
KREASI currently has the kreasijabar.id collaboration with various institutions are
portal where creative economy actors and/ expected to build a robust West Java creative
or enterprises in West Java can independently economy ecosystem and compete globally.
collect data and get the latest information
related to the creative economy locally,
nationally, and globally.
Currently, creative economy actors and/or

enterprises are registered with kreasijabar.
id has 716 actors with 1,115 creative economy
products, increasing 215% throughout 2021.
In 2021, West Java will also be the first province
to be integrated with the National Logistics
Ecosystem belonging to the Director-General
of Customs and Excise. This collaboration
will facilitate more total exports for West Java
creative economy actors who have become the
highest creative economy export contributor for
Indonesia with a percentage of 31.93%.
189
West Java Creative Economy Collaborate,
Create, and Circulate Strategy
Photo: Biro Adpim Jabar
190
The West Java creative economy ecosystem, Together with IKEA Indonesia, KREASI also
mapped with One West Java Creative Economy encourages West Java creative economy
Data, needs to be activated involving all actors and/or enterprises to sell and market
creative economy stakeholders in West Java. their products with one of the world’s largest
Productive activity-oriented activation also retail brands at IKEA Kota Baru Parahyangan.
triggers an inclusive distribution of output Creative economy products from various
that can encourage the even distribution of cities/districts in West Java have at least
the benefits of West Java’s creative economy been exposed by more than 9,000 visitors to
across cities/districts within the province. the Teras Indonesia area at IKEA Kota Baru
Parahyangan and continue to increase every
Throughout 2021, KREASI has also partnered time.
with various institutions related to developing
the creative economy in West Java. KREASI Various other partnerships continue to be
initiated the collaboration of West Java established by KREASI to maximize the
creative economy actors and/or businesses potential of West Java creative economy, which
incorporated in kreasijabar.id with various is incorporated in a strong value chain to be
parties, including borongdong.id and IKEA. sustainable.
Through borongdong.id, West Java creative

