Journal articles: 'Cultural creative'

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Zheng, Da. "Creative Re-creation in Cultural Migration." Metacritic Journal for Comparative Studies and Theory 3, no. 1 (July 15, 2017): 26–43. http://dx.doi.org/10.24193/mjcst.2017.3.02.

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Kolotouchkina, Olga. "Creatividad y la identidad cultural urbana: Experiencias destacadas en las ciudades contemporáneas. / Creativity and urban cultural identity: Best practices in contemporary cities." Revista Internacional de Cultura Visual 5, no. 1 (July 11, 2018): 1–8. http://dx.doi.org/10.37467/gka-revvisual.v5.1524.

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This research paper is a reflection on the role of innovation and creativity in the urban landscape. Based on the analysis of the prominence of cities in the context of globalisation and the essential role of culture for urban regeneration and competitive advantage, the paper illustrates a series of innovative urban cultural practices implemented in different cities around the world. The focus on iconic architecture, the creative transformation of urban spaces as well as the hosting of mega-events reaffirm the urban cultural identity on account of new urban narratives, innovative dynamics of cultural consumption and entertainment, creative talent attraction and boost to the creative industries. In addition, those innovative practices become the catalyst for citizen engagement and activism. El artículo ofrece una reflexión sobre el papel de la innovación y la creatividad en el entorno urbano. Partiendo del análisis del protagonismo de las ciudades en el contexto de la globalización y el papel esencial de la cultura para la competitividad y la regeneración urbana, se ilustra una serie de innovadoras prácticas culturales en diferentes ciudades alrededor del mundo. La apuesta por la arquitectura icónica, la transformación creativa del espacio urbano, así como la celebración de mega-eventos culturales reafirman la identidad cultural urbana a través de la creación de nuevas narrativas urbanas, innovadoras dinámicas de ocio y consumo cultural, la atracción del talento creativo y el estímulo a las industrias creativas. Por otro lado, estas prácticas innovadoras se convierten en el catalizador del activismo y la participación ciudadana.

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Baker, Sarah, Andy Bennett, and Shane Homan. "Cultural Precincts, Creative Spaces." Space and Culture 12, no. 2 (July 22, 2008): 148–65. http://dx.doi.org/10.1177/1206331208314615.

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Matadamas Torres, Lorenzo Alejandro, Juan Regino Maldonado, Blasa Celerina Cruz Cabrera, Maricela Castillo Leal, and Veronica Hernández Mendoza. "La economía creativa en México: caso Oaxaca / The creative economy in Mexico: Oaxaca’s case." Revista Internacional de Cultura Visual 5, no. 2 (December 14, 2018): 89–99. http://dx.doi.org/10.37467/gka-revvisual.v5.1805.

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ABSTRACTSince the 2000s, in developing as well as developed countries, the subject of creative economy in economic development and growth has been relevant. In Mexico, studies in this regard are extremely important in marginalized states where creative and cultural activities contribute to regional economic development and strengthen the cultural ties and identity of indigenous peoples. The article proposes a model of creative economy for Mexico starting in Oaxaca, in addition to revealing its economic contribution to the state. First, scientific articles on creative economy published in scientific databases from 2000 to 2018 were reviewed. Next, the creative and cultural economic units, their generated jobs and their contributions to the GDP of the state production were identified.RESUMENDesde los años dos mil, en países en vías de desarrollo como desarrollados ha sido relevante el tema de economía creativa en el desarrollo y crecimiento económico. En México los estudios al respecto son de suma importancia en estados marginados donde las actividades creativas y culturales aportan al desarrollo económico regional y fortalecen el arraigo cultural e identidad de los pueblos indígenas. El artículo propone un modelo de economía creativa para México a partir del caso de Oaxaca, además de revelar su contribución económica al estado. Primero se revisaron artículos científicos sobre economía creativa publicados en bases de datos científicas de 2000 a 2018. En seguida, se identificaron las unidades económicas creativas y culturales, sus empleos generados y sus aportaciones al PIB de la producción del estado.

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홍종열. "Creative Europe and Cultural Agenda for Creative Economy." Journal of Foreign Studies ll, no. 26 (December 2013): 521–37. http://dx.doi.org/10.15755/jfs.2013..26.521.

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Pizzio, Alex, and Agnelo Rocha Nogueira Soares. "ECONOMIA CRIATIVA E GESTÃO DA CULTURA NA CIDADE DE PALMAS – TO." Revista Observatório 4, no. 3 (April 29, 2018): 1015. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n3p1015.

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O presente artigo objetiva avaliar o potencial criativo da cidade de Palmas, capital do estado do Tocantins, por meio da gestão da cultura no Município. Para tanto, realizou-se uma investigação bibliográfica e documental acerca da Economia Criativa, aproximando o arcabouço teórico à realidade da capital tocantinense. Os dados analisados revelam que a promoção da melhoria das condições de vida dos indivíduos por meio da utilização de ativos intangíveis, com destaque para a variável cultural, é uma estratégia de desenvolvimento que transcende o campo teórico e permitem identificar uma relação direta entre a adoção de políticas públicas vinculadas à Economia Criativa e a melhoria das condições de vida da população. PALAVRAS-CHAVE: cultura, desenvolvimento, economia criativa, gestão cultural. ABSTRACT This article aims to evaluate the creative potential of the city of Palmas, the capital of the state of Tocantins, through the management of the culture in the municipality. For this, a bibliographical and documentary investigation was conducted about the creative economy, bringing the theoretical framework to the reality of the capital Tocantinense. The analysed data reveals that promoting the improvement of the living conditions of individuals through the use of intangible assets, highlighting the cultural variable, it is a development strategy that transcends the theoretical field and enable it to identify a direct relationship between the adoption of public policies linked to the creative economy and the improvement of the living conditions of the population. KEYWORDS: culture, development, creative economics, cultural management. RESUMEN El presente artículo objetiva evaluar el potencial creativo de la ciudad de Palmas, capital del estado de Tocantins, por medio de la gestión de la cultura en el Municipio. Para ello, se realizó una investigación bibliográfica y documental acerca de la Economía Creativa, aproximando el marco teórico a la realidad de la capital tocantinense. Los datos analizados revelan que la promoción de la mejora de las condiciones de vida de los individuos por medio de la utilización de activos intangibles, con destaque para la variable cultural, es una estrategia de desarrollo que trasciende el campo teórico y permite identificar una relación directa entre la adopción de la adopción políticas públicas vinculadas a la economía creativa y la mejora de las condiciones de vida de la población. PALABRAS CLAVE: cultura, desarrollo, economía creativa, gestión cultural.

