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Register now! Seminar on Investing in India’s Creative Entrepreneurs November 29, 2011

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The British Council has been pioneering to build a strong community and professional network of creative businesses, through the reward programme Young Creative Entrepreneur Awards. The YCE programme aims to reward innovative work by individuals and nurture emerging enterprises across seven categories – design, music, fashion, screen (film, TV and animation), interactive (software, entertainment, games and social media platforms), performing arts (theatre, dance and “live” art) and publishing.

To build an eco-system to support entrepreneurship with the creative sectors, a half day seminar on Investing in India’s Creative Entrepreneurs is being organised on Friday 9 December from 9.30 am – 2 p.m. at the British Council, New Delhi

The seminar will include the following panel discussions between India and the UK aimed to address and debate the two major issues facing the growth of India’s creative industries. To register email yce.india@in.britishcouncil.org 

Does India need an umbrella policy for supporting entrepreneurship within the creative industries?  

The session will explore the current parameters of existing policies and governmental interventions and examine the different ways in which policy-making can support the development of the creative industries thereby leading to their recognition as key economic sectors.

What India needs to bridge the gap between creative entrepreneurs and investment opportunities?

Discussion will focus on developing a suitable financial infrastructure for the creative sectors and understanding different models that facilitate creative businesses’ access to capital, why it is considered inherently risky to invest in creative industries (or what makes them uniquely different), explore how different creative businesses are more suited to different types of financial investment and support.

The speakers include:

John Newbigin is a freelance strategist and cultural entrepreneur.  He is Chairman of Creative England, a publicly funded agency to support creative businesses, particularly digital media, across England. Other positions he’s held include being Head of Corporate Relations at Channel 4 Television, Special Adviser at the Department for Culture, Media and Sport and Executive Assistant to David Puttnam, erstwhile Chairman of Enigma Productions Limited. Currently John is the Chairman of Culture24, one of the UK’s leading cultural web publishers and on the board of various arts and educational bodies.  

Adarsh Kumar is the founder and CEO of Livelihoods Equity Connect (LEC), an advisory group that seeks to invest in the Indian agricultural sector and promote models connecting small farmers to mainstream markets. Prior to LEC, Adarsh helped establish the All India Artisans and Craftworkers Welfare Association, a membership-based policy research and advocacy body that brings together the private sector, civil society and the government to find innovative solutions to bridging the divide between poor rural producers and mainstream markets. At AIACA, Adarsh served on various Planning Commission working groups to look at ways in which creative and cultural industries can provide more employment to the poor. He holds a bachelors degree in Business Management from GeorgetownUniversity and a Masters Degree in Public Policy from the Kennedy School of Government at Harvard University. Adarsh has also been awarded the Echoing Green and Ashoka fellowships for social entrepreneurship.

Rohit Prasad is an Associate Professor of Economics and Chairperson of the Centre for Entrepreneurship at the Management Development Institute Gurgaon. He has a Ph.D. in Economic Theory from SUNY Stony Brook, USA where he had an opportunity to study Game Theory under the Nobel Laureate Professor Robert Aumann. His thesis provides a framework to address questions related to the optimal fiscal and monetary policy choices of a government in a free market.  He has worked in the software industry in USA and India in senior management positions before joining MDI Gurgaon.  His research interests include the theory of taxation, spectrum policy, ICT for development, and special economic zones. His papers have been published at leading international journals including Telecommunications Policy. He has delivered seminars and talks at Harvard University, the Centre for Game Theory at Stony Brook, India Telecom 2009, Future Com, Brazil 2010, and The Next Billion, Indonesia, 2010. His articles appear regularly in The Economic Times and the Economic and Political Weekly. He recently served on a high powered Committee of the Department of Telecommunications, Government of India to make recommendations on spectrum allocation and pricing in India, and on two Expert Panels for the Telecom Regulatory Authority of India to study the value of 2G spectrum. 

