Support Mechanisms for Canada’s Cultural and Creative Sectors during COVID-19

The cultural and creative industries enhance the quality of life for Canadians and visitors to Canada. However, definitions of the sector vary, presenting challenges for researchers and policymakers. Government data shows that the pandemic job and revenue loss were disproportionate in arts. The Canadian government created a range of financial tools (grants and subsidies) to support the sector during the Pandemic. This paper analyzes these financial instruments created in response to the Pandemic. This paper offers a case study on how government can support the economic and social success of the creative and cultural sector (CCS) in Canada and avoid the risk of the cultural ecosystem collapsing. In addition, the key findings may be helpful in other industries and markets when exploring ways to support the cultural and creative sectors, which are vital components of domestic and tourism activity.

COST DISEASE PHENOMENON OF THE CULTURAL AND CREATIVE INDUSTRIES IN UKRAINE

The study of the analysis of the dynamics of indicators that characterize the current state of development of the creative industries sector of Ukraine was conducted to conclude the presence or absence of signs of "cost disease". The analysis was conducted at a high level of aggregation: distinguishing only two segments of the creative industries sector: cultural and creative. The study's relevance is that in a crisis in the economy, it is advisable to diagnose sectors that need support by attracting additional funding from the budget or private funds, as the losses that occur are long-term and difficult to compensate. The study aims to empirically verify the theoretical regularity of Baumol W.I., Bowen W.G. on the manifestation of signs of "cost disease" in the sector of creative industries of the economy of Ukraine based on available statistics. The study's methodology was to identify the symptoms of "cost disease" by comparing indicators of specific segments of the creative industries sector with indicators of macroeconomic dynamics. For this purpose, the time series of macroeconomic characteristics of the Ukrainian economy was used in work. Studies have shown the absence of signs of cost disease in the creative segment of the creative industries sector and the presence of two of the three signs in the cultural segment. In particular, the "lagging productivity" formed during the last five years has been revealed in the cultural segment. The second sign was also confirmed: "catching up" with wages, which is that wages in the cultural segment are growing faster than labour productivity in the diagnosed segment. Comparing the dynamics of the price index in the national economy and the cultural segment of the creative industries sector, we see that prices in the national economy grew faster than prices for services provided in the cultural segment of the creative industries sector. The third sign that indicates the presence of "cost disease" in the cultural segment - is missing. However, the specific income deficit in the cultural segment of the creative industries sector (which has a positive value due to one of the three signs of "cost disease") is offset by two other factors - "productivity lag" and "catching up" wage growth.

Entrepreneurial Psychology and Motivation of Museum Cultural and Creative Product Development

More students who majored in design should be led to be self-employment, as they can use their major advantages to lead cultural and creative industries of museums toward a more creative direction. Based on the present situation of self-employment of college students related to cultural and creative industries, developing patterns and structure of cultural and creative industries of museums are analyzed to study the practical requirement of development of creative and cultural products of museums on the students majored in design. College students and graduates (within 2 years) in design major of a college in Zhejiang province who have experience in starting a business are invited to make the questionnaire survey and to study the practical problems with motives and barriers of starting a business. After the investigation of the entrepreneurial status of cultural and creative entrepreneurs of college students, it is found that the third year is the peak period for students to choose entrepreneurship, followed by the end of the senior year. Only 36.8% of respondents are satisfied with the results of entrepreneurship, which reflects that entrepreneurs do face many obstacles in the actual process of entrepreneurship, mainly due to a lack of experience and funds. The motivation for students to stick to entrepreneurial activities mainly focuses on “obtaining personal wealth” and “realizing self-worth.” In view of this situation, universities, society, and government can provide technical support and policy support to stimulate the entrepreneurial potential of cultural and creative entrepreneurs of college students, thus promoting the efficient development of museum cultural and creative industry.

