Πολιτικές σε εθνικό επίπεδο για την ανάπτυξη του δημιουργικού τομέα της οικονομίας Καθηγητής Νίκος Λέανδρος Τμήμα Επικοινωνίας, Μέσων & Πολιτισμού Πάντειο Πανεπιστήμιο

In 2004, United Cities and Local Government, in its “Agenda 21 for Culture”, called for the addition of culture as a fourth pillar of sustainable development. The UN in their last Creative Economy Report go even further and argue that :

“Culture should be not just the fourth pillar but the central pillar and that around this central pillar stand the other three: the economic, the social and the environmental. In this perspective, the core social unit in which transformative change takes place is a culturally defined community. The development of this community is rooted in the specific values and institutions of its culture, in other words in its own strengths and resources”

«The creative economy has become a powerful transformative force in the world today. Its potential for development is vast and waiting to be unlocked. It is one of the most rapidly growing sectors of the world economy, not just in terms of income generation but also for job creation and export earnings» σελ. 14

UCLG “Culture: Fourth Pillar of Sustainable Development” (Νοέμβριος 2010) 3ο UNESCO World Forum on Culture and Cultural Industries «Η Διακήρυξη της Φλωρεντίας» (4/10/2014) UN Secretary General Synthesis Report The Road to Dignity by 2030 (Δεκέμβριος 2014) Προτάσεις για δείκτες που αφορούν την πολιτιστική διάσταση και θα πρέπει να αποτελέσουν μέρος της στρατηγικής βιώσιμης ανάπτυξης (Φεβρουάριος 2015)

3ο UNESCO World Forum on Culture and Cultural Industries «The Florence Declaration» (4/10/2014): We call upon governments, civil society and private sector actors to take action in global partnership to promote creative environments, processes and products by supporting: (1) the enhancement of human and institutional capacities at the regional, national, and local levels

(2) strengthened legal and policy environments to promote culture, support the emergence of dynamic cultural and creative industries and recognize cities as laboratories of creativity and innovation, heritage safeguarding and environmental sustainability (3) new partnership models and innovative investment strategies to support research, innovation, local production of cultural goods and services, the development of domestic and regional markets and access to platforms for their distribution/exchange worldwide

O ΟΗΕ εντάσσει την πολιτιστική ανάπτυξη ως κύριο στόχο για την παγκόσμια ανάπτυξη μετά το 2015

Culture is a major determinant of how people perceive each other and negotiate their differences. Opportunities for global contact and exchange are proliferating as never before, and because of those contacts, culture itself is changing. No longer can we think of relatively static cultures presenting themselves to each other for understanding and appraisal. Instead, cultures are meeting, mingling and morphing. This presents governments and cultural organisations with a dual challenge: on the one hand they need to maintain established standards of scholarship, quality and continuity in the face of proliferating content and international competition, and on the other, to enable mass populations to develop the vital skills of cultural literacy – where people are able to understand themselves, and others, and the dynamic relationship between the two.

CHALLENGES Define policy objective Choose communications goal, establish media strategy Getting noticed – Go viral Measuring effect Quantitative analysis (facebook likes, twitter followers) Qualitative analysis

CASE STUDY: K-CULTURE

STRATEGIC OBJECTIVE “S. Korea is a country that looks and is oriented to the future. In Korean cultural diplomacy, we focus on future efforts rather than the past. Of course, we focus on the past when we are promoting our traditional music, our traditions and our traditional art. But we have more priorities that deal with the future than the past, because the past was rather grim. What kind of resources do we have? Rapid economic development, advanced scientific technology and innovation” Chang-Beom Kim; Ambassador of the Republic of Korea to Belgium and to the European Union

A HOLISTIC COMMUNICATION STRATEGY ACTORS Ministry of Foreign Affairs and other Government bodies Cultural centres Private companies NGOs Citizens in Korea and abroad (a diaspora of 7.2 m. Koreans) The cyber-community Appointed goodwill ambassadors for cultural diplomacy

Korean Cultural Centres 28 Korean cultural centres, 8 of which are in Europe, in 8 cities – Brussels, Madrid, London, Warsaw, Paris, Budapest, Berlin and Moscow. They organize: Korean language classes Korean cooking classes cultural workshops concerts Exhibitions Facilitate participation in Korean global festivals and competitions

Korean global festivals and competitions I K-pop World Festival Korean-food festival (an international competition amongst chefs) A children's TV show (contestants compete by answering questions related to Korea. The preliminary rounds have been held in 30 countries and their finalists are invited to Korea to compete)

Korean global festivals and competitions II Video contest hosted on YouTube (in 2012 1400 self-made three-minute videos were sent to the Ministry of Foreign Affairs under the title ‘I Love Korea because….’ ) Busan international film festival Global issue-based cultural events (performances and exhibitions) Poverty Climate change Green growth

K-pop World Festival I Started in 2011 Organized by the Ministry of Foreign Affairs, jointly with the Ministry of Culture, Sports and Tourism and Korea Broadcasting System Overseas diplomatic missions and cultural centers of the Republic of Korea hold regional preliminary competitions to choose K-Pop teams from their host countries, who will later take part in the final round in Korea