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Shuo, Yang, and Zhang Chao. "Creative Product Design Based on Dong Culture Creative." E3S Web of Conferences 179 (2020): 02116. http://dx.doi.org/10.1051/e3sconf/202017902116.

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The study of Dong ethnic cultural resources provides the experience basis and method path for the designing and development of cultural and creative products with Dong ethnic-cultural characteristics. In the research, first of all, the Dong culture is mainly taken as the core and the Dong cultural resources are classified. Secondly, it studies the attributes of cultural and creative products and designs and combs the cultural and creative products of Dong nationality. Furthermore, the creative product design model of Dong ethnic culture is constructed, and eye tracking technology is taken as an example to accurately extract the cultural identification characteristics of cultural materials through modern science and technology, and the specific case design is carried out. Through the excavation, arrangement, and induction of Dong ethnic cultural resources, the attributes of cultural and creative products are analyzed, and the design model is constructed to provide ideas for the design of Dong ethnic cultural and creative products, which is conducive to enhancing the value of Dong ethnic culture and cultural and creative products and provides references for the cultural development of other ethnic minorities.

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Liubarets, Vladyslava, Iryna Zinkova, Yuliia Zemlina, Ganna Voroshylova, and Anna M. Tymeychuk. "COVID-19." Linguistics and Culture Review 5, S4 (November 23, 2021): 1585–99. http://dx.doi.org/10.21744/lingcure.v5ns4.1884.

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The article identifies the challenges of the creative industries in tourism as an important phenomenon in the conditions of the urgent world issue COVID-19. The COVID-19 pandemic has been identified as a real challenge for travel companies around the world causing significant changes in the strategies for creating creative programs for the tourism industry. The analysis has been made, the issues and possibilities of introducing creative industries in tourism in the conditions of the ecological danger of COVID-19 have been determined. It is emphasized that creative tourism, as a self-sufficient product, easily changes the format and subject matter depending on the set objectives, while remaining creative in its nature and purpose. The main stakeholders of creative tourism have been identified: consumers of tourist services, tourist industry representatives (tour operators and agents, hoteliers, restaurateurs, guides, tour guides), the tourist community, local people, and commodity producers, authorities, cultural, scientific, and educational institutions. Measures to support the sphere of culture, cultural heritage protection, development of creative industries and tourism in Ukraine have been analyzed: preservation, promotion, and effective use of national cultural heritage, creation of conditions for tourist attractiveness of cultural heritage sites, support of creative industries.

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Mokhnyuk, Ruslan. "Creative Unions in the Process of Cultural Creation of Civil Society." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 42–47. http://dx.doi.org/10.32461/2226-0285.1.2021.238540.

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The purpose of the article is to analyze the factual and practical experience of creative unions of Ukraine in the context of cultural creation of civil society. Methodology. General scientific methods of analysis, synthesis, generalization, induction, deduction allow to present the material in their cultural and historical integrity, to outline the features of the functioning of creative unions and to trace their impact on the development of civil society. The study of cultural mode is based on the use of the phenomenological method. Scientific novelty is to highlight the cultural aspect of the activities of creative unions for the development of civil society. The research can be used by creative unions in planning, implementation of cultural and artistic projects, development of thematic scientific and methodological materials, as well as in reading cultural disciplines in higher education. Conclusions. Factual and practical material on the activities of creative unions in Ukraine exists in a separate, non-systematic manner. Creative unions are basically charged with a cultural approach to the search for and implementation of modern projects, which are mostly clustered in nature. The cultural mode of creative projects, combining content and form with their aesthetic and artistic reproduction of reality, value-semantic dominants, innovative discoveries, identity, are decisive in the development of civil society.

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Rodríguez-Ferrándiz, Raúl. "From Cultural Industries to Entertainment and Creative Industries. The Boundaries of the Cultural Field." Comunicar 18, no. 36 (March 1, 2011): 149–56. http://dx.doi.org/10.3916/c36-2011-03-06.