economy products are supported for
onboarding and entering a broader market.
At least currently, 9,207 total products are
available, 4,930 total products are sold, and
4,288 member buyers are registered to absorb
the West Java creative economy products.
Currently, borongdong.id has also presented
nine offline spots at the West Java OPD offices
with a total available product and 39.7%
percentage of products sold.
191
West Java Creative Economy Committee in
Cities/Regencies Development
Photo: Humas Jabar
192
The presence of non-structural creative Non-structural creative economy institutions in
economy institutions that have a bargaining cities/districts must also play an active role in
position on par with the government in activating the potential of the creative economy
determining policies in the development of the ecosystem in their regions productively.
creative economy in their regions can maximize One of them is utilizing the creative hub as
the application of collaborate, commerce, an infrastructure asset to be the ‘creative
and circulate strategies in a robust creative economy value chain circulation center’ for the
economy ecosystem. community in and around the area.
Non-structural creative economy institutions A forum that can synergize all these non-
in cities/districts can encourage collaboration, structural committees or institutions is needed
form networks among local stakeholders, to build greater strength in the development
and become growth accelerators for each of the creative economy of West Java. This
sub-sector of the creative economy in cities/ forum will be used as a medium for synergizing
districts. the West Java creative economy development
program. The West Java Creative Economy
Currently, 15 non-structural creative economy Development Action Plan 2021-2025 is also
institutions at the cities/districts level have used as the primary reference for determining
been formed in West Java. The presence of the the direction of policies, programs, and
committee also continues to encourage the achievement targets.
formation of regulations related to the creative
economy in their respective regions.
193
West Java Creative Hub in Cities/Regencies
Development
Photo: archdaily.com
194
The Creative Hub/Creative Center in the cities/ Creative Center activation in cities/regencies
districts of West Java plays a role in gathering has started in Bogor and Cirebon. Creative
all the potential of the creative economy Centers in these two cities have held 27
in their respective regions to be developed activities since their launch in the first half
according to the needs of each sub-sector and of 2021. KREASI runs a furniture workshop
collectively. Creative Centers can also adapt program as part of efforts to develop Creative
the values formed in non-formal institutions, Centers in Bogor and Cirebon.
build synergies between formal and non-formal
institutions, and actively involve the community In collaboration with the British Council,
in the sustainability of formal institutions. KREASI has also held capacity-building training
for creative economy players to activate
With the right institutions and the active role of Creative Centers better.
non-structural creative economy institutions in
activating the creative economy ecosystem in In the future, structural/non-structural
their area, the Creative Center is expected to institutional incities/districts synergy with
become an aggregator of creative economic funding or business institutions is needed to
actors and/or businesses to have high activate and long-term management at the
bargaining power and competitiveness on a Creative Center. There needs to be an effort
larger industrial scale. to promote the Creative Center to West Java
creative economy stakeholders.
195
West Java Creative Cities/Regencies
Development
Photo: Humas Jabar
196
The development of ecosystems, institutions, From the results of the study of updating the
and Creative Centers in West Java cities/ creative city indicators, ten indicators for West
regencies has the ultimate goal of making the Java creative cities/regencies were determined
creative economy an inclusive source of welfare as follows:
for the people of West Java. The creative 1. Culture, Recreation & Tourism
economy is also expected to leverage regional 2. Creative Output & Employment
economic recovery affected by the Covid-19 3. Cultural Capital & Participation
pandemic. For that, we need the right creative 4. Venues, Resources & Facilities
economy policies and programs at the cities/ 5. Human Capital, Talent & Education
regencies level. 6. Government & Regulations
7. Entrepreneurship
One of the steps that have been taken 8. Technology & ICT
is a study on updating the indicators of 9. Transportation & Accessibility
creative cities in West Java by the Provincial 10. Business Activity & Economy
Government through the West Java Tourism and
Culture Department. Creative city indicators Mapping has also been carried out to determine
can be used as a basis for more appropriate the weight of the indicators in cities/regencies
policy directions to develop cities/regencies in of West Java. It is hoped that the results of the
West Java to become creative cities that answer mapping and ranking that have been carried out
problems and encourage community welfare. can encourage every stakeholder in the cities/
regencies to develop the creative economy in
their area more effectively and measurably.
197
West Java Creative Economy Development
Towards Sustainable Development
198
The International Year of the Creative Economy more resilience in facing future challenges.
for Sustainable Development 2021 is the right The ‘collaborate, create, and circulate’ strategy
momentum to encourage global recovery during in developing the West Java creative economy
this pandemic. West Java creative economy can be a good start towards implementing
is expected to play a central role in national sustainable values. Creative economy products/
economic recovery, especially for cities/ works that are created must not be easily
regencies in West Java itself. used up and continue to circulate, providing
added value in the West Java creative economy
The values of sustainable development mean ecosystem.
that all productive activities carried out to meet
the needs of the present do not interfere with In the future, the concept of sustainable
the next generation in meeting their needs development needs to be well communicated to
in the future. So it is essential to prioritize all creative economy actors/enterprises in West
inclusiveness and awareness of existing social, Java. Moreover, the creative economy towards
cultural, and environmental issues in developing sustainable development will be one of the big
the creative economy. topics in the 2022 Group of 20 (G20) High-
Level Conference (KTT), where Indonesia will
The development of creative economic actors host for the first time.
and/or enterprises that prioritize sustainable
development values is also believed to have
199
Collaboration
200
201
KREASI
West Java
Partners
2021
202
West Java Teras Indonesia Provider IKEA Art Space Activation Social Welfare
Creative Hub Leaders Art Space on Progress West Java Creative
Workshop Partner Economy Actors Research
Sustainable Economy Joint Event Jejak Jenama Joint Product Development Teras Indonesia Sponsor
Research April – May 2021 West Java - NTT BeliBali Sponsor
CSR CC Bogor & Cirebon
ICALAN Program Design Signage Sponsor UDUNAN #2 Partner Teras Indonesia Partner
CC Bogor + Cirebon Program
Digitizing Creative Kelas Kreasi UDUNAN #2 Partner Teras Indonesia Partner

Enterprises about Data Digital Program
203
Curated West
Java Creative
Economy 2021
204
205
Sagala.id
The best vegetables and fruits platform direct
from farmers.
Bandung City
Application Subsector
https://www.instagram.com/pesansagala/
Ramahteknologi.com
Website International Solution centre, building
and developing techlogy for civilization.
Purwakarta Regency
Application Subsector
https://www.instagram.com/ramahteknologi/
Tactile Pictogram
Design system for people with disabilities in
public spaces, recipient of the 1st Campaign
award for Cap Jabar: Creative Media Award 2021
Sumedang Regency
Visual Comm. Design
https://www.instagram.com/tactogram/
Kelayang
Handcrafted sustainable premium products
inspired by the beauty of Indonesian coastline.
Bandung City
Product Design Subsector
https://www.instagram.com/kelayangindonesia/
206
Tbtb Karya
A small shop that scores works and goals,
recipient of the 3rd Campaign award Cap Jabar:
Creative Media Award 2021
Bandung City
Product Design Subsector
https://www.instagram.com/tbtb.karya/
TWFT
Sustainable fashion brand creating one-of-one
products.
Bandung City
Fashion Subsector
https://www.instagram.com/t.w.f.t/
Pijak Bumi
Footwear brand with eco-friendly and ethical
development.
Bandung City
Fashion Subsector
https://www.instagram.com/pijakbumi/
Hijack Sandals
Comfortable, ergonomic, artistic, experimentar,
and contemporary sandals.
Bandung City
Fashion Subsector
https://www.instagram.com/hijacksandals/
207
PALA Nusantara
High quality with nusantara identity wooden
watches.
Bandung City
Fashion Subsector
https://www.instagram.com/palanusantara/
Batik Fractal
Social business transforming traditional art
through technology.
Bandung City
Fashion Subsector
https://www.instagram.com/batikfractal/
LQU Fesyen Eco Print

