THE UNIVERSITY OF NOTTINGHAM MALAYSIA CAMPUS
Dr Barker, Thomas (University of Nottingham Malaysia Campus)
Dr Lee Yuen Beng Adrian (Universiti Sains Malaysia)
Lim Rui Lin (University of Nottingham Malaysia Campus)
Loke Elween (Universiti Sains Malaysia)

Presented at
CAMDEN2: Trends in Culture, Arts and Media Symposium
Universiti Tunku Abdul Rahman, Malaysia
9 February 2015

Introduction

The Malaysian government has set itself the ambitious target in Wawasan 2020 of becoming a
developed nation by 2020 (Unit Perancang Ekonomi, 2013). Under Wawasan 2020 Malaysia hopes
to be a high income nation with corresponding levels of infrastructure, economic diversity, and
social harmony. With five years to go before this vision needs to become reality, Malaysia is
struggling against a number of ongoing problems including increased social division and tension,
brain drain, corruption, and a policy environment that does not always produce desired outcomes.
Over the past ten years, the creative industries have increasingly been touted as an economic
sector that would be essential to fulfilling the goals of Wawasan 2020. It is expected that the
creative industries will contribute RM33 billion to Malaysia’s GDP by 2020, up from RM9.4 billion in 2012 (“Rais,” 2012).
(Featured Photo:Operalady by Soubhagya Jena

The creative industries have attracted policy attention globally because they have been recognised
as an essential component of post-industrial economies in which forms of knowledge and
information are deployed to generate economic wealth. In a 2014 speech, Prime Minister Najib
Razak proclaimed that the creative industries have “a really big potential to contribute to the GDP” (“Government to continue,” 2014). In 2009 the Dasar Industri Kreatif Negara (DIKN, National
Creative Industry Plan) was launched, outlining the direction and content of Malaysian creative
industries policy in the decade ahead (Menteri Penerangan Komunikasi dan Kebudayaan [MPKK],
2009). Since 2009 Malaysia has been able to boast of creative industries success with the ongoing
success of animated TV series Upin & Ipin (2007) which has been exported to Indonesia, local
office of Rhythm & Hues contributing to the Oscar-winning special effects in the Hollywood movie
The Life of Pi (2012), and Tomato Animation’s Chinese Zombie War games finding markets in
China, Taiwan and Hong Kong (Azizan, 2013).


This paper discusses the DIKN policy paper and the current direction of Creative Industries policy in
Malaysia. In particular it highlights the numerous, often overlapping and confusing, array of policy
initiatives designed to target the creative industries. Some success has been recorded in the
animation and digital media industries which have been a focus of policy attention, but in the film
industry for example which is a staple creative industry, the record of success and policy clarity is
far less apparent. Finally, the paper considers the current projects that are being developed to
boost the creative industries to ask whether they are suitable to the task of building Malaysia’s
creative industries for the transition to developed nation.

Creative Industries and the DIKN

Since the release of the DCMS Creative Industries report in the United Kingdom (Department of
Culture Media and Sport [DCMS], 1998), defining the creative industries, mapping them, and
developing appropriate policy has become increasingly prominent around the world. Urban and
regional administrations from the UK, Hong Kong, Singapore, United States, Australia and other
places have used the DCMS definition as a means to assess and promote their own creative
industries. In the DCMS definition the creative industries are defined 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” and for practical purposes, divided into 13 different categories consisting of advertising, architecture, arts and antiques, crafts, design, fashion, film and video, video and computer games, music, performing
arts, publishing, television and radio (DCMS, 1998). By bringing together previously distinct artistic
and cultural fields such as the fine arts (theatre, dance), with cultural industries such as film and
music, with industries creating content such as advertising, policymakers are able to develop a
single policy platform in order to develop the creative industries, especially as generators of new
economic growth and wealth creation.

Other definitions of the creative industries and categorisations have been developed either in
opposition to the DCMS model which is seen as too reductive and policy-driven or by adopting a
more academic approach. One problem that has been noted, is that the concept of the creative
industries has been driven by policymakers rather than academics. Models such as the Concentric
Circles model which categorises industries based on the ratio of cultural and economic input, with
fine arts forming a ‘core’, in an outer ring cultural industries like film, and on the outside industries
such as advertising (Throsby, 2008). WIPO for example emphasises intellectual property as a
common denominator of what are conventionally grouped as creative industries (World Intellectual
Property Organisation, 2003). However it remains the case that there is significant disagreement
and slippage in current definitions, even if it is generally acknowledged that the creative industries
include film, television, digital media, music, theatre and performing arts, and to a lesser extent
fashion, advertising, arts and crafts, and museums.

Malaysia’s DIKN document issued in 2009 is to date the only policy document that defines and
articulates a creative industries policy for Malaysia. When it was launched the DIKN was touted to
empower the creative industries as a whole based on creativity and innovation, thus contributing to a high income economy and to uphold the nation's cultural heritage” (Yatim, 2011). DIKN divides the creative industries into three categories: Creative Multimedia, Creative Cultural Arts, and Creative Cultural Heritage (see Table 1 below). Whereas the DCMS model does not differentiate between different sectors, the DIKN acknowledges that there are technological, creative, and platform differences between the three. It also makes explicit the emphasis given to digital media which has become a focus of government agencies, and the only creative industries sector targeted explicitly in the 2015 Budget (“Bajet 2015,” 2014).


The twin emphasis in the DIKN is on the economic contribution of the creative industries and on
mainstreaming intellectual property. Expanding employment opportunities is emphasised as is the need to find markets overseas and export cultural products. According to the DIKN document, Malaysia’s creative industries contributed only 1.27% to national income, less than half of what comparable countries record (DIKN quotes figures of 3%-5%). Clearly Malaysia finds itself in a
position of relative disadvantage in terms of the size, contribution, status, strength, and visibility of
the creative industries in comparative terms.

