Managing Creative Enterprises - Coursework Example

Managing Creative Enterprises Author’s Name Institutional Affiliation Instructor Date Introduction Creative enterprises, sometimes called cultural industries, refer to various economic activities whose primary concern is exploiting or developing knowledge and information. Creative enterprises comprise a very large number of activities which involve a great deal of imagination and creativity on the part of the people who are engaged in them (Howkins, 2001, p. 44). Such activities include fashion, music, performing art, and software development, among others. However, it is important to note that experts have not yet determined exactly which activities fit into the description creative enterprises. The uncertainty as to what activities are to be classified under creative enterprises has led to different scholars having different definitions of the term creative enterprises (Hesmondhalgh, 2007, p. 29). Creative industries have gained more prominence in the world generally and Australia in particular for the economic wellbeing of the populace. The proponents of creative industries opine that creativity and innovation in the generation of knowledge are going to be the driving forces behind such industries in the twenty-first century. This essay examines the challenges and opportunities for creative enterprises operating within Australia and discusses how these compare with global trends. Discussion History of Creative Arts in Australia Before Australia was established as a nation, it was home to settlers. Following the famous First Fleet, people from almost every corner of the earth have considered Australia their home. The many immigrants have diversified and enriched the cultural, civic, and political aspects of Australian society (Mullins, 2009, p. 101). The new arrivals have led to developments in food, language, music, cultural expectations, and international links as well as business opportunities. The new arrivals bring to Australia stories of determination, hope, courage, and success, all of which have shaped the direction taken by the country in terms of development. The generosity and energy of the immigrants have deepened the cultural heritage. Experts have noted that each and every point in the development of the national identity of Australia has obtained meaning through works of art, imagination, and creativity (Knights, Willmott, & Brewis, 2012, p. 67). These take the form of painters creating beauty through rock wall paintings; authors writing plays, poems, and books; performers and musicians creating musical expressions; and architects and builders using inspiration for construction. The works of art lay the basis for the future and also show the genius that is in the artists (Mullins, 2009, p. 79). Australian creative industries originated in the 1990s with the establishment of the Creative Nation cultural policy, which also serves as an economic policy. The cultural policy states that culture leads to the creation of wealth and adds value. Culture is likewise very important in spurring innovation. Creativity therefore forms a central part of the industry in Australia (Knights & Willmott, 2007, p. 41). Proponents argue that the level of creativity determines, to a large extent, the ability of Australians to adapt to new ways of carrying out economic activities. Australia therefore considers the products of creative industries to be valuable exports in their own right as well as important components of all Australian exports. The Creative Nation policy aims at ensuring that culture is mainstreamed and thus is central throughout the entire government (Serle & Serle, 2007, p.41). The government of Australia feels that there is a need for renewed attention on areas of culture as a result of changes in technology and the effects of globalisation. The need for change is informed by the need to make sure that every Australian gets an opportunity to experience culture in various capacities including as a creator or an audience member. Research conducted in the year 2010 by the Australia Council led to a revelation that at least 92% of Australians participate directly in theatre, dance, literature, visual arts, and music. The study also found that almost half of the population of the country participated in some form of creative activity (Martin & Fellenz, 2010, p.44). The government must sufficiently support artists as individuals and institutions as well as small and medium enterprises so as to ensure that they thrive. This assurance will result in a full recognition of the extent that cultural solutions could provide answers to many ills that afflict the society. The need also exists for advocating the great value of arts in shaping the national identity as well as forging and communicating the Australian culture not only at home but around the world through cultural diplomacy and trade overseas (Mullins, 2009, p. 69). Importance of Creative Arts in Australia Civilisations try hard to express their uniqueness and bring about beauty and meaning by applying imagination, art, and creativity. The government should play its role in ensuring that products of culture are created. The population of modern Australia is a clear indicator of how diverse the country is. About one in every four Australians was not born in the country, and census reports have indicated that more than 300 languages are spoken in Australia (Martin & Fellenz, 2010). The population of Australia is composed of a majority of young people who happen to be very well educated. Sarwal and Sarwal (2009, p. 91) are of the opinion that the hybrid nature of the culture of Australia has continued to thrive. The Australian society is still cohesive, despite earlier fears that the introduction of foreign culture on a large scale would overwhelm the existing culture. International covenants have recognised cultural rights. In addition, the support for art both in private and in public has diversified. Cultural goods and services have increased in importance. The administrative authorities have developed plans to have the Australian school curriculum include arts education and also introduce students to cultural exchange programs. The government of Australia has expanded on its initial cultural policy. This action is in line with governments’ practice of harnessing the power of the information economy. Governments have focused on creative industries, which are sources of innovation, to contribute to encouraging