Aruna Vasudeva, noted journalist was the editor-in-chief of Cinemaya, an influential film magazine established in 1988 devoted exclusively to coverage of Asian Films. It aimed to promote Asian filmmaking internationally and to help Asian national cinemas gain wider international recognition. As an active member of the Indo-French Initiative Forum she contributed to building cooperation between the two countries in the field of cinema and was conferred France’s top cultural award, the Chevalier des Arts et Lettres. She went on to become the director of the annual festival of Asian Cinema, ‘Cinefan’ – that has evoked popular and critical acclaim. In 2006, she was presented with the Lifetime Achievement Award at the 8th Cinemanila Film Festival at Manila, Philippines and honoured with the Kalpana Chawla Excellence Award for women in 2007.

Sanmit Ahuja is the Chief Editor of TI Corridors and the Chief Executive of ETI Dynamics Ltd. His key areas of interests include to Emerging markets, globalisation, international trade and investment flows. He holds an Executive MBA degree from London Business School. 

Anurag Batra is an entrepreneur, media observer and a journalist rolled into one. He completed his B. Tech in Computer Sciences before joining Management Development Institute (MDI), Gurgaon. He is the Managing Director and Editor-in-Chief of exchange4media group which includes exchange4media.com, PITCH, IMPACT, Realty Plus and Franchise Plus. In 2006 he was awarded the “Most Distinguished Alumni of the Decade Award” by MDI, Gurgaon. He is a member of the Sales & Marketing committee of the Delhi Management Association, President of the Franchising Association of India, Northern chapter, on the Executive Committee of the Association of Indian Magazines (AIM) and the Chairman of the Advisory Board of Futuristic Media Communication Centre, a leading Media and Communication School in India.

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Global Book Deal Is Write Move For Students October 20, 2011

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An international project will see budding authors from the University of Derby write a book published through a top overseas publishing house and distributed throughout the world.

A literary fiction by third-year BA (Hons) Creative Writing degree course student will be published for sale in UK and USA.

India-based ROMAN Books – which supplies works of fiction and literary criticism to major booksellers in America and the UK, such as Amazon, Waterstones and Barnes & Noble – will work with writers to develop their book for commercial sale.

The unusual arts deal has been developed by the publishing house’s founder Suman Chakraborty and Prof. Jason Lee, Head of Film and Media with Creative Writing and Professional Writing at the University of Derby. The project is supported by the British Council’s Young Creative Entrepreneur (YCE) programme, which aims to promote a professional network between creative entrepreneurs in India, UK and internationally to inspire and facilitate the sharing of best practices, skills, provides access to resources and market and offers professional development opportunities.  

Once the book is ready for publication Mr Chakraborty will visit the University of Derby to give a guest lecture to aspiring authors, on how publishing houses can encourage new writing talent.

Profits from the venture will be used as capital for next year in order to make this Indo-British project a regular event for University of Derby students.

Aanchal Sodhani, the Project Manager of British Council India’s Cultural & Creative Economy Unit, added: “We were happy to support this project through the Young Creative Entrepreneur grant as we found the skills development aspect of the project particularly interesting – that is, to develop the skills of new writers to understand market requirements, audience needs, marketing and promotional aspects, selling of rights and thereby becoming ready to be published internationally.”   

Professor Jason Lee said: “Every writer has the dream of seeing their work published. Having the opportunity of working closely with writers, editors, and a publisher backed by the British Council, is a fantastic opportunity for Derby University students. Internationally, it also reveals how the University is further establishing its global presence in the cultural and creative industries, through the work of its own students and academics.”

Mr Chakraborty added: “We work primarily in the overseas market—mainly in UK and USA. We have a team of sales representatives working in the UK where we work with the market leaders of the book industry. Our titles are regularly featured in the largest British book-industry magazine, The Bookseller. This collaboration with University of Derby strengthens our bond with the United Kingdom—thanks to the British Council YCE initiative which has always remained an extremely encouraging part of my career as a creative entrepreneur.”

Five essentials investors look for in Creative Businesses October 3, 2011

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Following are the five essentials that creative entrepreneurs should focus on when approaching investors as highlighted during a recent pitching session with UK investors

1. Clarity of thought: Clearly articulate the core business idea focussing on what it aims to achieve. During the organic growth of the business, there is a tendency for the idea to expand and diversify which the entrepreneur feels compelled to cater to. However, it is essential to regularly re-focus to develop a growth strategy that is clearly in line with what the business had essentially set out to achieve.