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This article analyzes the current trend towards dilution of the concept of «cultural industries» and the increasing usage of terms such as «entertainment industries», «leisure industries» or even «creative industries». We review recent specialized literature, identify overlapping between the above terms and conclude that this change is a new turning point in the concept of culture, closely associated with new spaces and times for its enjoyment, with the technological evolution of cultural products, changes in the ownership of their suppliers as well as with the shifting roles of author, actor and spectator. To understand this change, we identify and explain three factors: 1) from the strong, closed materiality and textuality of the classic cultural product to the malleability and convertibility permitted by new technologies; 2) from an essentially contemplative, reverent cultural experience to participant experimentation and play; 3) from a desire for permanence and intensity to constitutive contingency and superficiality. We conclude by suggesting wider implications that go beyond the scope of this work: the melting pot that blurs the boundaries between culture and entertainment, which undermines the autonomy of the disputed cultural «field» situated between work and leisure (more pleasant than the first, more demanding than the second), and which also erases the boundaries between cultural entertainment and work (a merged environment of «otium and negotium», «homo ludens» and «homo laborans»).El artículo analiza la tendencia actual a la dilución del concepto de «industrias culturales» en fórmulas como «industrias del ocio», «del entretenimiento» o incluso «industrias creativas». Revisamos la bibliografía reciente especializada, acotamos el alcance y los solapamientos entre los términos mencionados y argumentamos que rubrican la deriva del concepto de «cultura», íntimamente asociada a nuevos espacios y tiempos de su disfrute, a mutaciones tecnológicas de los productos culturales, a cambios en la titularidad de sus proveedores, así como de los roles de autor, actor y espectador. Para entender esta mutación recurrimos a tres factores: 1) de la materialidad y textualidad fuertes, cerradas, exentas, del producto cultural clásico a la maleabilidad y convertibilidad que permiten las nuevas tecnologías, 2) de una experiencia cultural esencialmente contemplativa y reverente a una experimentación participante, en constante circulación, mancomunada y lúdica; 3) de una aspiración a la permanencia y la hondura, a una constitutiva con tingencia y superficialidad. Finalmente apuntamos implicaciones más ambiciosas, que desbordan el alcance del trabajo: ese totum revolutum que desdibuja las fronteras entre cultivarse y entretenerse, que socava la autonomía de ese disputado tercero en discordia –llamado «cultura»– entre el trabajo y el ocio (más placentero que el primero y más trascendente y esforzado que el segundo), también alcanza a borrar los límites entre ese ocio cultural y el propio trabajo (el negocio, en definitiva).

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Pratt, Andy C. "Creative cities: the cultural industries and the creative class." Geografiska Annaler: Series B, Human Geography 90, no. 2 (June 2008): 107–17. http://dx.doi.org/10.1111/j.1468-0467.2008.00281.x.

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Miller, Toby. "FROM CREATIVE TO CULTURAL INDUSTRIES." Cultural Studies 23, no. 1 (January 2009): 88–99. http://dx.doi.org/10.1080/09502380802326660.

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Garnham, Nicholas. "From cultural to creative industries." International Journal of Cultural Policy 11, no. 1 (March 2005): 15–29. http://dx.doi.org/10.1080/10286630500067606.

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Hui, Desmond. "From cultural to creative industries." International Journal of Cultural Studies 9, no. 3 (September 2006): 317–31. http://dx.doi.org/10.1177/1367877906066878.

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Anders-Morawska, Justyna. "Cultural Ecosystem of Creative Place: Creative Class, Creative Networks and Participation in Culture." International Studies. Interdisciplinary Political and Cultural Journal 19, no. 1 (September 15, 2017): 159–73. http://dx.doi.org/10.1515/ipcj-2017-0010.

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The scope of this paper is to conceptualise a data-based research framework for the role of creative networks in cultural exchange. Participation in culture measured as audience per 1000 residents and expenditures on culture-related activities were analysed in relation to such territorial assets as accessibility to creative infrastructure, the economic status of residents, the governance networks of civil society, and cultural capital. The results indicate how accessibility, governance networks, and cultural capital contribute to participation measured via audience indicators while a low poverty rate has explanatory value with respect to expenditures on culture.

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Quispe Humpire, Edgar, and Miguel Domingo González Álvarez. "Creative incubator model as a catalyst agent to dynamize the creative ecosystem in a cultural city." Biblios: Journal of Librarianship and Information Science, no. 84 (December 15, 2022): 79–95. http://dx.doi.org/10.5195/biblios.2022.1079.

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Objetivo. Descubrir los factores más importantes que deben ser considerados al crear un modelo de incubadora creativa, con el propósito de generar valor para los artistas, las organizaciones de arte, emprendedores y empresas creativas a través de la prestación de servicios directos e indirectos, las cuales dentro del ecosistema creativo y las comunidades culturales están atenuados y en gran parte indocumentados. En este contexto el presente estudio tiene como propósito sustentar y documentar la importancia de las incubadoras creativas para acelerar el desarrollo del ecosistema creativo dentro de una ciudad cultural.Método. Se optó por una investigación cualitativa y descriptiva. Para la investigación se han seleccionado como metodología, los ciclos de planeamiento adaptativo y el diseño de la investigación acción.Conclusión. La adecuada implementación de la “incubadora creativa” puede brindar mayores oportunidades de negocios, vislumbrando una articulación con el sector privado y público, buscando integrarse con otras políticas públicas que generen desarrollo a través por ejemplo de la Agencia de Innovación y Emprendimiento de la Región. De esta forma, la academia puede contribuir a mejorar la vida de los ciudadanos, impulsando proyectos e iniciativas que redunden en la mejora de las condiciones de vida y la integración de los emprendedores creativos.

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Piqué, Jorge, and Greg Richards. "Creative districts and creative tourisme." Diálogo com a Economia Criativa 7, no. 19 (May 26, 2022): 137–45. http://dx.doi.org/10.22398/2525-2828.719137-145.