economic growth and creating employment. This emphasis reveals that the arts are seen to play a vital role in the sphere of economic activity, which is highly dynamic. It is therefore important to foster creativity and thus ensure major gains in the information and knowledge economies. Such gains can be attained only through encouraging innovation and embracing new technologies (Mullins, 2009, p. 52). Australian creative industries attract tourism as well as students and thus are indispensable in the quest for Australia’s economic success. The importance of the creative industries in Australia can be seen from the fact that there is a ministry which is charged with promoting works of art. In 2009, the Australian Arts Minister released a national cultural policy for the coming ten years, known as Creative Australia (Kean, 2010, p.60). The policy is aimed at ensuring job creation, at bringing about excellence, and also at ensuring that the uniqueness of Australia can be seen in the way its stories are presented. According to the Arts Minister, culture is expressed through how people relate, their chosen forms of entertainment, and how they live and speak, among others (Alomes, 2009, p. 76). The cultural expression of people enables individuals to express themselves, and it is through such expressions that perceptions are challenged and people are able to see the world from other people’s perspectives. It is therefore rewarding socially to invest in cultural sectors since it is through such initiatives that values of openness, inclusiveness, and democratic practice are strengthened. Promoting Australian culture to a great extent defines Australians and the unique identity of Australia. Australia boasts one of the oldest cultures existing on earth today. The country also welcomes people from diverse places on the planet (Mullins, 2009, p. 56). According to Martin and Fellenz (2010, p. 117), Australia has realised that investing in arts and artists to develop a rich cultural life translates into economic growth. Nations which are more creative also happen to be more productive. Australia sees its creative capacity as being central in ensuring that the productive capability of Australia reaches new heights (Knights & Willmott, 2007, p. 66). The government has therefore discovered the need to ensure that its artistic and cultural heritages are strengthened while creative talent remains central in innovation, the development of technology, and the growth of the national economy. The government of Australia has come up with various areas which could play an important role in job creation and hence prosperity. The government plans to promote a culture of innovation, to increase skills, and to increase investments in infrastructure (Hesmondhalgh, 2007, p.71). The estimates of Australian employment within the various categories of the creative industries for the year 2001 show that such industries are indispensable in the country’s economic development (Howkins, 2001, p.49). It is apparent that creative industries offer employment to about half of the total Australian workforce (Alomes, 2009, p. 71). Statistics also indicate that creative industries make a major contribution to the income of the employees which also translates to economic prosperity for the federation. Creative industries have grown almost exponentially from the mid-1990s to the present (Bianchini & Landry, 2005, p.96). Knights, Willmott and Brewis (2012, p. 61) noted that, in Australia, the places where people come from as well as the landscape are very important in determining the cultural identity of people. An example can be given with respect to the Aborigines and Torres Strait Islanders whose cultures have been largely dependent on the physical environment. These cultures have inspired Australia and led the Australian government to go beyond the requirements by the United Nations Convention on the Protection and Promotion of the Diversity of Cultural Expression to ensure that citizens are able to express their cultures (Bianchini & Landry, 2005, p.103). The government also tries to guarantee that every Australian has an environment where they can enjoy, be inspired by, and advance their culture. Governments are taking culture more seriously than in centuries past. This renewed interest is not just informed by economics. Governments are coming to the realisation that a culture which is strong, inclusive, and creative results in stronger values and is thus a vital component in ensuring that a country is able to take charge of its destiny and become productive (Sarwal & Sarwal, 2009, p. 30). The world has been through challenges brought about by the financial crisis and the outcomes of globalisation as well as changes in technology and climate. As such, governments are looking for ways to support the diversity in their societies and also appear as harmonious abroad. Therefore many governments are on a quest to use culture as a catalyst to bring about creativity and innovation. Opportunities for Creative Enterprises in Australia In Australia, the sectors for the creative industries include: Advertising, Marketing, and Graphic Design; Architecture, Visual Arts, and Design; Film, Entertainment Software, and Television; Music Composition and Publishing; Writing, Publishing, and Print Media; and Performing Arts. Creative industries could also be classified into three categories referred to as the Creative Trident. In 2009, the United Nations Educational, Scientific and Cultural Organization adopted an international framework of “cultural domains.” The framework is not only useful but also inclusive in measuring and benchmarking the achievements by Australians in implementing its policy. The domains are meant to remove barriers which are thought to exist between historical and modern practices (Martin & Fellenz, 2010, p. 73). According to Serle and Serle (2007, p. 63), the Creative Australia policy covers a number of domains which include: language and culture; design, music, screen art, writing, and publishing; and visual arts and crafts including those of the Aborigines and Torres Strait Islander people. Every domain is based on areas of activity which are common, creative practices that include stories which are passed from one generation to the next, and also work which is recreated as a response to the environment, history, and interaction with nature. These provide some sense of continuity and identity. In every domain, creative art holds intrinsic value as a result of