As a key policy document for the Creative Industries, what becomes apparent is that the DIKN is
largely just a generic reiteration of creative industries policy from elsewhere. Whilst the document
adopts global lexicon and reference points, it adopts these uncritically and simply uses them as a
glue to bring together so-called ‘creative’ activities being conducted under the purview of various
ministries and agencies. This is evident in the use of ‘kreatif’ in each of the three categories (see
Table 1.). First, there is no explanation as to why the adjective ‘kreatif’ is needed as each category
is coherent without it. Secondly, the use of ‘kreatif’ is problematic in the ‘Cultural Heritage’ category
when used to bring together museums, archives, preservation (pemuliharaan) and restoration
(pemulihan). It is highly debatable whether preservation and restoration are creative activities and
whether archives and museums are creative in the same way as performing arts or advertising, and
if they are, why are art galleries and libraries not included.

More broadly though, despite the DIKN being formulated as a key policy document outlining how to
develop the creative industries Malaysia, it has not featured as a prominent cornerstone or
reference point for subsequent policy aimed at the creative industries. Despite the DIKN being a
foundational document, in the period since its publication there has been no clear development of
creative industries policy based on or that builds on the DIKN. All the DIKN does is to compile in one document the range of government initiatives that can be classed as promoting the creative
industries under one umbrella called the DIKN. It is nothing more than an umbrella document, and
not a radical rethink or reformulation of the current policy environment. Instead, Malaysian
government policy comes from an array of agencies and through an array of policy initiatives which
as the next section shows, are multiple and complex. There is no effort here to develop much
beyond the recognition that the creative industries need to be developed.

Current Creative Industries Policy

Malaysia’ current policy response and environment for creative industries is somewhat muddled and
confusing with multiple agencies, schemes, and programmes. Most explicit creative industries policy
is implemented by one of two ministries: Ministry of Communication Media (MCMM) or PEMANDU,
the Prime Minister’s Office, but may also come from Ministry of Culture, Arts and Heritage
(Kementerian Kebudayaan, Kesenian dan Warisan). MCMM and PEMANDU operate a number of
different schemes and programmes, designed to encourage and support certain types of work.
Under MCMM sits the important agencies Multimedia Development Corporation (MDEC),
Perbadanan Kemajuan Filem Nasional Malaysia (FINAS) and Malaysian Communications And
Multimedia Commission (MCMC). PEMANDU oversees the Economic Transformation Programme
(ETP) whose goals are closely aligned with Wawasan 2020.

Since the late 1990s, MDEC has been responsible for overseeing the MSC (Multimedia
Supercorridor) and within it the development of digital and technology related industries. The MSC
was envisaged as a kind of technology corridor, similar to Silicon Valley in California, that would
extend from Central Kuala Lumpur down to the administrative centre of Putrajaya and the new
technology centre of Cyberjaya. MDEC’s emphasis is clearly on developing technology based
industries especially those operating in the digital economy, with high speed internet a centrepiece
of the MSC plan. In the Creative Multimedia Cluster (CMC) of MSC status companies, MDEC (2014)
records 399 companies including 104 animation companies, 52 games companies, 100 in film, TV
and VFX, and 54 in new media. Table 2 above records the economic contribution of the companies
in the CMC.

MSC and MDeC have placed significant emphasis on developing digital and new media companies
working in app and software development, animation, digital effects, and so on. To that end, they
have recorded some significant success, especially the support and promotion given to Les'
Copaque Production (bought by Disney in December 2014) who developed the Upin & Ipin
animation series. Another successful MSC-status company was Cyberjaya based subsidiary of the
Californian effects company Rhythm & Hues who employ over 150 artists and others. Rhythm &
Hues went on to win an Oscar for their work on The Life of Pi (2012) which included work from the
Malaysian team.

Yet these strategies have their problems which remain quite fundamental including the availability
of creative talent, long-term viability, and broader eco-system. For example, just before Rhythm &
Hues won the Oscar, the US-based company went into administration, bankrupted by increased
cost pressures despite the company’s outsourcing of labour to its offices in Malaysia, Taiwan, and
India. Luckily for the Malaysia office, the local CEO was able to acquire the company, renaming it as
Tau Films, and to keep the business operating. Yet it shows how tenuous the MSC strategy can be
if it involves foreign companies opening an office to take advantage of the cheaper labour and
operating costs. As many analysts have noted with out-sourcing regimes in general, a company
may just as easily move to another country or jurisdiction if it feels the operating costs and benefits
are more to its favour.

Similarly, the question of creativity itself is problematic here if the Malaysian subsidiary of a
California-based company is used to outsource technical tasks from head office in California. This
means that the major decision making still occurs in the US. Malaysian artists working on the film
may be highly skilled, and solving technical problems, for example how to texture the tiger’s fur for
The Life of Pi, but this is a different role and process compared to the decisions made in
consultation with the film production company. Animation and effects work is celebrated
domestically as a success story of creativity, and looks to be creative because of the use of
computers and new media, but the actual creativity involved and the relationship between
Malaysian subsidiary and its US parent company needs to be interrogated.

In part the emphasis on digital can be seen as not only embracing new technologies and new
opportunities, but escaping the structures and limitations of legacy cultural industries such as film
and television. Policymakers, businesses and entrepreneurs are able to start afresh without having
to deal with established players and agencies such as ruling party owned production company.

According to the repot, only 304 of the 399 companies are listed as active.

Media Prima who dominate in the television space or the national film agency FINAS. Moreover
digital is a new space that offers more global opportunities, and less encumbered by many of the
content problems that film and television have to deal with such as language. Computer games or
video effects can be made ‘culturally odourless’ (Iwabuchi, 2002). For example, Piktochart
(http://piktochart.com/) and MyTeksi (http://web.myteksi.com/#/) also known as GrabTaxi, are
both Malaysian born products but nothing from their design, content and function betray their
Malaysian origins. When products are culturally specific their market is often limited, as is the case
of Upin & Ipin which has only found export markets in Indonesia.