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This paper presents a conversation between Greg Richards and Jorge Piqué on the development of creative districts and their links to creative tourism. The discussion ranged from the genesis of creative districts and creative tourism to contemporary challenges of creative placemaking. It includes a consideration of the development of cultural tourism, and how creative tourism emerged as a separate field of analysis in the new Millennium. As places have sought to distinguish themselves in an increasingly competitive global market, they have turned to creativity as a source of inspiration. Tourists tired of standardised products and crowded cultural sites have sought out the more localised experiences provided by creative districts and creative tourism. Creative districts have therefore become a vital tool for placemaking, providing access to the ‘extraordinary everyday’ and generating new models of creative tourism.

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Alakwe, Kizito-Ogedi. "Defining the Cultural and Creative Industry: an Exploration of the Nigerian Cultural and Creative Ecosystem." Journal of Creative Industries and Cultural Studies 3 (2017): 14–31. http://dx.doi.org/10.56140/jocis-v3-1.

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The recency of the cultural and creative industries and the cultural diversity existing among the nations of the world have caused many societies, organisations and governments to define the industry based on the peculiarities of their specific culture and environment. Government agencies like the UK Department for Culture, Media and Sports and multilateral institutions like UNCTAD (United Nations Conference on Trade and Development) have all defined the industry by leveraging on specific criteria that they developed for that purpose. As an industry sector in Nigeria, the cultural and creative industry recently received the attention it deserves when Nollywood (the Nigerian Film Industry) was listed as a significant contributor to the economy of Nigeria, which is Africa’s largest economy. This development has made it imperative to understand the components of the cultural and creative industry in Nigeria and leverage such information to define the industry in the Nigerian context. In conclusion, this paper posits that any definition of the cultural and creative industry must incorporate four essential elements: the producers, the regulators, creative cities and clusters and those industries that offer allied support services.

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Harris, Anne, Susan Davis, Kim Snepvangers, and Leon de Bruin. "Creative Formats, Creative Futures." Departures in Critical Qualitative Research 6, no. 2 (2017): 48–61. http://dx.doi.org/10.1525/dcqr.2017.6.2.48.

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As creative economies and industries continue to impact emerging markets and cultural conversations, creative education seems no more central to these conversations than it was a decade ago. Two recent Creativity Summits marked a collaborative milestone in the global conversation about creative teaching, learning, ecologies, and partnerships, signaling a turn from nation-based approaches to more globally-networked ones. This essay and the summits offer not only an international and interdisciplinary survey of the “state of play” in creativity education, but also collaboratively-generated strategies for strengthening creative research in tertiary education contexts, teacher education, cross-sectoral partnerships, and policy directions internationally.

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Mokhnyuk, Ruslan. "Cultural practices of creative unions in the development of civil society." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 42–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239929.

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The purpose of the article is to investigate the impact of creative unions on the culture of civil society based on the cultural practices they have created. Methodology. Interdisciplinary study of the problem is based on the application of methods of analysis, synthesis, generalization, systematization in accordance with the cultural discourse. The historiographical method made it possible to critically comprehend the publications of scholars on our stated topics; the historical method made it possible to outline the origins, way of life, and transformation of creative unions in the context of the corresponding cultural environment. Scientific novelty work is to identify the civic potential of cultural practices of creative unions. Conclusions. Systematization of further activity of creative unions is represented by the following cases: content-filling - cultural mission of creative unions is aimed at forming a modern cultural space of Ukraine; thematic-ascertaining - relevance and multi-vector characterizes the themes of cultural practices, these are events of patriotic, civic, national, ecological, charitable, artistic and aesthetic orientation; formative - cultural initiatives of creative unions are represented by formative diversity: exhibitions, openings, installations, happenings, performances, plein airs, biennials, master classes, etc.; organizational and cluster - cooperation of creative unions with united territorial communities with the use of civic activism of the population for the purpose of cultural development of local territories and creation of logos by designers; art-therapeutic - we recommend directing the activity of creative unions to rehabilitation cultural practices for participants of anti-terrorist operation, environmental protection, people with special needs, victims of the COVID-19 pandemic and lockdowns; educational - in quarantine it is advisable to intensify the activities of creative unions online. This approach will make the process of cultural creation of civil society effective, involving broad sections of the population.

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li, Gang, Jiaqi Xuan, and Shaoyang Ren. "Research on Digital Cultural Creation Design of The Palace Museum from the Perspective of Symbol consumption -- A Case study of Twelve Beauties of Prince Yong." E3S Web of Conferences 236 (2021): 05019. http://dx.doi.org/10.1051/e3sconf/202123605019.

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With the development of digital technology, mobile terminals have become a new medium for museum cultural and creative products to spread the connotation of art and culture. The innovation of digital technology has caused corresponding changes in the design of cultural and creative products, and various digital cultural and creative products have been created on its basis. The emergence of digital technologies such as mobile Internet, cloud computing, AI, VR, human-computer interaction, and 5G communication technology has brought broader development prospects for digital creative design. This article studies the concepts of cultural symbols and design methods of the digital cultural and creative products of The Palace Museum to provide new ideas for the design of digital cultural and creative products of the museum. We choose Twelve Beauties of Prince Yong as an example, the first digital cultural creation product of The Palace Museum.

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Rowe, David, Greg Noble, Tony Bennett, and Michelle Kelly. "Transforming cultures? From Creative Nation to Creative Australia." Media International Australia 158, no. 1 (February 2016): 6–16. http://dx.doi.org/10.1177/1329878x16629544.