being produced by a genius and thus original and beautiful. Such works have not only economic value but also institutional value. They play a very important role in social cohesion and education. Australia’s first national cultural policy entitled Creative Nation was developed in 1994 (Alomes, 2009, p.113). This policy argued that government ought to ensure that culture is placed on the political agenda and also recognise that it has a natural place in the minds of every Australian citizen (Bianchini & Landry, 2005, p. 101). The government also saw a need to broaden the definition of the arts and thus recognise the important role that arts play in both social and economic life. This encourages people to venture into arts and thus create more opportunities. People who would otherwise shun activities get an extra motivating factor to dedicate time and resources to such endeavours. In 2009, Arts Minister Hon Simon Crean announced that there would be a Creative Australia Artists Grants program (Martin & Fellenz, 2010, p.77). This initiative by the Australian government is meant to aid artists in their creations either individually, in groups, or through various institutions. The grant, intended to benefit both established and emerging artists, is meant to last for a duration of five years at a total cost of $10 million. The grants provide a very good opportunity especially for upcoming artists to hone their skills and have means to earn a livelihood. The money shall be expended in different categories, including new work, presentations, and fellowships. For new works of art in literature, music, performing arts, and media, cash advances shall be up to $80,000. Established artists are entitled to $100,000 for fellowships, while young and emerging artists can get $60,000. For presentations, the amount of grants has been set to be about $50,000 (Mullins, 2009, p.84). This has ensured that lack of finances does not therefore amount to hindrance of pursuing one's interest in any field in the creative industries.. In addition to the grants provided by the government, educational institutions in Australia are placing a huge emphasis on teaching of arts in school. In New South Wales, there is a program known as The Artist in Schools (Martin & Fellenz, 2010, p.79). The program is meant to give young people an opportunity to mingle with professional artists in various fields such as music, dance, and digital media, among other areas. Other institutions of higher learning such as Victoria University have come up with a number of courses such as the bachelor of creative arts industries (Hesmondhalgh, 2007, p.62). This course leads to specialisation in various areas of creative industries. A person undertaking this course would specialise in performance studies, visual studies, digital media, music, or even creative writing Therefore, there are safety measures which ensure success of people whose primary goal is to be engaged in the areas covered. Similarly, the government has developed diverse measures which are meant to promote the development of the creative industries. One of the measures is the Strategic Digital Industry Plan, which was unveiled in August 2009 by the Arts Minister (Martin & Fellenz, 2010, p.80). This plan recognises that creative industries make a very significant contribution to the country. The University of Technology also launched a Creative Industries Innovation Centre, which is hosted by the University of Technology Sydney (Alomes, 2009, p.105). This is meant to provide emerging creative businesses across Australia with access to the best business advisory and development network. All the measures undertaken by various institutions with a lot of input of the government ensure that creative industries continue to thrive in spite of the fact that finances might have prevented the same. Involvement of the government has also ensured the realization by many people that these areas are taken very seriously even by the authorities. Challenges for Creative Enterprises in Australia Despite the major strides made in Australia in the field of creative enterprises, there is still the challenge of insufficient political recognition of the social, cultural, and economic benefits that result from arts and creativity. This failure to fully recognise such benefits can be traced partially to the fact that it is difficult to harness the enormous potential in the cultural sector (Serle & Serle, 2007, p. 107). Those who wield political power may also fear the capacity of cultural activities to be innovative, inspiring, and provocative. Another weakness is that there is a lack of data that is sufficiently strong, comprehensive, and comparable or generalisable with regard to the sector and its economic and public value (NSW 2000). The success of the creative industries in Australia depends on the availability and coordination of a number of resources. There is a need for an enormous resource mobilisation. Difficulties with finances negatively affect many people who are talented and more than willing to take part in the creative industries. The lack of funds has led also led to a number of projects stalling or even being abandoned, which does not augur well with the creative industries (Howkins, 2001, p.16). The public is always resistant to change, and many find it difficult to welcome divergent ways of thinking and acting. The government is also fearful of change at times when such change might not translate into political mileage for the government of the day. When faced with the creative industries, people tend to be sceptical and frustrated before finally embracing a new concept or process (Kean, 2010, p. 60). Many people are resistant to change, especially with respect to the education system; thus, such people tend to be more conservative and slow to accept change (Mullins, 2009, p.61). The divergent paths which have characterised creative industries have led to different ways of thinking, culminating in uncertainty. This uncertainty has translated into incessant debates regarding the development of human capital (Kean, 2010, p. 60). People appear unable to agree about issues of commercialisation and effectiveness of public programs. Challenges likewise arise out of the emphasis on collaboration between various disciplines. Many people are not willing to engage with others from different faculties in other schools, and these old ways of thinking and performing pose a great challenge to the development of creative industries (Mullins, 2009, p.63). Yet another difficulty is that people who are engaged in creative industries like to retain their autonomy. As a result, the individual components of the creative industry are disjointed, and they set individual goals. The failure to see the bigger picture results in disorganisation and unhealthy competition. In turn, the industry experiences an unfortunate situation whereby everyone lags behind as they are not able to reap the benefits of networking across the various disciplines. There is a lack of creating space as well as thinking space. It is important for learners that they are put in the space which is best for their learning (Kean, 2010, p. 60). Although Australia faces significant challenges regarding cultural enterprises, the government can play an active role in overcoming these difficulties. It is therefore important that the government puts in place policy as well as legal and fiscal measures which are friendly to cultural activities. The government must also promote excellence and participation while encouraging citizens to take creative risks and explore. The government should recognise diversity in all its forms and manifestations and endorse freedom of expression. For Creative Australia as a policy to take root in Australia, there should be partnerships from various agencies. All the relevant stakeholders also need to play their respective roles in ensuring that the ideal is reached. Therefore, leaders should seek participation of educational institutions, philanthropists, territory and local governments, state governments, and the community (Bianchini & Landry, 2005, p. 80). The role of the Australian government in cultural support is largely to be seen in the major cultural organisations where it provides funding. The government of Australia funds many institutions including the Australian Broadcasting Corporation, the Australia Council, museums, and national galleries. The organisations that are funded by the government play a primary role in the preservation and advancement of the cultural heritage of Australia. They make cultural information available to the public and also create opportunities to interpret and develop new cultural products. The cultural policy for Australia has a number of goals. It aims at celebrating the culture of Australia which is inclusive, strong, and creative. Therefore, it recognises the important role that arts and culture play in the life of Australians. There is also recognition of the fact that creativity is very important in the social and economic success of Australia. This is premised on the idea that a nation can be productive only if it is also creative. The Creative Australia policy was developed during a period whereby changes in technology have affected every facet of creative and artistic behaviour. The policy has been premised on strategies by the government which have proved to be very successful over forty years (Martin & Fellenz, 2010, p.93). The policy, which has led to increased confidence in heritage, arts, and creative industries, was developed following consultation with the society which it is intended to serve. Importantly, the policy is premised on five important goals which are futuristic in nature and intended to be achieved in the long run. Comparison with Global Trends Australia has performed well in global rankings with respect to creative industries. However, it is important to note that there is still a lot of room for improvement. A good example can be drawn from statistics based on the Australian state of New South Wales with respect to its principal city, Sydney (NSW, 2000). The state of New South Wales has formed a taskforce on creative industries which has set targets that should be attained by the year 2021. Their vision highlights the vital role that global branding plays in the development of creative industries (Martin & Fellenz, 2010, p.95). Based on the Global Power City Index generated by the Mori Foundation, Sydney was ranked at position 11 in the world in the year 2011. The Global Power City Index is an annual report which ranks cities according to their ability to “attract creative people and excellent companies from around the world amidst accelerated interurban competition” (NSW, 2000). Another survey, the AT Kearney Global City Index, produced biannually, ranked Sydney as 12th in the year 2012. The Kearney Global City Index measures a city’s competitiveness and global engagement in five dimensions and takes 25 metrics with regard to human capital, business activity, cultural experience, information exchange, and political engagement (NSW, 2000). Yet another study, the Global Creativity Index, ranked Australia as position five in the world. The Global Creativity Index assesses prospects for sustainable prosperity based on research on 82 nations. Despite the high rankings globally, there is still room and need for improvement. In particular, the government must work to ensure that all major Australian cities achieve a higher world status. The dynamics in creative industries mean that a given country could be caught flat-footed if measures are not put in place to ensure continued improvements. Conclusion The government of Australia has put in place foundations which provide for the launching of the national cultural policy. The success of the policy is based on major reforms in the education system as well as various other sectors. The decision to reform the education system follows an agreement by the state governments and the Commonwealth to develop a national curriculum which is meant to ensure that students develop creativity by being exposed to dance, drama, media arts, music, and visual arts. Australia has made major strides in the recognition of culture and its central role in creative industries. The government of Australia has come to the realisation that the only sure way to development is through the support of creativity and harmony in diversity. Australia therefore emerges very strongly on the global scene with regard to creative industries, which is mostly attributable to deliberate efforts by the government. References Alomes, S. (2009). When London calls: The expatriation of Australian creative artists to Britain. Cambridge: Cambridge Univ. Press. Bianchini, F., & Landry, C. (2005). 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New Delhi: SSS Publications. Serle, G., & Serle, G. (2007). The creative spirit in Australia: A cultural history. Richmond, Vic: W. Heinemann Australia. Read More