Following the DIKN in 2009, more programmes were introduced targeting growth and development
in the creative industries. These included the RM200 million Creative Industry Fund introduced in
2010 for individuals and companies, especially those engaged in marketing their products in both
the local and global markets. The local animation industry due to its digital content and its potential
for to reach worldwide, was given priority for the funding. From 2011 to 2014, MCMC administered
the Creative Industry Development Fund (CIDF) allocating RM100 million for development of
content for TV, mobile and internet. When the CIDF was ended in June 2014, a total of 44 projects
had been funded, and 39 had been launched (Malaysian Communications and Multimedia
Commission, 2014).

In the 2012 Budget, the Prime Minister of Malaysia announced another RM 200 million for the
development of the creative industry. The initiative involved setting up MyCreative Ventures, a
government investment arm, to administer loans to creative industry businesses following the DIKN
schema. Whereas banks are typically reluctant to provide loans to non-traditional businesses,
MyCreative Ventures is designed to support creative industries businesses who may have a different
cash flow and financial plan compared to normal bricks-and-mortar businesses. In February 2014,
MyCreative Ventures announced investments totaling RM 21 million in 15 businesses (MyCreative
Ventures, 2014). These included a number of fashion houses/designers, music, film, and crafts
businesses.

Later in 2012, the government through PEMANDU and FINAS implemented a program called the
Creative Industry Lifelong Learning Programme (CILLP) under the purview of the Economic
Transformation Programme (ETP). In part its rationale states that “although there appears to be
enough talent to meet the demand, the industry has however expressed serious concern over the
quality and skills of talent pool” (http://cill.my/). Rather than a government agency, CCIG (Creative
Content Industry Guide) an independent NGO organization registered as the Registrar of Societies
Malaysia in the year 2011, was chosen to lead the initiative. CCIG aims to increase relevant skills for
creative content practitioners, inspired by the “lifelong learning” principle that aimed to improve
knowledge, skills and competence within personal, civic, social perspectives. There are four
schemes in the program, namely the up-skilling and re-skilling scheme, internship scheme,
attachment scheme, and creative skills certifications. The field of study in the schemes mostly
include of producing and directing, scripting and screen adaption, animation, games development,visual and special effects, sound effects and production support services. The scheme includes a series of short courses and workshops. Successful applicants must work in the Creative Multimedia Industry for a maximum period of three years.

Also in 2012, the Creative Content Association Malaysia (CCAM) was established under PEMANDU ETP.

The CCAM aims to act as a forum for creative industry players to network and come together,
and for “promoting and exporting local content and creative services to overseas markets and
international broadcasters”. CCAM is headed by Mohd Mahyidin Mustakim CEO of Straits Films Sdn
Bhd, and former head of FINAS and Pesona Pictures. Its board members includes people Astro
(Khairul Anwar Salleh, VP, Malay Language Business), and Media Prima (COO Kamal Khalid) and an Advisory Panel comprising FINAS, RTM, MDeC and ETP. The establishment-bias of its organisational structure and its embeddedness in existing government agencies (FINAS for example) puts into doubt its ability to live up to its industry mandate or represent smaller, independent players in the creative industries. Whether it can serve the interests of the creative industries as a whole, or
merely the interests of its large members (Media Prima, Astro, etc), remains to be seen.

In the five years since the DIKN, a number of programmes and initiatives have been implemented
to develop and grow the creative industries through funding or on skills development. There seems
to be significant duplication, especially in the funding programmes and as researchers we have
struggled to find detailed information about who has been receiving their funds and whether the
funding has been well-used, raising questions of transparency (“Najib not doing,” 2013). In Budget
2015 another RM100 million was allocated for the Dana Industri Kandungan Digital (Digital Industry
Fund) to be administered by the MCMM (“Bujet 2015,” 2014). Despite over RM600 million being
budgeted for the creative industries, information remains scarce about its effectiveness. Creative
industries policy should not just fund productions or companies as this is typically short-term and
unsustainable. So far, little attention has been given to the structures, eco-systems, and broader
concerns that those in the creative industries might have. These would be more fundamental and
structural issues.

FINAS and the Film Industry

Whilst the emphasis has been on digital media, the film industry is one of the key industries in any
creative industries policy constellation. FINAS was established in 1981 to support and develop the
film industry, especially in taking Malaysian productions overseas (Perbadanan Kemajuan Filem
Nasional Malaysia [FINAS], 2014). FINAS operates a number of support initiatives including a 30%
Entertainment Tax Rebate for local films, since 2013 Film-in-Malaysia Incentive (FIMI) which offers
a 30% cash rebate to foreign productions, and some funding for feature film production. Before
FIMI, Malaysia had already been used as a production location including for Anna and the King
(1999) starring Chow Yun-Fat and Jodie Foster, Police Story 3 (2011) starring Jackie Chan, and
Entrapment (1999) starring Sean Connery and Catherine Zeta-Jones. With the completion of
Pinewood Studios Iskandar in Johor state in 2010, it is hoped more foreign productions will utilise

the production facilities and sound stages and the 30% cash rebate (Film-in-Malaysia Incentive
2013). Blackhat (2015) is the first foreign film made in Malaysia since FIIMI was introduced in 2013.
Recent productions that have used the Pinewood Iskandar facilities include 10 episodes of the
Netflix series Marco Polo (2014) and in 2015 the RM50 million (USD15 million) Chinese production
Alien City (“Hollywood film,” 2014). Although it must be noted that they are only partially produced
in Malaysia.