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This article introduces the Special Issue, ‘Transforming Cultures? From Creative Nation to Creative Australia’. Taking its historical reference point from the 1994 national cultural policy Creative Nation, it outlines the issue’s theoretical foundation in the field theory of Pierre Bourdieu, while also signalling field theory’s limitations in relation to transnationalism, ethnic heterogeneity and Indigeneity. This introduction addresses the specific conditions that require an approach that takes full account of the endogenous and exogenous factors influencing the constitution of culture in Australia from Creative Nation to its 2013 successor national cultural policy, Creative Australia, to the present day and beyond. Finally, the issue’s articles, which cover the broadcast media, sport, music, literature, heritage, and Indigenous art fields, are outlined, as are their contributions to advancing understanding of the key social and policy issues shaping the present conditions and future possibilities of Australian cultural fields in the process of transformation.

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Jing, Jianwan. "Nostalgia Tendency and the Purchase Intention of Cultural and Creative Products." East Asian Trade Association 4, no. 1 (June 30, 2022): 19–27. http://dx.doi.org/10.47510/jeat.2022.4.1.19.

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Purpose – The global economy is changing from material to mental and cultural consumption. Nostalgic consumption is emerging as a new consumption model for the cultural content industry. Under this background, the text studies the relationship between the consumer’s nostalgia tendency and the willingness to purchase creative products using the nostalgic consumption behavior mechanism. Design/Methodology/Approach – This study examines the effect on the intention to purchase creative products from the perspective of consumers’ nostalgia. Findings – This study provides complementary theoretical significance to the study of the nostalgic consumption behavior of cultural and creative products. At the same time, it provides practical reference significance for the future marketing strategy and development of cultural and creative industry. Research Implications – Nostalgia is a unique characteristic that consumers generally have and, at the same time, a kind of psychology that can affect the purchase of a brand phenomenon. Consumer’s emotional response that evokes nostalgia and psychology related to stimulants are attitudes toward products that evoke consumer nostalgia. Sierra and McQuitty (2007) text expressed that consumers’ tendency to evoke nostalgia is advantageous in improving their willingness to purchase creative products based on the consumption behavior mechanism that evokes nostalgia. Therefore, nostalgia should be added to products or brands in the future development of the cultural and creative industries. Products can be enriched with nostalgic elements such as the country’s cultural history, memories of homes and childhood, symbolic meaning and preferences, characteristics of the times and cultural properties.

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Kovačević, Mirjana. "Promoting cultural production in Serbia." CM: Communication and Media 15, no. 47 (2020): 137–52. http://dx.doi.org/10.5937/cm15-24181.

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The paper presents the empirical study which aims to describe problems encountered by actors in the cultural and creative industries during the realization of ideas and activities in a modern digital environment. The results pointed out a discrepancy in the use of modern technology when it comes to the creation, availability and use of products of culture and creativity, and the ways they are communicated and promoted. Highlighting the problems that this sector faces, besides the knowledge of economic gain and overflows to other areas of the economy and society, should stimulate the interest of the competent institutions and decision-makers in finding more productive support programs for Serbian cultural and creative production in the future.

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Redhead, Steve. "Creative Modernity: The New Cultural State." Media International Australia 112, no. 1 (August 2004): 9–27. http://dx.doi.org/10.1177/1329878x0411200104.

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This essay introduces two new concepts into the international debate about the theory and practice of creative industries. These concepts are ‘creative modernity’ and the ‘new cultural state’. The new cultural state has a double meaning. It refers to the new cultural condition we find ourselves in, what we call here creative modernity, and the form in which the modern state has governed, or intervened in, culture through law and other means of governance or regulation. In this process, the modern state — as it did in the United Kingdom for a while — sometimes becomes a part of the ‘cultural’ sphere through the project of creative modernity. As we see here in a rethinking of the case of the Department of Culture, Media and Sport in the British New Labour government, an experiment which is often cited approvingly in the creative industries debates around the world, creative modernity involves the social engineering of a ‘new individualism’ where citizens are remade as creative entrepreneurs. In this essay, it is argued that to move the arguments forward, the debate about creative industries should be re-situated within the wider framework of cosmopolitan sociology's analyses of modernity, the state and culture.

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Abankina, T. "Creative economy: Towards cultural heritage capitalization." Voprosy Ekonomiki, no. 4 (April 20, 2017): 100–116. http://dx.doi.org/10.32609/0042-8736-2017-4-100-116.

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The paper analyzes trends in the development of the creative economy in Russia and estimates the export potential of the Russian creative industries. The author demonstrates that modern concepts of cultural heritage preservation focus on increasing the efficiency of its use and that building creative potential and systematic support of the creative industries are becoming a key task of the strategic development of regions and municipalities in the post-industrial era.

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Carvalho, Rui, Ana Maria Ferreira, and Luís Mota Figueira. "Cultural and Creative tourism in Portugal." PASOS Revista de turismo y patrimonio cultural 14, no. 5 (2016): 1075–82. http://dx.doi.org/10.25145/j.pasos.2016.14.071.

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Stiver, Irene Pierce, Wendy Rosen, Janet Surrey, and Jean Baker Miller. "Creative Moments in Relational-Cultural Therapy." Women & Therapy 31, no. 2-4 (September 30, 2008): 7–29. http://dx.doi.org/10.1080/02703140802145631.

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Coyne, Christopher J., and Claudia R. Williamson. "Trade openness and cultural creative destruction." Journal of Entrepreneurship and Public Policy 1, no. 1 (April 20, 2012): 22–49. http://dx.doi.org/10.1108/20452101211208344.

