Paper

Creativity and Creative Industries

LECTURE 5

(Semester 2, 2019-20)

Starting a Creative Enterprise/

Creative Group (II)

Lecturer: Eddy Chan

Continue from Lecture 4:

Starting a ‘Creative Enterprise’/ ’Creative Group’

· To start and run a ‘creativeenterprise’/’creative group’ or creative project, planning is important for long-term development and enhancing impact. · Essential steps of the planning stage include: a) Analyzing the Environment and Context

b) Identifying the Missions or Goals of the

Creative Enterprise/Creative

Group/Creative Project

c) Determining HOW Creative Products are to be Produced

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(b) Identifying the Missions or Goals of Creative Enterprises/Creative Projects –

· Why do you start up this ‘creative enterprise’/’creative group’? Why do you start this creative project? What are your motives?

· Examples may include: ü Making money

· Social missions/goals ; Meeting specific social needs

· Spreading ideas or values 宣揚意念或價值觀 ü Promoting changes 推動變革

· Aesthetic values 美學價值

üChallenging existing rules, forms, values, or authorities ü Education

· Solving social problems 3

Missions/Goals: A rtistic- B usiness- C ommunity

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• In general, there are three kinds

of

missions/ goals

–

artistic

,

business

and

community

(

)

social

–

boundaries are

blurred and not fixed.

•

A creative enterprise/group

can have various missions/

goals but it is NOT necessary to

have all three types - there are

numerous possibilities of

combination

. Which

missions/goals are more

important for your creative

enterprise/project?

•

Your missions/goals will

influence your creative ideas

.

“

Adapted from a presentation

by Louis YU Kwok-lit

Examples of Artistic Missions/Goals

· Aesthetic

· Praising (e.g. religious purpose)

· Enriching (e.g. expressing artist’s feelings, viewpoints and sentiments)

· Challenging

· Questioning and challenging the existing rules, forms and practices of the relevant arts field

· Questioning and challenging the By Andy Warhol existing rules and values of the society

“ Adapted from a presentation by the Swiss Arts Council Pro 5

Helvetia “Functions of the Arts:

Examples of

Community/Social Missions/Goals

· Solving or addressing particular social problems

· Speaking for or helping a particular community

(usually underprivileged or minorities)

· Helping the “powerless” to gain power, the “unseen minorities” (or common people) to be seen

· Preserving local heritage and traditions (usually those being threatened by globalization, commercialization or authorities)

· Advocating or supporting particular social values or behaviour (usually alternatives)

· Promoting political or social change

TO MAKE A CHANGE IN THE SOCIETY

Case Study : JR - “Could art change the world?”

TED Talk by JR: “Use art to turn the world inside out ”

http://www.ted.com/ta lks/jr_s_ted_prize_wish _use_art_to_turn_the_w orld_inside_out/

Check out his website: http://www.jr-art.net

Case Studies - Kevin Cheung 張瑋晉 (Upcycling designer)

Check the website of Kevin Cheung: http://www.kevin-cheung.com/

Watch an interview:

https://youtu.be/DGWyAKqF-lY

Case Studies - “Every Life is a Song” (Music-related social enterprise with social missions)

Check the FB page of the social enterprise

“Every Life is a Song” (一個人一首歌) https://www.facebook.com/EveryLifeIsASong/

Project in 2018/19:

https://www.lcsd.gov.hk/CE/CulturalService/ab/en/ge ap1819.php

https://www.taikwun.hk/en/programme/detail/tai-kwun-x-every-life-is-a-song-timewill-tell-we-will-sing-sharing-and-storytelling-session/229

Every life deserves a song of their own. With this belief, singer-songwriter Vicky Fung and lyricist Chow Yu Fai launched the social enterprise “Every Life Is A Song” (“ELIAS”) to make songs about the lives of different communities, hoping that eventually the songs will accumulate into a catalogue charting the history of our city.

This first project, co-presented by “ELIAS” and TAI KWUN, aims to offer an opportunity for younger generations to experience an organic approach to music-making music while revisiting the values behind Tai Kwun’s revitalisation. To this end, 36 participants passionate about music, words, and visual art were recruited to step into the city to explore the stories of our community and to make songs about them.