At the same time, FINAS has been marred in controversy due an overtly political role it often takes.
This was most clearly seen in its backing for the film Tanda Putera (2013), a film that dramatised
events surrounding the 1969 Race Riots that remain a sensitive and powerful topic in Malaysian
politics and history. Directed by Shuhaimi Baba, the brother in law of FINAS director Raja Rozaimie,
Tanda Putera courted controversy for its portrayal of ethnic Chinese and the opposition party the
DAP as instigators and perpetrators of the riots. The film was also expensive, costing RM 4,700,000
where average feature film production is half that. The film was banned in Penang, a state held by
the opposition, and played to largely empty cinemas in other states, taking only RM 930,000 at the
box-office, despite government directives for civil servants to support the film. As a highly
contentious and divisive film, FINAS not only endorsed this film and its message but funded it,
raising suspicions that FINAS was playing an ideological role in supporting pro-government history.
Local ethnic Chinese filmmakers have also complained about FINAS not giving rebates to their films.

Profitable local films are eligible for a 30% Entertainment Tax rebate, but until 2010 the rebate was
only available for films with 60% of dialogue in Bahasa Malaysia. The filmmakers behind the
successful Ice Kacang Puppy Love (2010) challenged what they perceived as discrimination because
their film was not in Bahasa Malaysia, despite being a Malaysian film. Films made in minority
languages (Cantonese, Hokkien, Tamil) or indeed English would not qualify for the rebate. Under
pressure from protest and the local media, FINAS changed the criteria so that a film could be
considered “local” and thus qualify for the rebate if the film was subtitled in Bahasa Malaysia, at
least half the film was produced in Malaysia, and at least 51% of the movie rights were owned by
Malaysians. Whilst it is understandable that FINAS would want to support the use of the national
language in film, the way in which the rebate was applied was seen as discriminatory and unfair,
rather than supportive. It was only through pressure from filmmakers and the media that this policy
was changed, and not from any desire to align FINAS policies with the economic agenda of DIKN.
More recently in November 2014, around 3000 film and television workers staged a large rally
protesting work conditions in the film and television industries and the inaction of FINAS in
supporting them (Barker, 2014). Driven by prominent directors Jurey Latiff and Othman Hafsham
and actor Gibran Agi, Switch Off began campaigning for greater worker protections, higher pay, a
unified Creative Content Industry Act and a One Stop Centre to better regulate and supervise the
industry (Sia, 2014). What was most telling about the protest was the frustration expressed towards
FINAS who seen to be not doing their job as the agency responsible for promoting, supporting and
regulating the film and TV industries. It had reached a point where crews and workers felt it necessary to go public with their grievances. Some headway was made when FINAS agreed to
discuss establishing a Creative Content Industry Act and Creative Industry Consultative Council.
What the case of FINAS and the film industry overall shows is that legacy government agencies are
encumbered by a perceived political and ideological role, and an inability to adapt to the demands
and realities of a rapidly changing and globalising creative industry. Whereas the DIKN emphasises
the economic potential of the creative industries, agencies such as FINAS seem slow to adapt to
their demands and conditions, and unable to approach film policy in economic, rather than
ideological or political terms. Adapting to the realities of digital production and online distribution
also challenge ways of working and regulation, especially by FINAS which operated during the film
and broadcast eras of the 1980s and 1990s. Similarly, promoting the creative industries is not just
about promotional efforts but also ensuring the conditions of work and labour are fair and in line
with cost of living expectations, as well as labour laws.

Conclusion

The Malaysian government has set itself the ambitious target of becoming a developed nation by
2020 as outlined in Wawasan 2020. Much of the emphasis in Wawasan 2020 is on economic factors
- such as GDP - but becoming developed also entails a range of other indicators. This would include
having a strong and vibrant creative and cultural sector, supported by world class institutions,
support services and facilities, and a supportive policy environment. Whilst the Malaysian
government has begun to articulate a creative industries policy as seen in the DIKN and in various
programmes and initiatives under the MCMM and PEMANDU, it remains the case that the creative
space is still very fragile and contentious, especially considering the experiences in the film industry
which is really an indicator industry. As of Budget 2014, it appears that the DIKN has disappeared
altogether from the Malaysian government’s policy platforms (“Najib not doing,” 2013).

One thread that emerges from the Creative Industries direction adopted by the Malaysian
government over the past decade is the emphasis on the Creative Industries as a technical and
economic, rather than a social or cultural problem. Significant emphasis has been placed on new
and digital technologies through the establishment on the MSC and MDeC in the 1990s, and this
has continued today in the support given to app and software developers, the MSC status
companies in the Creative Multimedia Cluster, and to digital effects and animation. So far, there
seems to be little emphasis given to addressing possible problems in how creative industries are
structured, regulated, or operate and to broader questions about the educational system or urban
planning. The emphasis has also been on mega showcase projects such as Cyberjaya and Pinewood Iskandar, rather than ecosystem and support structure development. Requests by local filmmakers for a dedicated art cinema to screen local productions has fallen on deaf ears. An art cinema might be economically unviable, but the lack of community voice in investment and decision making is telling.

Finally, to return to the vision of Wawasan 2020, the other problem clearly remains domestic
politics and the political environment which continues to manifest forms of censorship,
discrimination, and less than free markets. Given that the creative industries that produce content
rely on the ability to create without fear of prosecution or censure, Malaysia remains fraught by
forms of censorship, easy sedition, and libel. Moreover, the traditional media remains largely illiberal
and owned by ruling party-linked players, who offer little space for challenging or daring work. Of
course, Malaysia may simply sell content to other illiberal countries, but this may not bode well for
the long term, especially given the significant braindrain currently occurring. For Malaysian creative
industries policy to go forward, there needs to be much greater emphasis on the fundamentals.

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SOURCE: Creative_Industries_Policy_in_Malaysia
Ref LINK:Development Issues for the Creative Economy in Malaysia

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Comment by Dokusō-tekina aidea on April 27, 2022 at 12:40am

Sarawak: Helping local creative industry survive

KUCHING: Sarawak is embarking on a master plan to boost the local creative industry soon.