K-pop World Festival II Number of regions where preliminaries were held: 27 in 2011 37 in 2012 60 in 2013 (44 countries) 84 in 2015 (67 countries)

Getting noticed – Go viral I The Gangnam phenomenon The song was released in July 15,2012 On December 21, 2012, "Gangnam Style" became the first YouTube video to reach a billion views As of May 31, 2014, the music video has been viewed over two billion times on YouTube it is the site's most watched video

Getting noticed – Go viral II President Obama 7/5/2013 “This visit also reflects South Korea’s extraordinary progress over these six decades.  From the ashes of war, to one of the world’s largest economies; from a recipient of foreign aid to a donor that now helps other nations develop.  And of course, around the world, people are being swept up by Korean culture -- the Korean Wave.  And as I mentioned to President Park, my daughters have taught me a pretty good Gangnam Style.  (Laughter.)” 

Getting noticed – Go viral III Korean wave fan clubs worldwide. Only official fan clubs registered by the South Korean government are taken into account 2011: 182 clubs, 3.3 million fans 2012: 830 clubs, 6.0 million fans 2013: 987 clubs, 9.3 million fans 2014: 1229 clubs, 21.8 million fans 2015: 1493 clubs, 35 million fans

Οι περιπτώσεις της Τουρκίας και της Ν. Κορέας http://www.youtube.com/watch?v=lJKvfZwBf_w http://www.youtube.com/watch?v=RajfiH6X1M8 Και η Ελλάδα?

Η Ελληνική εμπειρία: Βαρύγδουπες διακηρύξεις, δυνητικά πλεονεκτήματα, αλλά φτωχά αποτελέσματα Αρνητικό εμπορικό ισοζύγιο στον τομέα πολιτισμού και δημιουργίας παρά τη μεγάλη μείωση των εισαγωγών μετά το 2008 Το 2011 η κατά κεφαλήν αξία των εξαγωγών ήταν 0,25 της κατά κεφαλήν αξίας των εξαγωγών της ΕΕ-27 (0,49 των εισαγωγών) Μικρό ποσοστό στην απασχόληση και στο ΑΕΠ της χώρας συγκριτικά με μέσο όρο ΕΕ-27

Η Ελλάδα πρέπει να διαμορφώσει ένα νέο παράδειγμα βιώσιμης, ανθρωποκεντρικής ανάπτυξης. Ο δημιουργικός τομέας της οικονομίας θα συμβάλλει ουσιαστικά σε αυτή την κατεύθυνση. Η πολιτιστική πολιτική πρέπει να δώσει έμφαση στις σύγχρονες μορφές πολιτιστικών προϊόντων και υπηρεσιών που ενσωματώνουν καινοτομία και νέες τεχνολογίες, εγκαταλείποντας τη στατική προβολή της παράδοσης

Προτάσεις σε 10 άξονες Εθνική στρατηγική για την ανάπτυξη του δημιουργικού τομέα της οικονομίας Στρατηγικές και προτεραιότητες σε επίπεδο Περιφέρειας και Δήμου Αντιμετώπιση νέων εκπαιδευτικών αναγκών (επιχειρηματικότητα, νέα χρηματοδοτικά εργαλεία, δικτύωση, νέα Μέσα) Μητρώο δημιουργών και ενίσχυση της κινητικότητας και της δικτύωσης

Νέα εξαγωγική πολιτική, εξωστρέφεια και δημιουργία διεθνών κόμβων πολιτισμού και δημιουργίας Ευνοϊκή φορολογική μεταχείριση και κίνητρα για προσέλκυση επενδύσεων Δημιουργία περισσότερων χώρων παραγωγής και έκθεσης (incubators, culture hubs) Αντιμετώπιση της γραφειοκρατίας και σύγχρονο ρυθμιστικό πλαίσιο Ενίσχυση της τεχνολογικής καινοτομίας και νεανικής επιχειρηματικότητας Ενίσχυση των υποδομών ιδιαίτερα όσον αφορά τις τεχνολογίες της πληροφορίας και επικοινωνίας

Βασική Βιβλιογραφία Cultural Times. The first global map of Cultural and Creative Industries. http://www.ey.com/Publication/vwLUAssets/ey-cultural-times-2015/$FILE/ey-cultural-times-2015.pdf EENS (2012α) Culture and the Structural Funds in Greece. http://www.eenc.info/wp-content/uploads/2012/10/HFischer-Culture-and-the-Structural-Funds-in-Greece-final.pdf E. Hong (2014), The Birth of Korean Cool. How One Nation is Conquering the World through Pop Culture, New York, Picador. KEA European Affairs, The Economy of Culture in Europe, Brussels, 2006. http://ec.europa.eu/culture/pdf/doc887_en.pdf Σ. Λαζαρέτου (2014), Η έξυπνη οικονομία: «πολιτιστικές» και «δημιουργικές» βιομηχανίες στην Ελλάδα. Μπορούν να αποτελέσουν προοπτική εξόδου από την κρίση;, Bank of Greece, Working Paper 175. UNESCO (2012), Culture: a driver and an enabler of sustainable development, Paris, UNESCO. UNESCO (2014), The Florence Declaration. https://en.unesco.org/system/files/Florence%20Declaration_4%20October%202014_EN_3.pdf