Creative activities that empower the underprivileged:

“Hand in Hand Capable Theatre”

IncluDrama Project http://nonsensemakers.com/無障礙劇團/

Trailer of a documentary “Light Up” (《燈亮時》) about this IncluDrama project: https://youtu.be/5Sps7Q-PikQ

http://hk.hkidff.com/

http://www.aih.org.hk/

Centre for Community Culture

Development http://www.cccd.hk

Watch the video: https://youtu.be/jcQpFSwF64A

Their Vision and Mission They believe …

1.in “Community Arts / Peoples’ Culture”. Everyone can enjoy art as an active creator and audience.

2. in “Arts Empowerment” of individuals and community towards personal and societal growth and social solidarity. Everyone can voice out and express oneself through different art forms such as visual art, music, dance, drama.

3.artistic expression can help to embrace social inclusion

4.arts therapy facilitates self-understanding, encourages the utilization of inner resources, and promotes individuals’ well-being, fosters strong mutual trust and support among communities, which can generate positive structural changes in society.

(c) Determining How Creative Products are to be Produced

What are “creative products”?

Øany result of the creative act – e.g. a performance, an art piece, a record, a book, a TV program, a movie, a mobile app, etc.

· what the consumer buy is a set of benefits - real or imaginary (symbolic meanings)

· not just functional needs – consumers gain identity, meaning, pleasure and knowledge through consumption of creative products

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According to UK’s National Endowment for the Sciences, Technology and the Arts (NESTA), creative industries can be divided into four different styles or ways of pursuing creativity (i.e. asks how creative products are to be produced):

1.Creative Originals Producers

· anyone who creates, makes or trades in original, rare and unique objects. They typically include crafts makers, visual artists, designer-makers (independent designers who also outsource the manufacturing in small scale, e.g. some fashion designers)

· small-scale productions, one-offs or limited production runs

Davies and Sightorsson (2013) 125-137

2. Creative Content Producers

· makers of content for various media, including people working in film, broadcast, publishing, recorded music, and interactive media (games, mobile apps, online media)

· enterprises that make creative content produce intellectual property (知識產權) – protected by copyright and distributed on a large scale to massaudience

· creative content producers invest capital upfront in order to develop creative projects prior to any revenues

Davies and Sightorsson (2013) 125-137

3. Creative Experience Providers – people who create experiences include performing artists (actors, dancers, musicians) and anyone working in spaces that offer particular experiences (museums, galleries, music venues, theme parks)

4. Creative Service Providers

· they devote their time and intellectual property to other businesses and organizations

· including advertising agencies, architecture practices, design agencies, interactive agencies, etc.

Davies and Sightorsson (2013) 125-137

(c) Determining How Creative Products are to be Produced

(c) Determining How Creative Products are to be Produced

(c) Determining How Creative Products are to be Produced

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References

This set of lecture notes include quotation and summary of ideas from:

•Bilton, C. (2007). Management and creativity: From creative industries to creative management. Malden, MA: Blackwell Pub. P.138-158

•Caves, R. E. (2000). Creative industries: Contracts between art and commerce. Cambridge, Mass: Harvard University Press.

•Davies, R., & Sigthorsson, G. (2013). Introducing the creative industries: From theory to practice. London: SAGE. pp.1-8, 45-46, 70-72, 84-85, 125-137

•Cunningham S. “Creative Enterprises” in Hartley, J. ed. (2005). Creative industries. Malden, MA: Blackwell Pub. (p.282-298)

•De Jong, W., Knudsen, E., Rothwell, J. (2012) Creative documentary :theory and practice Harlow, U.K. : Pearson (p.19-28)

•Haseman B. “Creative Practices” in Hartley, J. ed. (2005). Creative industries. Malden, MA: Blackwell Pub. (p.158-176)

•Towse R. (2003) “Cultural Industries” in Towse R. ed. A Handbook of Cultural Economics. Northhamptonn MA: Edward Elgar Publishing (p.170-176)

•“‘Functions’ of the Arts” adapted from a presentation by the Swiss Arts Council Pro Helvetia

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