Factors of evolution and coevolution of cultural and creative industries in economics

It is important to determine the main directions of evolution of economic views on the formation of scientific approaches to the interpretation of the economic nature of cultural and creative industries. The purpose of the article is to find out the main social and economic conditions for the formation of the conception of cultural and creative industries in economics based on the analysis of evolution and co-evolution of the Ukrainian and world economic thought on that subject. The scientific methods of induction and deduction, historical and logical analysis, comparison are used. The author has shown that the key reasons for the formation of theoretical and methodological principles of the conception of «cultural» and «creative» industries were related to social and economic environment for the society development, and the peculiarities of the integration of cultural and creative activities into the system of economic relations and production processes. It is defined that the features of the formation of theoretical and methodological approaches to the interpretation of the economic nature of these industries are scientific discussions about: the importance of creativity/art in order to produce competitive goods; inclusion of specific types of cultural production in the system of division of labor; the methodology for determining the value of works of art and creative activity; clarification of the subject of economics taking into account the character of cultural activity and manufacturing of cultural products; interpretation of the essence of culture and creativity and their influence on the economic system evolution; and identification of the definitions of «cultural Industry», «cultural Industries» and «creative Industries». It is revealed that the major factors of the evolution and co-evolution of cultural and creative industries are the increase in the interaction between economic agents and economic activities in this sector of the national economy, and improving the technologies of replicating cultural products and relationships with potential consumers. The author has substantiated that the foundation of the theoretical processes of evolution and co-evolution of these industries is the inclusion in the creative and cultural industries of all types of economic activity, which belong to them according to the classification criterion.

The Innovative Response of Cultural and Creative Industries to Major European Societal Challenges: Toward a Knowledge and Competence Base

In this paper we highlight the importance of culture, cultural heritage and creative industries (CCI) in current European policies in relation to a number of societal challenges, and how the CCI are called to innovatively respond to such challenges. We distinguish four main societal challenges to which the CCI can strategically respond and significantly unlock the potential for innovation and smart growth in the EU. These societal challenges are addressed by four main pillars of the CCI, namely: (1) Europeans’ creativity, cultural diversity and values; (2) European identity and cohesion; (3) European employment, economic resilience and smart growth; and (4) Europe’s external relations. We address each societal challenge from the CCI perspective, indicating how the CCI can provide innovative responses to such challenges and enable strategic crossovers through networking and collaboration, but also referring to some criticalities. We further discuss how this CCI capacity needs public support and provide an overview of how this is undertaken via the main EU, national and international policies, with a focus on the latest trends.

Interconnections between the cultural and creative industries and tourism: challenges in four Ibero-American capital cities

Purpose This paper aims to investigate the European and Latin America urban cultural policies that could enhance cultural and creative sustainable tourism products development. Design/methodology/approach The methodological framework is based on a comparative case study regarding the importance, dynamics and policies associated to cultural and creative tourism in four Ibero-American cities, namely, Brasilia, Buenos Aires, Lisbon and Madrid. Findings This exploratory analysis underlines the growing importance of cultural and creative tourism in the four capital cities. On one hand, cities reveal different tourism impacts and, on the other hand, they are associated to different cultural and creative sector structures. Cities cultural and creative performance put in evidence that sustainable cities index, global talent competitiveness index and cultural and creative cities monitor, tend to position Madrid in the first place followed by, Lisbon, Buenos Aires and Brasilia. Research limitations/implications In general, and despite the importance of space in the creative process, there is little research on the geography of the creative industries and there is a lack of cross-country comparative studies so that it is difficult to assess the particularities of each model of creativity. Practical implications Cities could enhance more efforts in investing, not only in the traditional cultural infrastructures but also on the new forms of culture, new technologies, new makers, new audiences based on their attributes, activities and labels, in a framework of urban sustainable policies based on “innovation,” “inclusiveness” and “interconnectivity.” Originality/value The originality of the paper lies in the comparative analysis of four cities based on cultural and creative sector and tourism interconnections. Simultaneously, it lies in an exploratory model application.