2. Market knowledge: Clear understanding of the target customer and size of market the business is catering to. Does the market already exist or are you creating a market for your product or service? Is it a niche or mass market? If it exists, concentrate on one or two markets at a time while expanding your business. Know your competition well and their market share. The organic growth of your business can be the most sustainable option.

3. Team: Investors are always sceptical about one-man / woman businesses which are how most creative businesses are structured in the initial years. Build a team based on individual competencies which match with role requirements within the organisation’s structure. Clarity about roles and responsibilities, one’s ability to delegate is essential for smooth operation especially when you’re thinking about scaling up.

4. Building your brand & positioning it: Identify the core strength of your business and continuously reinstate that amongst your customers. Your existing customer base is crucial to your growth as word of mouth promotion is the most basic way to build your brand. Be clear about where you are now and where you would want your brand to be going forward. Collaborate with bigger brands to position yourself amongst the bigger players. Network and nurture relationships with those who will be your natural brand ambassadors.

5. Valuation of your business: Move away from only focussing on the qualitative analysis and success of your business. Focus on numbers and financials instead. This is essential as it will determine how much money you can ask for. Conversely it will portray the strength of your ability to get high enough return on investment for the investor.

For creative businesses, VC and private equity should not always be seen as the only source of investment as the rate of return is the highest when dealing with them. Please understand that they are business people who but naturally want to make the most of their investment. Government grants & schemes, banks, philanthropic institutions and foundations, corporate houses, family run businesses, and the quintessential ‘family, friends & fools’ are suitable options too. In each case, you will need to define a ‘hook’ and pitch your idea differently. If you’re profitable, plough that money back into your business and you may not need to look for outside investment. If you’re still keen to work with a VC, it might help to get them to mentor you instead. It is a good way for making them understand your business and see its growth. Their understanding of your capabilities & strength as an entrepreneur also helps to build a level of confidence & trust that is mutual. In future the same mentor can become your potential investor!

UK speaker’s at Publishing Next conference August 23, 2011

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CinnamonTeal Publishing, a division of Dogears Print Media Pvt. Ltd, is organizing Publishing Next, a two-day Conference on the future of publishing on 16 and 17 September 2011 in Goa. 

Publishing Next is being supported by the British Council who is actively involved in promoting creative entrepreneurship (www.britishcouncil.org.in/yce) in India through programmes that share the UK’s expertise and experience of developing the creative economy and by supporting ecologies within which it can flourish. 

The UK speakers at the conference include:

Elin Haf Gruffydd, Director, Mercator Centre University of Aberystwyth

Elin is the Director of the Mercator Institute for Media, Languages and Culture, a research institute based at the Department of Theatre, Film and Television Studies at Aberystwyth University that specialises in the fields of media, publishing, communication and translation, with a particular expertise in multilingual contexts. Elin is Senior Lecturer in Media and Creative Industries (undergraduate and postgraduate studies) and Director of Knowledge Transfer and Enterprise at the same department. Digital Creative Economy, is currently a strong research focus for Mercator and Elin is supervising several PhD projects in this field. Mercator is coordinator of the Minority Languages Media Research Network and is home to the Wales Literature Exchange (http://www.walesliterature.org) and Literature Across Frontiers (http://www.lit-across-frontiers.org/) and is one of the key partners in Mercator Network of Language Diversity Centres www.mercator-research.eu.

James Bridle, Owner and Director, Bookable

James pushes the boundaries of literature through creative technology. He is the director of Bookkake, a technology-led publisher of classic transgressive literature. He is also the developer of bkkeepr, a social reading application, and London Lit Plus, an open-source literary festival. He writes about literature and technology at http://booktwo.org, and has edited and written for numerous publications, online and off. James was one of the finalists of the UK YCE Publishing Award 2009.