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PurposeThis paper seeks to analyze empirically the net effect of trade openness on “economic culture”, measured by indicators of trust, respect, level of self‐determination, and obedience. Openness to international trade means that societies are more likely to be exposed to alternative attitudes, beliefs, ideas, and values leading to a Schumpeterian process of creative destruction whereby culture is destroyed on some margins and enhanced on others.Design/methodology/approachUsing data on trade openness from Quinn and Sachs and Warner, the paper empirically evaluates the impact of trade openness on economic culture. The paper's measure of culture is taken from Tabellini and Williamson and Kerekes, where data from the World Values Survey is aggregated to create a culture variable. The paper isolates the impact of trade policies on economic culture through a variety of empirical strategies including both panel and cross sectional analysis.FindingsThe central finding of the study is that a society's openness to international trade generates, on net, positive effects on economic culture. The more open a country is to trade, the more likely it is to possess culture conducive to economic interaction and entrepreneurship.Originality/valueThis paper contributes to the existing literature by studying the impact of trade openness on culture. While previous studies have asked “Does culture affect economic outcomes?”, this paper explores the answer to the related question, “How does openness to trade affect culture?”.

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Vecco, Marilena. "Creative and cultural industries and cities." International Journal of Sustainable Development 12, no. 2/3/4 (2009): 192. http://dx.doi.org/10.1504/ijsd.2009.032777.

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McGuigan, Jim. "Creative labour, cultural work and individualisation." International Journal of Cultural Policy 16, no. 3 (August 2010): 323–35. http://dx.doi.org/10.1080/10286630903029658.

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Cunningham, Stuart. "The Creative Industries after Cultural Policy." International Journal of Cultural Studies 7, no. 1 (March 2004): 105–15. http://dx.doi.org/10.1177/1367877904040924.

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Kisic, Visnja. "Cultural and creative industries in Europe." Kultura, no. 130 (2011): 199–225. http://dx.doi.org/10.5937/kultura1130199k.

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Beer, Laura E., and Jessica R. Western. "Therapists creating a cultural tapestry: Using the creative therapies across cultures." Music Therapy Perspectives 36, no. 2 (January 5, 2016): 279–80. http://dx.doi.org/10.1093/mtp/miv042.

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Maksymovska, N. O. "Management of creative technologies in the sociocultural field." Culture of Ukraine, no. 75 (March 21, 2022): 30–35. http://dx.doi.org/10.31516/2410-5325.075.04.

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The purpose of the article is to study the theoretical and practical principles of regulating creative practices and defining the conditions for implementation of culture creativity technologies in the socio-cultural field. The methodology. In this study we have applied the scientific analysis and synthesis method in order to define the culture creativity process efficiency conditions through implementation of creative practices, which may include: development of sociocultural process subjects’ ability to be creative, establishing a community-team of like-minded individuals to produce and implement creative ideas, purposeful technologization of creative activities, making up the space to realize newest creative practices and improve traditional ones. By comparing the scientific facts and the method of purposeful goal-setting it was found out that every condition provides for completing a number of tasks, namely use of interactive technologies to stimulate creative thinking of professionals and participants of socio-cultural activities; realization of functioning principles of the creative center, which generates and selects ideas for implementation of a cultural product; carrying out original space functioning for continuous communication and supporting creative atmosphere. The results. In a broad sense, culture management should ensure the dynamics of culture creativity process, in a narrow one — the efficiency of creative technology in the sociocultural field. It ensures technologization of creative practices, creates organizational and management conditions for productive interaction, which must be taken into account while realizing the creative process of culture creation. That is to say, culture management is viewed particularly as managing creativity and innovation in socio-cultural field. The scientific novelty. Culture management ensures culture creation dynamics by implementing effective mechanisms of promoting innovative practices in the socio-cultural field. Taking into account individual (creative personality), group (creative team), environmental (creative space) and activity (creative activities and interaction) aspects we determined the systematic nature of management and its viability. The practical significance. According to the results of the study, the complexity of culture creation determines the choice of non-traditional approaches for stimulation of creative thinking, group decision making and constructing culture centers. Conditions must be provided to realize creative practices as a technology and project that provides for clear planning, search and distribution of necessary resources, monitoring realization and final evaluation of efficiency.

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Wu, Yinglu. "Design of Tourism Cultural and Creative Products Based on Regional Historical and Cultural Elements." E3S Web of Conferences 251 (2021): 03004. http://dx.doi.org/10.1051/e3sconf/202125103004.

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Regional historical culture is a special cultural system gradually formed after a long period of historical accumulation, which integrates regional cultural characteristics and spiritual connotations. Tourism cultural and creative products are high value-added industries in the tourism industry, and there is a lack of regional, historical and cultural element characteristics in some designs. Incorporating historical and cultural elements into the design of cultural and creative products, combining regional tourism resources with cultural and creative design, and imparting regional era characteristics to tourism projects, can promote the development of tourism, cultural and creative design industry and tourism economy. How to use regional historical and cultural elements in the design of tourism cultural and creative products has become an important research content of tourism cultural and creative product design. In this paper, the design of tourism cultural and creative products is the research content, using field research, questionnaire survey, analytic hierarchy and other methods, based on regional historical and cultural elements, to explore the design methods of tourism cultural and creative products.

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Zanoni, Patrizia, Annelies Thoelen, and Sierk Ybema. "Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work." Organization 24, no. 3 (May 2017): 330–54. http://dx.doi.org/10.1177/1350508417690396.

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Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

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Sun, Zhudi, Diya Zhao, and Hongmiao Zhang. "The Innovative Application of Dunhuang Murals Patterns in Cultural Creation Design." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 149–62. http://dx.doi.org/10.54097/ehss.v5i.2897.

