Creative Economy: A Feasible Development Option

10.3.2 Role of creative entrepreneursAll creative activities involve a high degree of risk. Thesuccess or failure of a creative product is difficult to predict.Artists and creators are rightly concerned with their own creationsand in an ideal environment should not be distractedwith marketing and business aspects. However, in an increasinglyflexible structure peculiar to the creative economy,independent artists and creators are becoming much moreautonomous and are compelled to deal with business aspectsin order to be able to survive from the commercial activitiesresulting from their creations. The so-called creative class orworkforce has a high level of education and the knowledgeand skills needed to make use of the most sophisticated ICTtools and the new business models (see chapter 8). In thischanging environment, the role of the intermediaries is graduallydisappearing or being replaced by that of the infomediaries,and creators are increasingly recognizing the importanceof developing creative entrepreneurial skills with a view tolink arts, creations, business and connectivity.Moreover, as the large majority of creative industriesare small, if not microenterprises, special attention should begiven to the development of SMEs, with a view to ensuringtheir survival and sustainability. These businesses, whichcharacterize most creative industries in all countries, have thecapacity to create jobs and stimulate employment andincome generation despite the market-entry barriers theyface. Therefore, it is imperative to promote cultural or creativeentrepreneurship through specific vocational-traininginitiatives. Creative practitioners can enhance their capacitiesthrough different types of training through capacitybuildingactivities such as formal professional education,informal training and specific training programmes.The main role of the creative entrepreneur should bethe search for excellence and continuous learning. The market,therefore, should provide incentives for creators to innovate,to become more creative and take pride in their work. Theyshould also be able to live from their creative work, whichrequires expertise and creative talent and should therefore besufficiently remunerative as with any other profession. Artistsand creators should be treated as professionals even if they aredreamers. The main areas in which creators should be familiarizedinclude:■■■■■■■employment, wages and working conditions, includingcontracts and regulations;financing tools and access to credit and funding for creativeor cultural projects, including new alternativeoptions for co-financing through the Internet;intellectual property rights issues, especially copyright legislationand functioning;new business models, new options for collaborative creations;how to benefit from social networks and professionalnetworks;new technologies and ICT tools for the creation, productionand distribution of creative content; including the useof free open-source software (FOSS); creative commons;andcontinuous learning in their respective fields for upgradingof know-how.10.3.3 Role of civil society and theplace of strategic alliancesAs most creative industries are fragmented, it is importantto forge strategic alliances to facilitate interactions withall stakeholders in order to overcome small-size constraints.Efforts should be made to promote dialogue, synergy,exchange of experiences, etc. Artists and creators, whetherworking independently or in creative enterprises, shouldbuild alliances and networking with the following:■■■■agents from government, both public and semi-public sectors;private-sector and profit-led enterprises and businessgroups, potential sponsors, etc.;lobbying groups, federations, professional associationsand unions; andnon-profit organizations such as foundations, NGOs andacademia.It is important to remember that every individual is aconsumer of creative products. Every day we might listen tomusic, read books and newspapers, watch television, enjoy amovie, go to the theatre, visit an art exhibition, purchase orwear fashionable clothing, etc. Networking with civil societyas a whole can be part of a marketing strategy. In a numberof countries, associations of independent producers havebeen set up for advocacy and lobbying purposes, some withpositive results.The important role played by the NGOs and foundationsengaged in the creative economy should not be overlooked.They usually have an active presence at grass-roots10Lessons learned and policy optionsCREATIVE ECONOMY REPORT 2010263