Michael Bhaskar, Digital Publishing Director, Profile Books

Michael (www.michaelbhaskar.com) is currently Digital Publishing Director at leading independent publisher Profile Books (www.profilebooks.com). He is responsible for spearheading their digital strategy, ebook program and digital business development in creating new products and platforms. Whilst there he has produced games, apps and created a commercially successful digital publishing program. Previously Michael was Digital Editor at Macmillan, where he worked on their large and profitable ebooks program, a Facebook app and several iPhone apps amongst other innovative projects, and wrote for The Digitalist blog. Over the past few years Michael has written extensively on digital publishing. He regularly lectures at publishing university courses around the UK and has recently completed a paper for the journal Logos.  He has worked at the literary agency Rogers, Coleridge and White, reviewed books at The Daily Telegraph and worked for an economics research firm, as well as building websites like www.quikqr.com, a 2-d barcode generator. 

Oliver Brooks, Co-founder, Completelynovel

Oliver is the co-founder of a team made up of web technologists working in the book publishing space. They work on the following two projects: ValoBox.com (www.valobox.com) is a pay-as-you-go eReader powered by social commerce.  The pay-as-you-go micro-purchase system means any part of a book can be accessed with a single click. The system is 100% HTML5 so can be used from any device with a web browser and the content can be anything you can put on a website (audio, video, games, and interactive elements). Social retail (peer-to-peer selling) eliminates the traditional expensive retailers. This means if a user shares a link or embeds a ValoBox in their website/feed or mobile app they will receive 25% of proceeds. The direct link means publishers get live analytics such as which parts of their books are most popular. CompletelyNovel.com (www.completelynovel.com) is a unique publishing hub combining a publishing community with powerful publishing tools such as print-on-demand and social media promotion. Authors and publishers can create, distribute and promote books and interact with their readers. The system is designed to make the complicated publishing process simple and affordable enough for anyone to use.

Gavin Summers, Digital Services Manager, Hodder Education

Gavin is the digital project manager for Hodder Education (www.hoddereducation.co.uk), a leading educational publisher in the UK working on a wide range of digital products, including online applications (e.g. Dynamic Learning and Practise Every Question), ebooks, interactive whiteboard materials and smartphone applications. As a side project, he is the founder of BookMachine , which in addition to building a valuable network of publishing professionals, is also an experiment in how movements can be created around a brand through creative use of social media tools.

Titash Neogi, Founder, Sievelogic Software

Titash won the India YCE Interactive 2011 award. He built Bibkosh (www.bibkosh.com) a knowledge curation platform that allows academics, students and professionals to create, curate knowledge and collaborate. He will be discussing the potential of http://themeefy.com as a marketing tool for publishers.

Prathibha Sastry, Head of Publications, Jinibooks (www.jinibooks.com) and Co-founder of JiniLabs (www.jinilabs.com)

Pratibha won the India YCE Screen award in 2008. At that point she was the Managing Director, Editor and Publisher of South Movie Scenes, a platform for the film and entertainment industry. She will be participating in the panel discussion Where is Digital Books Headed?

Publishing Next August 8, 2011

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CinnamonTeal Publishing, a division of Dogears Print Media Pvt. Ltd, is organizing Publishing Next, a two-day Conference on the future of publishing on 16 and 17 September 2011 in Goa. 

Objective
Driven by factors such as the Internet and readers’ and authors’ need for instant gratification, the publishing industry today is witnessing seismic shifts in its profile. The changing landscape, one filled with technological innovations that occur with alarming regularity and one that, in turn, fuels large expectations from readers, makes it imperative that the publishers’ community not only move with the times but even bet on the future.

Almost all aspects of the publishing cycle, including the creation, development, production, distribution and marketing of books have been affected by new phenomena such as social media marketing, “enhanced” books and business process outsourcing.

Targeted towards authors, illustrators, literary agents, publishers, librarians, policy makers, online bookstores, social media marketers the conference intends to understand this changing environment, where the industry might be headed in the future and help those involved meet the challenges that these changes might pose. 

The conference will include the following sessions:
·       Where are Digital Books headed?
·       The Impact of Alternate Publishing
·       Book Marketing in the age of Social Media
·       Publishing Houses of the future
·       Managing the translation market
·       Copyright Issues in Publishing

Publishing Next is designed to be a networking platform to facilitate the trade of publishing rights, encourage dialogue between publishers and vendors and organize workshops on the technical aspects of social media marketing and digitization of content.