Chief Minister Datuk Patinggi Abang Johari Tun Openg said the plan is necessary to ensure Sarawak’s young generation would have a meaningful life and culture.

“The Sarawak Music Awards 2020 is expected to be the premier music arts event in Sarawak in the future.


“Now it is time for the state government to become the pioneer of our local creative industry.

“The local music industry needs to be enhanced because I believe this sector is able to contribute a lucrative income for our economic growth,” he said in his speech, read by Tourism, Arts and Culture Minister Datuk Abdul Karim Rahman Hamzah at the launching ceremony of the Sarawak Music Awards 2020 here on Wednesday night.

“What all arts and culture practitioners should do is to look at our cultural and heritage products as a high value commodity.

“This means that traditional music practitioners must be willing to learn and enhance their entrepreneurial skills because this is the key for the creative industry to be a success.”

Abang Johari said the industry now really needs intervention from the state government to ensure its survival.

“The current situation is causing anxiety among those in the creative industry, especially freelancers who depend on their artwork as a source of income.

“Hence, the government decided to provide assistance to our local music artists to dampen the impact from the Covid-19 pandemic.”

He also noted that telco service providers could play a vital role in promoting local musicians and artists.

“Telcos help local musicians and artists through caller ringtone products, offering low subscription fees.

“I hope more parties will come forward to join us to further enhance the music industry in Sarawak, so that it can be expanded across the world.”(By SHARON LING,Thursday, 18 Nov 2021) https://www.newsarawaktribune.com.my

 

Kuching is first Malaysian city on Unesco's creative cities list for gastronomy

KUCHING: Sarawak's capital has become the first city in Malaysia to be accepted to the Unesco Creative Cities Network (UCCN) in the field of gastronomy. 

State Tourism, Arts and Culture Minister Datuk Seri Abdul Karim Rahman Hamzah said the Kuching South City Council and Kuching North City Hall received an official letter from Unesco on the acceptance on Tuesday (Nov 16). 

"We are proud because Kuching is the first city in Malaysia admitted to the UCCN list. 

"(This) is an outstanding achievement and will have a positive impact on local socioeconomic development," he told a press conference here on Thursday (Nov 18). 

Karim said Kuching's application to Unesco was a collaborative effort by his ministry and the two city councils, backed by a number of stakeholders including the Culinary Heritage and Arts Society Sarawak and Society Atelier Sarawak.

 

The Federal Tourism, Arts and Culture Ministry also supported and helped with the submission to Unesco, he said. 

"We should also thank Mother Nature and all the different ethnic groups in Sarawak for their unique heritage menu and food preparation techniques, which helped us build a strong case to get on the UCCN list.

Celebrate a memorable and meaningful Hari Raya 

"Our bountiful harvests are our winning factor and our stories ought to be told to the world," Karim said. 

Meanwhile, his Federal counterpart Datuk Seri Nancy Shukri said Kuching's acceptance was in line with Malaysia's aim to cultivate innovation and creativity towards sustainable and inclusive urban development.

She said her ministry would continue working with the state government and relevant stakeholders on programmes to showcase Kuching's status as a creative city.

"This recognition should make Kuching better known as a cultural destination on the international stage and boost tourism," she added.)(https://www.thestar.com.my,2021/11/18)

Comment by Dokusō-tekina aidea on April 22, 2022 at 4:46pm

Casey Lee:
KADAZANDUSUNS IN SABAH MAY CHANGE THEIR NAME? HERE’S WHAT IT IS

When you fill in government forms, you may notice that there is no other choice other than the standard Malay, Chinese, Indian and Lain-Lain in the race column.

This has always been a problem for East Malaysian natives, who for years have been forced to use “Lain-Lain” as their race, even though they have been given bumiputra status by the Federal Constitution.

Then in 2015, Sarawak made a big change by removing the “Lain-Lain” category for the native groups in Sarawak and a new category was introduced for them. Today, the native groups of Sarawak, whether they are Iban, Bidayuh or Kayan, can now fill in “Dayak” as their race.

But… what about Sabah?

When Sabah was asked for a term to represent all the native groups in Sabah, it submitted a list of its ethnic and sub-ethnic groups that had 42 native groups and over 200 hundred sub-ethnic groups.

.....

While it is the objective of the MNC (Momogun National Congress) to have all the native groups recognised under one united umbrella, it is also their mission to help the native groups be the community that it deserves to be.

“To be organized and successful, the Momogun people must acquire the correct mindset, character and competence to see and absorb the vast opportunities offered by the country,” MNC president Datuk Henrynus Amin, quoted in The Borneo Post

What’s more important and all the native NGOs in Sabah can agree, however, is that it’s time for the native groups of Sabah to unite and have a sense of shared identity. Since the government has agreed to stop using “Lain-Lain” to refer to the native groups in Sabah, it is now up to the native groups themselves to figure out who they are, and how they will control their future.

Whether they will call themselves “Momogun”, “Kadazandusun”, or just “Anak Negeri Sabah”, change has to start from unity and it has to start from a place above religion and politics. (Cilisos 05/02/2017)

愛墾雲端藝廊: 族群和解主題館

兵南邦碧南堂

Comment by Dokusō-tekina aidea on April 21, 2022 at 11:13pm

Sabah Creative Economy and Innovation Centre (SCENIC): Sabah's creative talents can produce world class animation

KOTA KINABALU: Sabah has talents who can produce world-class animation, said permanent secretary of the state Science, Technology, and Innovation Ministry Jasmine Teo.

She was referring to part of the Sabah Creative Economy and Innovation Centre's (SCENIC) five-year blueprint in propelling the state's animation industry as Malaysia's first Toon Boom Authorised Training Centre.

Toon Boom is an innovative animation software that is used by world-class animation companies such as Disney, Nickelodeon, and Warner Bros. Animation.

