Creative and Cultural Industries

Recalibrating the Compass: New Approaches to Asia-Europe Cultural Relations summarises the insights, ideas and recommendations highlighted throughout the series and presents guidance for future work in the field of Asia-Europe cultural relations. Apart from passing on knowledge on how to navigate the current challenges of international cultural relations, this publication will provide some starting points when thinking about the roles stakeholders can play in the field of Asia-Europe cultural collaboration and possible strategies for a post-pandemic recovery.

The Taskforce identified a real risk that Ireland will emerge from COVID-19 to find its arts, culture and events sectors decimated, with some venues closed for good, many businesses folded, large numbers of skilled and talented performers and workers gone to other careers, and much of the experience and creativity of the sectors gone. It could take years to rebuild these essential sectors.

The World Cities Culture Report 2022 is a unique research project, building on the ground-breaking 2015 and 2018 Reports and created with 40 partner cities, across six continents, over two years.

The COVID-19 pandemic has encouraged discussion of the broader culture as representing, in some instances, a “global public good”, through its capacity to promote social cohesion, increase people’s resilience and connect communities to different forms of cultural expression, in addition to its commercial value.

Workers in the cultural and creative sector (CCS) are involved in a wide range of jobs and activities including advertising, gaming, newspapers and magazines, motion picture production, sound recording and music production, as well as live performance and radio/TV broadcasting. In 2015, UNESCO estimated that the cultural and creative sector worldwide generated US$2,250 billion in revenues. According to 2019 ILO estimates, there were nearly 180 million people employed in the arts, recreation and entertainment, representing 5.4 per cent share of global employment.

The cultural and creative industries (CCIs) are one of the fastest growing sectors globally. Many local governments across the world have also recognised how the CCIs can directly and indirectly contribute to place-based revitalisation efforts, helping to regenerate declining and depressed urban infrastructure, working with – rather than against – the grain of existing local heritage.

The field of economic development is at a pivotal moment. The transformative potential of the digital revolution has yet to be fulfilled and new, disruptive technologies and business models have begun to transform economies and societies at the most basic levels: how work and firms are organized, and how products and services are designed and delivered. Throughout Latin America and the Caribbean, development organizations and governments are struggling to find new ways to promote economic and social well-being.

In order to learn how a creative entrepreneurship can flourish in Latin America and the Caribbean, first it is necessary to know the talent that will develop the projects. Launching an Orange Future, you will not only get to know what the creative entrepreneurs in the region are like, you will also get to know their perceptions, failures, successes as well as the health of their entrepreneurships. This study will help you understand that those who take big risks achieve even higher rewards. Are you ready to be a creative entrepreneur?

The book, TechnoCreative Entrepreneurships Creativity and Technology: Allies or Enemies?, is a guide that focuses on demythifying that the orange economy is not linked to new technology. In general, when we think of handicrafts, we don’t think about technology, but in reality they are more allies than enemies. We will also focus on demonstrating how creativity eliminates frontiers and permeates other more traditional sectors such as health, education and Fintech.

The objective of this study, carried out by the IDB, is to promote and give visibility to one of the sectors of the creative economy with the greatest potential, not only for the entertainment and software industries, but also for others such as health and education. This study will explore how the industry is not only capable of generating wealth, but also of creating more sophisticated jobs as new technologies develop along with the creative sectors.