Speakers at the conference from India will amongst others include:

– Kiruba Shankar, CEO of Business Blogging. Ambassador at TEDx
– G. R. Raghavender, Director (Copyright & Book Promotion), MoHRD, Government of India
– Nilanjana Roy, Literary Critic and Columnist
– Kailash Balani, President at Federation of Booksellers & Publishers Associations in India
– Kinjal Shah, COO of Crossword Bookstores
– Ramu Ramanathan, Editor, Printweek India
– Rubin D’Cruz, Director, Kerala State Institute of Children’s Literature

Speakers & participants at the conference from the UK will include:

– Elin Haf Gruffydd, Director, Mercator Centre University of Aberystwyth
– James Bridle, Owner and Director, Bookable
– Michael Bhaskar, Digital Publishing Director, Profile Books
– Oliver Brooks, Co-founder, Completelynovel
– Gavin Summers, Digital Services Manager, Hodder Education

Publishing Next
is being supported by the British Council who is actively involved in promoting creative entrepreneurship (www.britishcouncil.org.in/yce) in India through programmes that share the UK’s expertise and experience of developing the creative economy and by supporting ecologies within which it can flourish. 

CinnamonTeal Publishing (www.cinnamonteal.in), established in 2007, pioneered the business of providing publishing services to authors and trade publishers in India. Located in Goa, they have catered to customers in 18 countries and have published books across genres and in 9 languages. In 2010, Leonard Fernandes, co-founder of CinnamonTeal was awarded the British Council’s YCE Publishing Award for being “grounded and well aware of the practicalities of [the] business, well researched and open to ideas.”

The award, Leonard says, “was timely because  it endorsed the fact that self-publishing is indeed a legitimate form of expression at a time when the idea of self-publishing is itself hotly debated.” Following that he participated in the panel discussion, Digital Publishing Innovation in New Markets at the London Book Fair in April this year.

Young Creative Entrepreneur Awards in India July 30, 2011

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There wasn’t enough recognition and understanding of creative entrepreneurship in India and more so in 2005, when we launched the inaugural design and publishing entrepreneur awards. Since then, we’ve expanded our portfolio to offer the entire suite of awards to include music (2006), screen (2007), fashion, interactive (2008) and performing arts (2009).

By 2009, India was the only country to have done all International YCE awards including design, fashion, music, screen, interactive, publishing and performing arts. 

India was the market focus country for all UK YCE awards in 2008 – 2009. 35 young British creative entrepreneurs took part in the programme, travelling to Indiato take part in sector-specific study tours.  

India has won international awards for Publishing, Design, Music and Interactive and received special commendation for Fashion. 

Today, the programme has reached out to over 1000+ entrepreneurs across the sectors making India’s network of creative entrepreneurs the largest within the International YCE community. 

Over the years there have been 208 finalists, 47 India winners and 4 International winners (Publishing, Design, Music, and Interactive). We have been able to identify the talent and nurture it to give them a platform to take their businesses to the next level.   

Currently there are 2050+ members on the YCE India page on Facebook.

The 2010 YCE winners were featured on CNBC TV18’s programme Young Turks http://vimeo.com/ibritishcouncil/yceoncnbc 

The 2011 YCE awards night was featured on CNBC TV18’s Young Turks Buzz http://www.moneycontrol.com/video/specialvideos/ytbuzzyoungsparksallwalkslifebattleitout_568313.html?utm_source=Article_Vid

Young Creative Entrepreneur 2011 Winners July 25, 2011

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Here are the background details of the 2011 winners of the Young Creative Entrepreneur Awards from India.

Publishing

Ganesh Ram, eMahatva Technologie

Using Mobile for a Positive Change is the focus of Ganesh Ram’s eMahatva Technologie. It is a technology start-up that was developed with support from VIT University’s Technology Business Incubator, working on technologies catering to the Future of Publishing, i.e., on Mobile Phones, Tablets and enabling publishing in Indian languages even on devices that do not support this natively. www.mobileveda.com

Screen

Pranav Ashar, Enlighten Film Society

Having launched Enlighten Film Society in 2007, Pranav Ashar has been able to createIndia’s largest film society. In 2008 Enlighten launched its DVD label and has been able to launch upto 100 titles in the market including masterpieces as The Bicycle Thief (1949) and Children of Heaven (1997). His expanding film society has about 1000 members and growing. In 2009, Ashar bought DearCinema to create a basis for sharing knowledge with the public on varied and dissimilar platforms. He has now started working on distributing film merchandise, an untapped market inIndia, to further diversify the platform for sharing information and transforming it into knowledge.
www.enlighten.co.in