The training centre has started working with Toon Boom Animation - an animation software company based in Canada and specialising in animation production and storyboard software.

"There is no shortage of creative potential in Sabah. It is not impossible that we may one day be able to produce world-class animation on par with international production.

"In addition, by training animation talents in Sabah we can also provide more job opportunities to them due to the network support available to Toon Boom and its community.

"The state government is very pleased with this cooperation and welcomes the involvement of experts from various industries as well as institutions of higher learning to jointly drive the development of the technology and innovation agenda in Sabah to increase the state's economic results," she said during the virtual launching of SCENIC's five year blueprint.

The launch was also attended by Deputy Permanent Secretary 1, Zainudin Aman and Deputy Permanent Secretary 2, Henry Idol and SCENIC general manager Viviantie Sarjuni.

The virtual event was also witnessed by Malaysian Digital Economy Corporation (MDEC) chief executive officer Mahadzir Aziz, Studio Ace Production chief executive officer Sinn Chun Hou @ Geoffrey, and a representative from Toon Boom.

Speaking on Sabah's animation industry, Sinn said the state needed a platform to provide local talent with opportunity and exposure to compete with the global market.

"We are proud to see the Malaysian flag among other international countries like the United States, Italy, and Canada on the Toon Boom website.

"This means there is plenty of opportunity to be a competent global talent and to upgrade our profile to build more demand for our work."

Viviantie said SCENIC's key thrusts were Creative Chamber, Technology and Innovation, and Innovation Driven Entrepreneurship.

The blueprint has also identified 13 main strategies and 26 initiatives that cover aspects of human capital development and how talent, the discovery of new technologies, and innovations can help drive Sabah's economy.

Facebook SCENIC: https://www.facebook.com/SCENICSabah

"We hope these initiatives can be carried out successfully for Sabah people through the collaboration of various stakeholders because the work of developing a state, in which the demographics are very different from other states, is not an easy task," she added. (By Olivia Miwil - September 29, 2021)

Comment by Dokusō-tekina aidea on April 17, 2022 at 12:28pm

Task force to be formed to study issues faced by creative arts industry: Annuar

KUALA LUMPUR: The Communications and Multimedia Ministry (KKMM) will immediately form a task force to conduct in-depth studies on issues related to the country's creative industry.

Its minister Tan Sri Annuar Musa(pix) said it was also to create a system that would enable the country's creative industry to grow with a structured framework and push the industry to higher levels.

“It's not just a matter of helping arts practitioners, but to look at the industry from a larger perspective and recognise their contributions in the context of prospering the country, driving the economy and attracting investment,“ he said in the ‘Bersama Annuar dalam Twitter Spaces Bernama Radio’ programme that discussed recovery efforts for the Creative Arts Industry.

The discussion was participated by practitioners of the arts from all levels, including leaders of associations representing the group.

They included Malaysian Artistes Association (Seniman) president Zed Zaidi, Karyawan president Datuk Freddie Fernandez; Film Directors' Association of Malaysia (FDAM) president Ahmad Ibrahim a.k.a. Mat London and Professional Film Workers' Association of Malaysia (PROFIMA) president Khir Mohd Noor.

 

Annuar said one of his missions after the country recovers from the Covid-19 pandemic was to no longer see the creative industry operating in a 'business as usual' manner, and instead make it one of the largest industries to contribute to the country’s Gross Domestic Product.

Until then, he said industry players could provide counter-suggestions or even reprimand the government if they found that standard operating procedures (SOP) set for the industry were unreasonable.

“Sometimes, the SOPs are prepared by deskmen in offices, who do not look at things realistically. You can reprimand or suggest to me, and we can amend the SOP,” he said in response to concerns on one such SOP stipulating that filming must be done within a safe zone of at least one kilometer from the nearest settlement area.

Freddie, meanwhile, proposed that a quota system be created for radio stations to provide more airplay for local artists.

On this, Annuar was of the view that there should be a policy or guidelines for radio stations to prioritise local songs over international popular songs to protect and provide incentives and encouragement to local creators, singers and musicians.

“If possible, maybe Freddie can propose this in a formal manner so that the matter can be looked into closely.

“It does not mean that we are shutting out foreign songs but there has to be reasonable balance with priority given to creators, singers and musicians,“ he said.-Bernama (09- 25- 2021 https://www.thesundaily.my)

____________________________________________

Anticipating 2022 for the Creative Industry

The recent reopening of the Arts & Culture sector breathes hope and optimism for the creative industry to bounce back. Let’s initiate conversations now on the anticipations for next year, share some insights on the budget announcement and discuss ways the corporate sector can infuse ESG practices with the Arts. 

This episode is brought to you by CENDANA, in conjunction with Art In The City 2021.

Discussions will include:

Predictions for the Creative Industry in 2022

Insights from the recent budget allocation for the Arts

Conversations on fusing the Arts with ESG

Comment by Dokusō-tekina aidea on April 16, 2022 at 9:30pm

The speakers will be:

Izan Satrina

Founding Chief Executive,CENDANA

Izan Satrina Mohd Sallehuddin is the founding chief executive of CENDANA, a unit under the MyCreative Ventures Sdn. Bhd. (wholly-owned company of Minister of Finance Incorporated) which reports to the Ministry of Communications and Multimedia Malaysia.

CENDANA was created to enhance Malaysia’s cultural and creative ecosystem by Energising the Arts, Empowering the Communities and Reorganising Structures and Policies. Its aim is for Malaysia to be known for its great arts and artists and eventually transform arts and culture into a true economic driver for the country.

Izan served on various industry development committees and was part of the KL Biennale Committee for the National Visual Arts Gallery, Performing Arts Committee for the National Creative Industry Policy, as well as the organize and committee member of The Royal Arts Gala Fund.