Eco-friendly, eco-printing products and
workshops.
Bogor Regency
Fashion Subsector
https://www.instagram.com/sitinurhasanah727/
Jumico Jacobs Ecoprint

Various eco-print products.
Bogor Regency
Fashion Subsector
https://www.instagram.com/jumicojacobs/
208
Godhong Asri
Various eco-print products.
Bekasi City
Fashion Subsector
https://www.instagram.com/godhong.asri/
Eggy Aditiar
Filmmaker, recipient of the 2nd Storytelling
Ciamis Regency
Film, Animation, and Video Subsector
https://www.instagram.com/eggyaditiar/
Febriandi Dimas Wara

Digital Creator, recipient of the 3rd Storytelling
Sukabumi City
https://www.instagram.com/dimas_febriand/
Wide
Studio, recipient of the 1st Journalistic Award for
Cap Jabar: Creative Media Award 2021
Bandung Barat Regency

-
209
Visual Portofolio
Photo/Videographer, recipient of the 2nd
Journalistic Award Cap Jabar: Creative Media
Award 2021

https://www.instagram.com/visualportofolio/
Nocturnal Production
Filmmaker, recipient of the 3rd Journalistic
Award Cap Jabar: Creative Media Award 2021

-
Emir Ahmad Fauzan

Producer & Director, recipient of the 2nd
Campaign award Cap Jabar: Creative Media
Award 2021
Bandung Regency
https://www.instagram.com/emirahmadf/
Komunitas Pena dan Lensa

Literature, photography, journalistic, graphic
design, and cinematography community.
Purwakarta Regency
Photography Subsector
https://www.instagram.com/komunitaspenadanlensa/
210
Trashsmith
Turning trash into cool and useful stuff.
Bandung City
Craft Subsector
https://www.instagram.com/trash.smith/
Tas Rajut Nenny Craft

Order, produce, and sell woven bag.
Bogor Regency
Craft Subsector
https://www.instagram.com/nennyiwapijabar/
Goodbelly
Plant-based meal 100% vegan for a better
lifestyle.
Bandung City
Culinary Subsector
https://www.instagram.com/goodbelly.bdg/
Surabi Gapura Kang Dyan

Surabi with various flavour.
Purwakarta Regency
Culinary Subsector
https://www.instagram.com/surabi_gapura_kang_dyan
211
Saung Eurih
Enjoying Majalengka culinary in saung.
Majalengka Regency
Culinary Subsector
https://www.instagram.com/saungeurih_real/
Sanz Snacks
Fruit chip snack and other fruit processed
products.
Indramayu Regency
Culinary Subsector
https://www.instagram.com/sanz_keripikbuah/
Urang Purwakarta
Youth media promoting everything interesting in
Purwakarta.
Purwakarta Regency
Advertisement Subsector
https://www.instagram.com/urangpurwakarta.id/
Risala Branding
Branding agency driving SME and Indonesian
brand to be the winner in its own country.
Bekasi City
Advertisement Subsector
https://www.instagram.com/risalabranding/
212
Jatiwangi Art Factory
Arts and contemporary culture community based
organization that contextualized local village
lifestyle.
Majalengka Regency
Performing Arts Subsector
https://www.instagram.com/jatiwangiartfactory/
213
Reference
214
215
Source
West Java Creative Economy Profile 2021 FGD participants.
West Java Creative City Indicators 2021 Updating Study Interview participants.
Aditia Dwiperdana, Agate.
Bima Nurin, Wanara Studio.
Bintang, Trashsmith.
Eugenio Hendro, Eugenio Hendro Design Studio.
Idhar Resmadi, Telkom University.
Ihsan, Label Associates.
Iza, Label Associates.
Rayvindira Athena, T.W.F.T..
Rhea Laras, Goodbelly.
Rinaldy, Sagala.id.
Seto Tri Mahendro, Lentera Nusantara.
216
Bibliography
West Java Governor’s Regulation 44/2021 on West Java Creative Economy Development Action Plan.
BEKRAF, 2018, OPUS Creative Economy Outlook 2019.
BEKRAF and BPS, 2017, Laporan Penyusunan PDRB Ekraf Provinsi Jawa Barat 2010-2016 Menurut
Lapangan Usaha.
BEKRAF and BPS, 2019, Infografis Sebaran Pelaku Ekonomi Kreatif.
West Java Tourism and Cultural Department Creative Economy Mapping Research Team, 2020,
Laporan Hasil Pemetaan Potensi Ekonomi Kreatif di Jawa Barat.
West Java Tourism and Cultural Department Creative City Indicators 2021 Updating Study Research
Team, 2021, Laporan Akhir Kajian Pemutakhiran Indikator Kota Kreatif Jawa Barat.
Processed West Java Creative Economy Profile Questionnaire, 2021.
Processed West Java Creative Economy Profile FGD, 2021.
Processed West Java Tourism and Cultural Department Ekraf Juara FGD, 2021.
West Java Creative Economy Subsector Actors Interview.
West Java Sustainable Creative Economy Enterprise Actors Interview.
217
218
219
220