Design

Abhijit Bansod, Studio ABD

Abhijit Bansod is a quirky designer whose products connect deeply with the user by telling vivid stories, by overlaying the familiar with the new and surprising. He believes in celebrating creativity that combines fragments of Indian tradition with cutting-edge technology, and fuse cultural motifs with new age thinking. Propelled by humour, craft, rituals, people, situations and Indian heritage, he creates products that speak a unique language – an Indian design vocabulary. Abhijit’s Studio ABD, is a multi disciplinary design studio that works on design experience services (product, branding and spaces) for clients and creates and markets their own products. His creations have won him many national and international awards, including the RED DOT DESIGN AWARD 2010 and Best Designer Award in 2008.
www.studioabd.in

Performing arts

Vijay Prabhat Kamalakara, Storytrails India

Vijay Prabhat is the founder of Storytrails, a company that uses storytelling to design alternative tours for visitors and to design curriculum based workshops and experiential outings for children. Storytrails is based on the core belief – that there is a fascinating story behind everything we see and it is an attempt to research, script and creatively present these stories through theme based trails. Their work involves using storytelling as a communication tool. All their trails are completely scripted and hosted by storytellers and use a mix of storytelling, theatre, music, dance and hands-on activities to make the process of discovery an enjoyable one for the audience.
www.storytrails.in

Interactive 

Titash Neogi, Sievelogic Software

Titash is a software engineer by profession and a business management / IT major by qualification who worked with Symantec Corp, US for 7 years before starting his own company – Sievelogic Software and building bibkosh.com. Bibkosh is the world’s first Knowledge Curation platform that allows academics, students and professionals to create and curate knowledge and collaborate with friends over this created and curated knowledge. With information having become truly democratised, Bibkosh gives everyone the opportunity to become a social knowledge curator using both the information from the net as well as the social web.
www.bibkosh.com

Fashion

Aneeth Arora, péro

Aneeth Arora calls herself a ‘textile and dress maker’, an artist who weaves her own canvas, before starting to paint on it. Her label péro ‘ means ‘to wear’ in Marwari and interprets international  aesthetic using local material and skills, taking inspiration from the surrounding to make a product that connects with people, wherever in the world it is placed. The organization is into menswear, women’s wear and kids wear employing over 80 craftspeople. The label currently sells through 60 shops, across 15 countries. They participate in the Wills Lifestyle Fashion Week and since September 2009 have been showcasing consistently at the Tranoi Fashion week in Paris, White Basement in Milan, Gallery in Copenhagenand Coterie in New Yorkin 2010.  
www.pero.co.in  

Music

Aishwarya Natarajan, Indianuance

Aishwarya is the director of Indianuance, an artist management and concert programming outfit that is dedicated to Indian classical music and its allied forms. Under the realm of artist management it acts as representatives to musicians for live performances, new media channels, recording contracts and is ever alert to unconventional, new avenues and formats. Aishwarya considers herself to be a creative person; an artist and believes that there is always that ‘other’ idea that nobody has explored.
www.indianuance.com

International Young Creative Entrepreneur (YCE) Award Programme July 5, 2011

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An Overview – what is YCE?

  • YCE identifies and connects a global network of innovative emerging entrepreneurs in the creative and cultural sector.
  • It champions those who find new ways to take creative work to audiences and communities – e.g. new models of production, distribution, value – and highlights the wider social, economic and cultural benefits in doing so.
  • It is about demonstrating leadership to develop the creative sector and cultural market.
  • YCE presents opportunities for networking, skills sharing and development, peer learning, resources, and inspiration.
  • Above all, YCE is a mindset. It’s about taking risks, seeing opportunities and doing something one is passionate about.

