Global Journal of Human Social Science, E: Economics, Volume 21 Issue 5

by policymakers 19 d) Creative EconomyandCreative Industries (Hesmondhalgh, 2002; Throsby, 2010; Pratt, 2005). Howkins pioneered the “creative economy” definition in 2001 who defined the creative economy as “the transactions of creative products that have an economic good or service that results from creativity and has economic value” (Howkins, 2001). Yet, the most used definition was by the UK Department of Culture, Media and Sport (DCMS), which defined the creative economy as “those 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, 1998). Recently, the United Nations Conference on Trade and Development (UNCTAD) defined the creative economy as a developed concept based on creative assets, and potentially generating economic growth. According to this definition; a creative economy can enhance income generation, employment, and export revenues with promoting social inclusion, cultural diversity and human development. Moreover; the creative economy also includes economic, cultural and social aspects interacting with technology, intellectual property and tourism objectives and It is a set of knowledge-based economic activities with a development dimension and cross-cutting linkages at macro and micro levels to the overall economy, It is a feasible development option for innovation 20 19 By 2000s, researchers estimated that the creative sector share of the world's GDP was 7.3% (Howkins, 2001) and with an average growth rate of international trade of 8.7% during the period 2000- 2005(UNCTAD, 2008). These tendencies, together with changes in broader economic environment and consumption, gave the view of increasing growth of cultural industries in some countries, comparing to other traditional industries (UNESCO, 2012). 20 The “creativity” term appeared in the 20th century by educational theory and psychology, particularly in models of artistic practice and perception, to suggest different forms of learning and understanding. With knowledge economy, Florida and Howkins were placing this knowledge under the banner of the “creative class” and “creative economy” by the 1990s (Oakley, 2009). At the same time, the research provided evidence for linked relationship between creativity and innovation. Oakley, et al. in the NESTA report identified three main ways in which artistic labor is linked to innovation, as follows: Artistic labor has the attitudes and skills that are adopted to innovation. Artistic labor is affected by innovation through the widespread “culturalisation” of activities – as cultural ideas and images become a part of non-cultural products and services. Artistic labour also provides content that is required for “artistic creativity.” More recent research, the Nova Scotia Cultural Action Network in 2009, revealed that arts and cultural industries are stimulating the economy in three ways: first, by driving innovation through core creativity and cultural industry activities. Second, by driving the economy through wealth creation. Third, by positively impacting the quality of life in a given region, which in turn attracting more innovators. , multidisciplinary policy responses and inter-ministerial action, and the creative industries become at the core of creative economy (Canadian Heritage, 2013). For expanding view of the creative economy, we will briefly discuss “creative industries” term, which used for shedding light on the role of creativity in economic life, and stating that economic and cultural development are not isolated, but actually, it represents a part of a larger process of social and economic development. The “creative industries” term was initially used in 1994 by the Australian Report entitled Creative Nation 21 , and widely used in 1997 when policymakers of the UK’s DCMS established the Creative Industries Task Force (CIFT ) 22 In the same context, Scotland’s Government suggested that traditional performing arts and cultural organizations are increasingly being involved in the creative content dimensions of the creative economy, especially the playwrights, musicians, and a host of performers, who become more interested in their intellectual property rights, using the social and broadcast media (Knell and Fleming, 2008). This illustrates that most artists move between various projects, businesses, values, aspirations, techniques, . Since then, the relationships between the art, culture sector, and creative industries were debatable. Arts are generally understood as activities and institutions that are subject to public-funded, such as galleries, concert halls, symphonies, and literature (Canadian Heritage, 2013). 21 The concept of creative industries pioneered in Australia in 1994 with the report “Creative Nation: Commonwealth Cultural Policy” (DCA, 1994), where it was discussed in the context of art and communication technology. This concept was accepted at the end of the decade. The spread of the liberal cultural policy in the UK during the 1990s also contributed to stimulating creative activities. Moreover, the interactions between culture and technology became complex, and traditional understanding was not broadly enough to analyze relationships between creativity, cultural value, technology, and their impacts on the economy (UNESCO, 2012). 22 The first use of the "creative industries" term was in 1997 by the UK government; with the establishment a Creative Industries Task Force (CITF), as a center of the Department of Culture, Media and Sport (DCMS). The Creative Industries Task Force set mapping of activities related to the UK creative industries, for trying to measure the contribution to UK's economy (Flew, 2012). In 1998, The UK Creative Industries Mapping Document defined the creative industries as those activities which have their origin in individual creativity, skill, and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property (DCMS, 1998). The DCMS identified 13 sectors as constituting the creative industries, these activities are: Advertising, Architecture, Arts and antique markets, Crafts, Design, Designer Fashion, Film and video, Interactive leisure software (electronic games), Music, Performing arts, Publishing, Software and computer services, television and radio (DCMS, 1998). This mapping was broadly repeated in 2001 (UK, DCMS, 2001). The Creative Industries Mapping Document identified the creative industries as constituting a growing component of the UK economy in 1998, employing 1.4 million people and generating an estimated £60 billion a year in economic value added, or about 5% of total UK national income (DCMS, 1998; 2001), particularly in London, the contribution of the creative industries was even greater comparing with other parts in UK, accounting directly or indirectly for about 500,000 jobs, and about 20% of new jobs created, with an estimated value added about £21 billion, this made creative industries London’s second-largest economic sector after financial and business services in 2006 (Knell and Oakley, 2007). Volume XXI Issue V Version I 25 ( E ) Global Journal of Human Social Science - Year 2021 © 2021 Global Journals Economic Contribution of Cultural Industries: Evidence from Some Selected Countries