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PROSPEK WEST JAVA

Steering Committee Harry Anugrah Mawardi

Writing Team Muhammad Ilham Kurnia Ramdhani

Research & Analytic Team Nydia Farras Tsabita Geta

Design & Production Team Vilza Rahadian Pratama

Organized and Designed by Supported by

First edition published by KREASI Jawa Barat and Copyright ©2021

WEST JAVA CREATIVE ECONOMY PROFILE 12

WEST JAVA CREATIVE ECONOMY TOWARDS SUSTAINABLE DEVELOPMENT 128

WEST JAVA CREATIVE ECONOMY DEVELOPMENT OPPORTUNITIES 158

Governor of West Java

Regional Secretary of West

Head of West Java Tourism

1. Collaborate: Encouraging collaboration As part of efforts to equalize the development

According to data from the Central Statistics Agency

To get to know more about the creative economy profile

48,9% 27,4% 21,9%

West Java Creative Economy Actors Distribution Based On Gender

West Java Creative Economy Actors Distribution Based On Education Level

12% Vocational 6,9% JHS & Equivalent 4,1% Master (S2)

Join The Community

Not Yet a Member of The Community

27,18% 26,42% 16,7%

82,6% Household 74% In Residence

17,4% Company 26% Out Residence

81,33% 1-4 People 92,9% Up to 300 Million

64,19% Serve Customers

38,21% Searching for Information

0,11% Marketing Products

0,11% Make Graphic Design

Number in percent (%) Number in percent (%)

20,31 20,52 18,45

86,24% Social Media 56% Email 80,46% Instagram 71,18% Facebook

60,5% 24,9% 12,3%

West Java Creative Economy Enterprises Distribution Based On Sales Destination

34,8% 31,4% 30,5%

34,8% Domestic, in the same city/regency 31,4% Domestic, other provinces

01 Bandung Regency 10 Karawang Regency 19 Bandung City

2. Creative Output & Employment (1,5%)

3. Cultural Capital & Participation (15%)

4. Venues, Resources & Facilities (14%)

5. Human Capital, Talent & Education (9,6%)

8. Technology & ICT (11,6%)

9. Transportation & Accessibility (7,6%)

10. Business Activity & Economy (4,6%)

01 Bandung Regency 10 Karawang Regency 19 Bandung City

Cities/Regencies Indicator Weight Range ≥ 73,72 – 78,20

Cities/Regencies Indicator Weight Range ≥ 69,22 – 73,71

Kota Bogor Kabupaten Bandung Barat Kabupaten Purwakarta

Cities/Regencies Indicator Weight Range ≥ 64,72 – 69,21

Kota Bekasi Kabupaten Kuningan

Cities/Regencies Indicator Weight Range ≥ 60,23 – 64,71

Kota Depok Kabupaten Karawang Kabupaten Subang

Cities/Regencies Indicator Weight Range ≥ 55,73 – 60,22

Culture, Recreation & Tourism 75%

Creative Output & Employment 75%

Cultural Capital & Participation 83,3%

Venues, Resources & Facilities 58,9%

Human Capital, Talent & Education 90,5%

Government & Regulations 56%

Technology & ICT 79,2%

Transportation & Accessibility 56,3%

Business Activity & Economy 55,6%

Creative Economy Subsector Developed in Bandung Regency