 

Junady Nawawi

Group CEO,MyCreative Ventures

CEO of MyCreative Group, Junady Nawawi brings with him over two decades of experience covering an array of corporate disciplines from finance, strategy, strategic investments and restructurings as well as public sector planning and development, having previously held various posts at renowned entities such as BIMB Holdings Berhad, Rothschild Malaysia, UEM Group, Renong Berhad, Aseambankers Malaysia (now known as Maybank Investment Bank) and PriceWaterhouse Coopers (PWC).

Most recently, he served as Senior Director of Strategic Planning at Unit Peneraju Agenda Bumiputera (TERAJU) of the Prime Minister’s Department, where amongst his key responsibilities was the development of proposals to the Malaysian Government for strategic interventions towards developing a long-term road map for Bumiputera economic and socio-economic participation, in alignment with the 12MP and beyond to 2030

 

Zainariah Johari

Head of Arts & Public Spaces,Yayasan Hasanah

Zainariah have been involved in the creative and arts field for almost 3 decades. Starting her career at Asia Pacific VideoLab (APV) in 1990, she gained much exposure to the world of creative content including filming and advertising, visual effect as well as branding.

In 2010, she relinquished her position as CEO of the company after performing the transfer of "digital intermediate" for the company that migrated its operations from semi-digital to fully digital with 4K resolutions which at that time is he state of the arts. She then moved on to produce international content for cable network including Hallmark, AXN as well as working closely with broadcasters in Japan.

Zainariah is currently the Lead of Arts, Culture and Public Spaces at Yayasan Hasanah, a foundation of Khazanah Nasional Berhad. As an impact area lead, her main task is to achieve the vision and mission of the pillar which is the preservation, conservation and protection of the nation’s cultural assets.

 

Rafe Haneef

CEO, Group Transaction Banking,CIMB Foundation

Rafe Haneef is the Chief Executive Officer of Group Transaction Banking and the Chief Executive Officer of CIMB Foundation. He oversees the transaction banking business, including trade finance, cash management, securities services and financial institutions. At CIMB Foundation, he spearheads CSR activities across four strategic pillars: education, economic empowerment, environment, health and community well-being.

Mr Haneef has more than two decades of experience across a range of businesses and functional roles, having worked for three global banks, an international asset management company and a legal firm, in financial centres including London, Dubai and Kuala Lumpur. He was previously the Chief Executive Officer of CIMB Islamic Bank, where he was instrumental in the organisation’s inclusion in the Value-based Intermediation Community of Practitioners, and worked to promote sustainability among Islamic finance institutions in Malaysia. He was also instrumental in driving the sustainability agenda at CIMB and was the first Group Chief Sustainability Officer. He was also instrumental in CIMB Group’s becoming a member of the RFI (Responsible Finance and Investment) Foundation and a founding member of the United Nations Environment Programme Finance Initiative.

Before joining CIMB, Mr Haneef held several roles including Chief Executive Officer for Malaysia at HSBC Amanah, Regional Head for Islamic banking (Asia-Pacific) at Citigroup, and Global Head of the Islamic finance business at ABN AMRO in Dubai. He holds law degrees from the International Islamic University Malaysia and Harvard Law School, and has qualified for the bar in Malaysia and New York State.

 

MODERATOR: Dr Zokhri Idris

Director Of External Relations,Institute of Democracy and Economic Affairs (IDEAS)

Zokhri Idris has held some academic positions in International Relations (IR) research and teaching, heralding as the Deputy Dean of Student Affairs at the Management and Science University. He had served as a senior faculty member of Faculty of Business Management and Professional Studies (FBMP), MSU after completing his industrial attachment at Puncak Niaga Management Services as an assistant manager serving the Strategic Resources and Public Relations Division. His area of research focuses on the changing nature of diplomacy and sovereignty of developing nations, especially Malaysia. This leads to the establishment of Eirene Research, to explore leadership and diplomacy in International Relations. He co-founded ARUS, an avenue to nurture talents and empowerment for the Malaysian youth. Currently, he serves Institute of Democracy and Economic Affairs, Malaysia (IDEAS) as Director of External Relations.

 (Nov 10, 2021 https://www.malaysiakini.com)

Comment by Dokusō-tekina aidea on April 15, 2022 at 9:38pm

National creative industry policy must be improved - Saifuddin

The National Creative Industry Policy (DIKN) must be re-assessed and improved to spearhead the growth of the national creative industry, said Communications and Multimedia Minister Datuk Saifuddin Abdullah.

At the same time, he said, an audit must be conducted of the expenses incurred so far because the creative industry fund was limited.

There must be proper planning of future expenses which should be transparent and responsible, he said.

“We also need to list out who should be responsible for which creative area,” he said in his posting on his Facebook account today.

Saifuddin said since being in the ministry, he has held 10 consultative sessions with the stakeholders and identified the objectives, some of which have been fulfilled.

This includes the National Creative Task Force (PPIKN) which will be set up, and jointly chaired by Saifuddin, and Tourism, Arts and Culture Minister Datuk Seri Nancy Shukri, with members from the government, industry and the public.

“Its role will be to develop a holistic, futuristic and global eco-system for the national creative industry. This includes providing a central platform or national umbrella body ...the creative industry must become a national agenda,” he said.

Saifuddin said the ministry has also set several specific objectives such as a local film winning an Oscar Award, local music winning the Grammy Award and Malaysia improve its international ranking such as the ‘International Box-Office Revenue Ranking’.

On globalisation, Saifuddin said the ministry will work with the Foreign Ministry to create a creative content industry which is competitive and of international standard.

He said in order to empower the national creative industry, focus must be given to the welfare of arts enthusiasts and resolve their issues.

"For instance, the definition of various jobs, data, education, training, scholarship, jobs for graduates, local content, registration and documentation of individuals (SOCSO, EPF, IRB), accreditation, entrepreneurship and bank loans.