Objectives

  • Creative entrepreneurs are primary agents in the dissemination of new creative ideas and cultural experiences. As such they are multipliers in the context of cultural relations.
  • To extend both the understanding of what local audiences are interested in and looking for and how to engage those audiences with new ideas. The YCE network provides vital intelligence that allows shaping the local offer more effectively.
  • To develop useful relationships with entrepreneurial individuals who present new ideas for partnership, collaboration and potentially new funding streams to take forward relationships/projects with greater local relevance and sustainability embedded in them.
  • Through wider engagement and nurturing, investment in this programme and the opportunities that arise from it, this network of YCEs has become a central vehicle for the cultural relations agenda, not just in the arts and creative economy, but a wider engagement that links many strands of British Council activity purposefully together.

Outputs 

A cadre of innovative international entrepreneurs engaged with the UK

leading to:

  • Better market understanding about the creative and cultural economy in the UK and participating countries and improved cultural relations

leading to:

  • The flow of more cultural work between the UK and participating countries

through:

  • The development of a more skilled and entrepreneurial creative sector around the world, with a healthy independent sector able to fund new cultural activities and creative business, with the interest and abilities to work internationally

India’s Creative Industries July 5, 2011

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Highlights 

  • Media and Entertainment is one of the fastest growing sectors inIndia. The entertainment industry estimated at about US$ 9.4 billion in revenues in year 2010 is expected to reach revenues of US$ 10.7 billion in 2011.
     
  • With the advent of new technologies such as 2G and 3G, and increasing mobile penetrationIndia’s music industry is scaling on a high note.
     
  • India is the largest film producing market in the world and one of the largest employment sectors in India. 
     
  • India is the third biggest Internet market, with over 100 million internet user base and the amount of time spent on the Internet for an average user in the country is 16 hours a week. According to Google estimates, 40 million users access Internet through mobile phones and download 30 million applications. New technologies such as 3G, broadband and mobile infrastructure are also helping in propelling this trend. 
     
  • The growth of the fashion industry in India is mainly driven by the growing exposure of domestic designers at international forums attracting a large number of international clients, launch of focused business education courses for emerging designers and the establishment of an industry association. Rising affluence has increased brand awareness among Indian consumers. The Indian textile industry provides direct employment to over 35 million people. 
     
  • Growing wealth and disposable incomes of the country’s middle and upper classes, facilitated by the growth in retail infrastructure for entertainment products and services, and the demands for creativity in business is all opening up vast opportunities for businesses in this sector.

 Copyright: India Brand Equity Foundation, March 2011 (http://www.ibef.org)

Creative Economy July 5, 2011

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Creative Industries was a term coined by the UK and its original definition formulated by the UK government in 1998 was ‘those industries 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.’

With the intention to map the UK’s creative industries, the Department for Culture, Media and Sport (DCMS) had identified 13 creative sectors of economic and cultural activity that conformed to this definition. It included advertising, architecture, the art and antiques market, crafts, design, designer fashion, film, interactive leisure software, music, the performing arts, publishing, software and computer services, television and radio.

The creative industries are an expression of cultural as much as economic value. In addition to their ‘exchange value’, (which is how goods and services find the price level in the market), and their ‘functional value’ (determined by their use in real life), most products and services of the creative industries have ‘expressive value’, a measure of their cultural significance that may bear little relationship to how much they cost to make or how useful they are. This additional value may be of little consequence or long-term significance or it may be an expression of profound cultural importance but it is one of the key elements that differentiate the creative industries.

Many a times the aim to protect and promote particular aspects of the national culture, is not for their direct economic significance but as a means of projecting a clear and positive image internationally – what has been called the projection of ‘soft power’ (Introductory Guide to the Creative Industries).

The term creative economy first appeared in 2001 in the John Howkins’ book The Creative Economy: How People Make Money From Ideas According to him, “creativity is not new and neither is economics, but what is new is the nature and the extent of the relationship between them and how they combine to create extraordinary value and wealth”.

There is no unique definition of the creative economy. It is a subjective concept that is still being shaped. The United Nations Conference on Trade and Development adopts the following definition of the creative economy

  • The creative economy is an evolving concept based on creative assets potentially generating economic growth and development;
  • It can foster income generation, job creation and export earnings while promoting social inclusion, cultural diversity and human development;
  • It embraces economic, cultural and social aspects interacting with technology, intellectual property and tourism objectives;
  • 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;
  • At the heart of the creative economy are the creative industries.

 

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