Creative Economy: A Feasible Development Option

producers; in short, the business model is turned upsidedown: in the past, the T-shirt was seen as the extra elementor souvenir of a concert whereas now it may be the majorincome stream. While this is an example of an actual situation,it does not mean that this is the necessary or generalfuture of the music industry or any other industry; it simplydemonstrates the complex and destabilizing possibilities ofICTs field of culture and the creative industries.A step-by-step exploration of the production chainreveals other areas of potential transformation. Initial conceptionis more difficult in the sense that many new digitalapplications require knowledge and access to computingresources and skills. Beyond this, however, the barriers arelow. With a simple video camera and editing software, amodest film can be produced in the home; the same appliesto most digital forms. Moreover, these “one-offs”’ can beeasily and exactly manufactured, replicated and distributed,with minimal costs, directly from the producer (without theneed for intermediaries).Perhaps the most striking example of the potential ofnew production is the development and use of free andopen-source software (FOSS). 14 Created through a processof sharing knowledge through exchanging source code —the instruction set behind a computer program — FOSSprograms are today provided and maintained by a range ofICT experts ranging from individuals to corporate giants,such as Sun Microsystems or IBM. FOSS programs can havea particular significance for developing countries as well asfor shaping our understanding of creative processes andendeavours. There is a large range of innovative FOSS softwarethat enables the owner of a basic personal computer toengage in what was, until recently, possible only with studioqualityproduction.Traditionally, distribution and exchange were specialized,expensive and exclusive services that had stronggatekeepers in the form of publishing and distribution companiesto protect profitability. As has been discussed, it istechnically possible to bypass such systems altogether, orconstruct alternative or parallel systems, or developmulti-stranded versions of the old systems. The particularresolution of this distribution issue has a profound impacton the cultural sector and the sustainability of creativeindustries. With some justification, it has been said that commercialdistribution narrows choices and focuses on thecommercial exploitation of products; the old business modelforces production in this direction. Perhaps, however, we areat a branching point where a range of distribution systemsmight be entertained as possibilities, some closer to the oldnarrow system, and some closer to the “free for all”. Withoutdoubt, the challenge for the creative economy will be toactively engage with this debate. Otherwise, the financialpower and the pressure of the risk-averse “old model” maycreate a future for creative production that is as narrow as, oreven narrower as compared with what is presently in use.Critically, the possibilities for greater engagement forthe developing world lie in there being a wider range of cultureavailable and for sale. There is a balance, however. Ifthere are no monopoly profits, then the super profits thatbuoy the creative economy will not exist. Thus, in this periodof growing consumption, a step change must be effectedto achieve some modest redistribution. Arguably, this changeis a complex cocktail of regulation and governance; it willnot be achieved by the total clampdown on piracy or via aglobal cultural commons.This raises the issue of the governance of transitionbetween the existing models. At present, countries that havepoorly developed intellectual property regimes are vulnerableto theft, not simply local theft but international theft andthen copyrighting by third parties. This is legal but immoral.One possibility, among the options available, is to incorporatetraditional cultural expressions (TCEs) under copyrightlaw, not by statute but through common practice. There havebeen a number of initiatives established to create digitalarchives of dance, music, oral narrative, etc. While these maynot have the same formal recognition as registering copyright,they are a first protective step that could be done at alow cost. Moreover, such collections would also have intrinsicvalue to both local and international communities. Whilefree for locals to use, such an archive might charge outsidersfor use, providing a form of revenue and legal protection.7Technology, connectivity and the creative economy14 UNCTAD (2004). E-commerce and Development Report 2004.CREATIVE ECONOMY REPORT 2010201