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Dunhuang murals are abundant in art. Tiger is a vital animal element. It is well represented in the design of cultural and creative products. Tiger elements on the murals not only possess the nature of the tiger totem in Chinese traditional culture but also have a profound religious connotation and convey unique artistic characteristics. The paper takes the tiger elements in part of the murals in Dunhuang as the staring poing, focuses on the cultural connotation of tiger elements in Dunhuang murals. Data collection was conducted to grasp the sales of cultural and creative products. Moreover, a questionnaire survey was made to grasp the deficiencies of cultural and creative products and consumers' opinions. Finally, suggestions for the design, marketing, and cultural re-creation of Dunhuang tiger elements were proposed as a research result. The result has contributed to enriching the research contents in the field of Dunhuang cultural creation and providing new ideas and methods for designing Dunhuang cultural creation products.

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Summatavet, Kärt, and Mervi Raudsaar. "Cultural heritage and entrepreneurship – inspiration for novel ventures creation." Journal of Enterprising Communities: People and Places in the Global Economy 9, no. 1 (March 9, 2015): 31–44. http://dx.doi.org/10.1108/jec-03-2013-0010.

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Purpose – The purpose of this paper is to study the role of networking, creating community, product development and mentoring in the experiential and entrepreneurial learning process. A close look is taken at the experiential knowledge of entrepreneurs to understand and bridge the gap between local cultures and entrepreneurial communities: how to map and implement the tacit knowledge possessed by an entrepreneur, and what sources help trainees find attractive ideas for a new venture? Design/methodology/approach – After reviewing the key literature, a phenomenological approach has been applied. Data were collected using not only semi-structured interviews but also secondary data. Findings – Creative entrepreneurs consider it important that learning materials are provided according to the learner’s specialist business idea. They need and expect multi-layered support from peers/coaches/mentors and social/local/specialist networks to test the ideas and products and services directly in the community. Originality/value – As the conventional teaching methodology is inapplicable for creative and community entrepreneurs, the key factors of their venture-creation process focus on their personal experience, skills, capabilities and motivation.

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Chen, Jui-Lung, and Yu-Chia Chen. "Response Strategies of the Creative Market Industry in the Post-Epidemic Era in Taiwan-Taking ISHANDS International Creative Market as an Example." International Journal of Business and Management 16, no. 9 (August 25, 2021): 144. http://dx.doi.org/10.5539/ijbm.v16n9p144.

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The creative market is mainly composed of small and medium-sized and micro-sized enterprises. It focuses on personal creation, as well as face-to-face sales with customers in the market. Affected by COVID-19, customers no longer go out, and markets are canceled due to crowds, which affect the business of market curators, as well as cultural and creative brands. While the epidemic is still raging, how to respond and transform has become the key to survival. This research mainly focuses on comparing and analyzing the situation in 2019 and 2020 of “ISHANDS International Creative Market”, which is a creative market regularly held, as well as seven cultural and creative brands participating in this creative market in Taiwan. Through on-site observation and in-depth interviews, it interviews with curators of the creative market and operators of market brands, analyzes the creation and development process and planning of the “ISHANDS International Creative Market”, as well as key factors for cultural and creative brands to participate in creative markets, brand entrepreneurship and development, and difficulties they face at present. It sorts out the business interactions between the creative market and cultural and creative brands through case studies, summarizes them, and analyzes various interactions with business models, so as to understand the current situation of the creative market facing COVID-19 and possible future development in response. This research finds that: (1) the success of the creative market lies in brand differentiation and persistence; (2) the brand image building of the creative market and cultural and creative brands are key factors for each other; (3) the problems faced by the creative market under the influence of COVID-19; (4) it should accelerate the marketing and application of technologies in response to COVID-19; (5) it needs to master key resources in response to the post-epidemic era; (6) it explores the future development trend of Taiwan’s creative market industry.

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Lee, Chang Bin. "Creative economies, creative cities." International Journal of Cultural Policy 17, no. 3 (June 2011): 356–57. http://dx.doi.org/10.1080/10286632.2010.531718.

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Junqueira, Luiz Daniel Muniz. "Creative Industry Production chain: Possible Connections with Creative Tourism." Revista Rosa dos Ventos - Turismo e Hospitalidade 10, no. 3 (July 9, 2018): 517–37. http://dx.doi.org/10.18226/21789061.v10i3p517.

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Istudor, Laura Gabriela. "Innovation and entrepreneurship in Romania’s cultural and creative industries." Proceedings of the International Conference on Business Excellence 12, no. 1 (May 1, 2018): 498–507. http://dx.doi.org/10.2478/picbe-2018-0045.

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Abstract The evolution of entrepreneurship in the cultural and creative sectors leads to social innovation by creating new jobs intended for the creative class and by building a long-run smart, sustainable and inclusive local development. Innovation and sustainability are concepts that can be applied to many industries, and they can involve numerous improvements related but not limited to processes, products, services, logistics. This paper supports the idea that the creative and cultural sectors can develop through innovative entrepreneurship, by introducing new methods of production, optimizing existing processes, improving the delivery methods or by developing new products or services, while also relying on the help of the government and smart organizations such as clusters. Since innovation involves improving the way of doing business, this paper will focus on identifying the available innovative methods that can be applied to the businesses activating in the cultural and creative sectors of the economy in Romania, together with the main challenges and opportunities that might arise by applying them. The perspectives of intellectual capital, creative economy and knowledge-based society in relation to the impact of innovation and entrepreneurship towards the development of the cultural and creative sectors in Romania will also be considered. The paper will also tackle a series of best practice examples of innovative businesses in the creative sectors, as well as a comparative analysis of the successfully implemented innovative ideas in this field of activity and their impact on the customer satisfaction and on the development of the local economy.

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Li, Yufen. "Refinement and Drawing Lessons from Traditional Chinese Cultural Elements for Cultural and Creative Product Design." Proceedings of Business and Economic Studies 4, no. 4 (August 27, 2021): 89–92. http://dx.doi.org/10.26689/pbes.v4i4.2391.

