A Profiling Study of the Creative Industry Artists of Baguio City, the First Creative City in the Philippines Renen Szilardo C
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Journal of Economics, Management & Agricultural Development Vol. 6 No. 1 A Profiling Study of the Creative Industry Artists of Baguio City, the First Creative City in the Philippines Renen Szilardo C. de Guzman1 ABSTRACT Research among 56 creative industries' artists was conducted to serve as a foundation in creating and implementing plans for Baguio Creative City. This study evaluated artists' creative and business dimensions to determine the experiences and challenges they encounter. Generally, artists participate in the creative economy where the art market thrives. Artists, who do not consider themselves good businessmen, encountered typical enterprises' challenges: finding customers, marketing products, managing finances, and operations. Their most pressing concerns were limited government support and lack of creative spaces. There is a need to develop the creative and entrepreneurial skills among artists and the city’s infrastructure. It is recommended that the local government establish creative spaces to showcase artists’ works and performances while serving as a marketplace. Formal registration of artists is advised to professionalize their roles and achieve better representation in public policy together with private interest groups, universities, and the government. Keywords: creative industry, enterprise profiling, creative economy, creative cities, creative profiling Introduction In 2017, the city of Baguio was music (19%), design (16%), literature (16%), inducted to the Creative Cities Network, a gastronomy (15%), film (7%), and media arts membership of cities with industries fueled (7%). Baguio City was declared as a creative and driven by creativity together with 64 new city under the crafts and folk arts discipline. cities from 44 countries (Baguio Tourism and Creative Industries, Creative Economies, Special Events Office [BTSEO] n.d.). This network, under the United Nations and Creative Cities Educational, Scientific, and Cultural Even before UNESCO had Organization (UNESCO), aims to develop established the Creative Cities Network, the harmonious collaboration with and among concepts of the creative industry and creative cities that consider creativity and innovation economy were already being utilized among as an essential and critical element towards various literature and local governments. sustainable and inclusive urban development These terms emerged from the strategic (Creative Cities Network n.d). opportunity to look at culture and creativity Creative cities were formally not only as a cluster in the economy but also institutionalized in 2004 by UNESCO as a driver of growth. through the Creative Cities Network. Since Author’s Information then, the network has been growing (see 1Assistant Professor, Department of Figure 1). As of 2019, a total of 264 creative Agribusiness Management and cities among seven creative fields have been Entrepreneurship, College of Economics and recognized (UNESCO 2018, Ramirez 2018). Management (CEM), University of the Philippines Los Baños (UPLB) The entire network is composed of cities [email protected] belonging to the crafts and folk arts (20%), Copyright © 2020, the Authors. This is an open access article distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareALike 4.0 License (https://creativecommons.org /licenses/by-nc-sa/4.0/) which permits non-commercial use, reproDuction anD Distribution of the work without further permission proviDeD the original work is attributeD. 34 de Guzman 250 200 150 100 50 Number of CitiesNumber Inducted of 0 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 Year Declared Crafts and Folk Art Music Design Literature Gastronomy Film Media Arts Figure 1. Creative cities census per creative field (2004-2019) as published by UNESCO The earliest attribution of the creative sector can be traced back to 1948 when Adorno and Horkheimer coined the term cultural industries which pertain to entities that create, reproduce, and distribute work related to culture (Section for the Diversity of Cultural Expressions n.d., United Nations Development Programme [UNDP] 2013). These are industries involved in the production and consumption of value offerings with either symbolic or expressive elements (UNDP 2013) which are related to heritage and tradition (Culture Partnership Australia n.d.). The term creative industries, on the other hand, was formally defined by United Kingdom’s Department for Culture, Media, and Sports (DCMS) in 1998 as “industries which have their origin in individual creativity, skill, and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property” (DCMS 2001, BOP Consulting 2010, Villar 2010). In a nutshell, businesses that are rooted in creativity as its core are considered creative industries (Parrish n.d.). While cultural industries are heritage and tradition related, creative industries further widen the scope into covering applications of arts and creative disciplines which include innovation (Culture Partnership Australia n.d.). Creative industries encompass but are not limited to the following fields: advertising, architecture, arts and crafts, design, fashion, film, video, photography, music, performing arts, publishing, research and development, software, computer games, electronic publishing, and TV and radio (United Nations Conference on Trade and Development [UNCTAD] n.d.) The creative economy, according to Howkins, pertains to economic systems where value is based on originality and creativity (Howkins as cited by Culture Partnership Australia n.d.). Howkins used this nomenclature to cluster entities, industries, and activities which use creativity as the main input, instead of the traditional land, labor, and capital (Howkins 2001). Furthermore, according to the UNCTAD, creative economy, among its many definitions, is the “sum of all the parts of the creative industries, including trade, labor, and production.” This means that the term creative economy denotes not only the scope of physical art and culture products but also the intangible aspects of the transactions among these products (UNDP 2013, Howkins 2001). With these definitions, UNCTAD contextualized the analogy that creative industries are the components and the lifeblood of the creative economy (UNCTAD n.d.). Operationalizing these terms, products, and services of arts and culture are considered cultural industries, which is further expanded to creative industries covering the wide array of products and services rooted in creativity and innovation. The system by which the products, services, and industries interact with each other is the creative economy. Journal of Economics, Management & Agricultural Development Vol. 6 No. 1 35 Creative Cities and the Creative Cities NetworK Recognizing the value of cultural industries, creative industries, and creative economies are relevant and necessary. Economies in the world are generally operating and measured on a per-country basis but treating the creative economy on this scale might be hard to manage. With the nature and diversity of creativity in nations, it is absolute that a country focused on a single creative economy does not and will not exist. A country will host and home a multitude of diverse creative economies under its governance (Howkins as cited by Mercado and Tolentino 2018). The cases of Silicon Valley, Hollywood, and Broadway suggested that the success of the creative economy was achieved when inter-related creative industries co-locate in a geographic area where they could reap the benefits from competition and collaboration. There is a perspective that developing creative industries and creative economies were most effective when strategies and policies were enacted at a city level (Howkins as cited by Mercado and Tolentino 2018). Hence, this notion served as a strong rationale for the concept of the Creative Cities Network. Creative cities are specific local geographic units that have identified and considered creativity as a strategic factor in development (Creative Cities Network n.d.). These cities, which have a rich pool of creative individuals and creative industries, commit to placing their creative resources at the core of their development plans. The Creative Cities Network was institutionalized by UNESCO in 2004 to promote cooperation and to learn from the experiences of each other. Members of the network are unified on a common goal of “placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level” (UNESCO Creative Cities Network n.d.). Candidate cities apply to become part of the network allowing them to be subjected to an evaluation based on the commitment and capacity of the city to contribute to the vision and objectives of the network (UNESCO 2009). The application includes proof that creative industries thrive in the city, together with a four-year plan which is focused on enhancing them. A city can apply on either one of the seven creative fields identified as crafts and folk arts, music, design, literature, gastronomy, film, and media arts. Criticisms and Praises of the Creative Cities NetworK Though evaluations of the Creative Cities Network were limited in terms of literature, the network itself has received its share of criticisms and praises. Internally, the recent exponential growth of cities being inducted was seen to disengage members, who raised concerns