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Chinese culture has been continuously developing for 5000 years of historical development. Its traditional culture has had an impact on social development, and this traditional culture is rooted in the development of the society. The traditional Chinese culture also has certain significance for the design of modern cultural and creative works, which does not only inject vitality for cultural and creative products, but it also enhances the artistry of cultural and creative products. Therefore, based on this, this paper expounds the concept of traditional Chinese culture with cultural and creative products, analyzes the value of traditional culture in cultural and creative products, and explores how to refine and draw lessons from traditional Chinese cultural elements in the process of cultural and creative product design.

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Beibei, Wu. "Asian Cultural Flows: Cultural Policies, Creative Industries, and Media Consumers." Cultural Trends 30, no. 3 (May 21, 2021): 289–91. http://dx.doi.org/10.1080/09548963.2021.1931812.

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Ababneh, Mukhles Al, and Mousa Masadeh. "Creative Cultural Tourism as a New Model for Cultural Tourism." Journal of Tourism Management Research 6, no. 2 (2019): 109–18. http://dx.doi.org/10.18488/journal.31.2019.62.109.118.

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Saucedo Estrada, Hael Karina. "LA CREATIVIDAD RECURSO ECONÓMICO: COMO ESTRATEGIA DE CRECIMIENTO." Investigación & Negocios 13, no. 21 (April 30, 2020): 23. http://dx.doi.org/10.38147/invneg.v13i21.81.

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Hoy en día la Creatividad aún permanece poco visible en nuestro país y para los economistas, donde la creatividad desempeña un papel importante en el desarrollo de estrategias regional en los últimos años, mostrando una evidencia de datos. El presente artículo tiene como objetivo mostrar el valor dinámico a partir de la teoría económica de las clases creativas de Florida (2002), manifestándose a través de una revisión bibliométrica y cuatro modelos que muestran la relación entre las industrias creativas y la economía en su conjunto y descubriendo una base metodológica de este hallazgo donde los modelos 3 y 4 son los más apropiados para una política económica creativa y cultural.Palabras Claves: Creatividad, Clase Creativa, Economía Creativa, Crecimiento Económico Abstract:Today, Creativity still remains poorly visible in our country and for economists, where creativity plays an important role in the development of regional strategies in recent years, showing evidence of data. This article aims to show the dynamic value from the economic theory of the creative classes of Florida (2002), manifesting itself through a bibliometric review and four models that show the relationship between the creative industries and the economy as a whole and discovering a methodological basis for this finding where models 3 and 4 are the most appropriate for a creative and cultural economic policy.Keywords: Creativity, Creative Class, Creative Economy, Economic Growth Model

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Fitzgerald, Brian. "Creative Choices: Changes to the Creative Commons." Media International Australia 114, no. 1 (February 2005): 83–86. http://dx.doi.org/10.1177/1329878x0511400110.

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This commentary on the Creative Commons provides an overview of the background to its development and an account of the philosophy and objectives that underpin the project. It also provides an update on Australian developments in this area.

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Mačiulis, Dangiras. "Lithuania’s Cultural Policy: 1927–1940." Lithuanian Historical Studies 8, no. 1 (November 30, 2003): 123–44. http://dx.doi.org/10.30965/25386565-00801005.

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This article deals with the cultural policy of the authoritarian regime of Antanas Smetona between 1927 and 1940. Treating policy not only as a theoretical and ideological construction but also illustrating its practical implementation (regulation and control, including concrete management, the search for methods and means, the functioning of government institutions), the author investigates the government’s attempts to influence the creative sphere and to reinforce trends acceptable to the authoritarian regime; the government’s contribution to searches for national distinctiveness in Lithuanian culture and freedom of creation in an authoritarian state. It is maintained that the authoritarian regime endeavoured to control the entire life of the state, including culture. However, cultural policy as defined by specific directives was not developed. The authoritarian regime did not force artists to adhere to compulsory norms of creative activity, but internal censorship haunting artists testified to the authoritarian nature of the political regime. On the other hand, the moderate character of the authoritarian regime itself was attested by the absence of obvious imperative guidelines which could subordinate culture at any cost to the propaganda needs of the regime and fix the norms of creation compulsory for all artists.

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Sava, Diana, and Alina Badulescu. "CULTURAL EMPLOYMENT BY LEVEL OF EDUCATION." Oradea Journal of Business and Economics 2, no. 2 (September 2017): 77–84. http://dx.doi.org/10.47535/1991ojbe029.

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The sector of the creative economy brings benefits to the economy, more exactly, through the cultural sector, due to the unlimited resources needed to develop – the human resources represented by their mind or talent. The industrial development and innovation lead towards many changes in the cultural industries mostly due to the digitization effect, an irreversible change in the creation of various cultural goods and services, resulting even new cultural domains and also new regulation in the cultural field. The goods and services produced by the new cultural sector “encompass artistic, aesthetic, symbolic and spiritual values (...) their system of valorisation, which includes a characteristic irreproducible, is linked to its appreciation or pleasure” makes them different from other goods and services as Throsby mentioned (UNESCO, 2009:22). This paper aims to show some positive impacts of the creative economy, highlighting social and economic aspects, such as cultural diversity, tolerance, freedom of expression of the cultural identity and by the other hand, new jobs for artists, earnings’ increases, creative clusters, cultural employment etc. We will also show more clearly the activities and the occupations which concern the cultural employment and figures regarding cultural employment in Europe.

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Journal articles on the topic 'Cultural creative'

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