“Also tax incentives, entertainment tax, revision of existing laws, copyright, enforcement, differing regulations in different states, legal advice, local versus foreign productions, compulsory screening, music bodies, digitalisation, current technology and future trajectories,” he said.

Saifuddin also said as many arts enthusiasts faced problems arising from the COVID-19 pandemic, the government had drawn up a list of writers, artistes and singers to be given aid under the PRIHATIN Package.

For singers, there are several online programmes such as RTM’s “Nyanyi dari Rumah” while the ministry has organised the “Muzik dari Rumah” programme on youtube and the Muzik Malaysia website.

"At the time this (posting) is written, the government is planning an Economic Recovery Plan which will be announced by the Prime Minister soon. The Ministry has submitted its proposals to the Finance Ministry.

“In order to allow arts enthusiasts to resume work under the Conditional Movement Control Order (CMCO), the government has allowed shooting of films, dramas, documentaries, and advertisements after Hari Raya Aidilfitri. Discussions are now being held for live events,” he said.
(Bernama : 27 May 2020)

Comment by Dokusō-tekina aidea on March 20, 2022 at 9:29pm

Seminar on Nurturing Sabah’s Creative Rural Communities

A seminar entitled “Nurturing Sabah’s Creative Rural Communities” was held on the 12 October 2017 at the Shangri-La’s Tanjung Aru Resort and Spa, Kota Kinabalu Sabah. The one-day seminar was jointly organised by the Institute for Development Studies (Sabah) in partnership with Konrad-Adenauer-Stiftung (KAS) and in collaboration with the Society of Performing Arts Kota Kinabalu Sabah (SPArKS). It was attended by almost 250 participants comprising mainly industry players from both the private and government sectors, government-linked companies (GLCs), non-government organisations (NGOs), academicians, and policy makers. 

The objectives of the seminar were to increase awareness of the creative industries sector and its potential role in rural development, particularly among local communities; to provide a forum for the exchange of knowledge with other experts on successful creative communities’ initiatives; to discuss key opportunities and challenges in creating and nurturing rural creative communities; and to obtain inputs and ways in which local development authorities and the private sector can support creative communities. 

The seminar was officiated by the then Minister with Special Tasks, Y.B. Datuk Seri Panglima Teo Chee Kang. 

In the keynote address, the Chief Minister said a “uniquely Sabah” approach and the grassroots participation will provide the best prospect to position the state in the national and global creative industries market. He underlined the fact that Sabah is well recognised as culturally diverse with vast resources in the fields of performing arts, visual arts, film and handicraft. As such, he stressed that the development of creative industries locally needs to focus on the various strength that Sabah has in terms of creative resources. The Chief Minister also pointed out that although most measures surrounding the development of the creative industries were centred in urban areas, most of Sabah’s creative assets are ‘rural-centric’ and particular key ‘creative place’ strengths that exist in rural areas can attract creative workers. He said developing creative industries in rural areas generates potential high quality enterprise, employment opportunities and contribute to rural diversification. 

Meanwhile, Datuk Mohd. Hasnol bin Ayub, the then Executive Director of IDS said in his speech that the State government through the State Economic Planning Unit (UPEN) had commissioned IDS to undertake the “Study on the Development of the Creative Industries in Sabah”, completed in 2015. He said the study provides an avenue for the State to move into a new phase of economic and social development.  Datuk Hasnol added that IDS has been involved in several initiatives to set in motion some of the action plans as recommended in the study such as the creation of Sabah’s first multipurpose community theatre or Black Box theatre. He emphasised that such initiatives will provide the impetus to facilitate the government agenda of developing the creative industries in Sabah. 

The then Chairman of IDS, Datuk Seri Panglima Clarence B. Malakun stressed the need for Sabah to develop and produce sustainable creative communities and entrepreneurs in the rural areas.  He said the world economy today is no longer purely based on industry and physical work, but more focused on creative ideas which can be turned into creative action to produce creative innovation. 

The seminar commenced with a video presentation which gave an overview of the development of the creative industries in Sabah.  The seminar was divided into three sessions and a total of five papers were presented by industry players in the various fields of the State’s creative industries. 


Session 1: Cultural Heritage
 

Paper 1: “Preserving Our Culture, Heritage and Improving Standard of Living” by Zaiton Bakri, General Manager, Sabah Handicraft Centre 

The paper covered topics including a general introduction to the Sabah Handicraft Centre, its vision, mission and responsibilities, as well as programmes held under the Centre.  The Sabah Handicraft Centre acts as a centre for development of Sabah’s Craft Heritage and also as a one stop center of collection training, marketing, research and craft development.  It also collaborates with other agencies to promote and further develop crafts within Malaysia and internationally, and complying with the State Government in realising the One Industry One District (SDSI) concept.  The Centre focuses on crafts based on bamboo, rattan, ribu-ribu, woodworks, furniture, ceramics, hydro stone, fiberglass, glassware, textile such as Batik and other embroidery such as Sulaman Pis and Dastar. A video presentation entitled “Sabah Batik Crafted for the World” was also shown during the presentation. 


Paper 2:
“Filling the Basket to the Brim – Potential for the Making and Marketing of Baskets in Sabah” by Jennifer P. Linggi, Curator, Sabah Art Gallery (Balai Seni Lukis Sabah) 

The second paper focussed on traditional baskets of various indigenous groups in Sabah such as buan, tanyen, bakang, kelupit, kapan and barait, which was presented in the form of pictures and drawings with actual measurement of each craft and usage. Currently, Sabah does not have a good documentation on traditional art or basketry crafts. It is important to have a story behind every local product. To make the product more sellable and marketable. It is also important for the present generation to encourage the new generation to utilise local indigenous craft and attire to keep the tradition alive. 


Session 2: Performing Arts
 

Paper 3: “Creative Placemaking – Intersection between Arts, Culture and Community Development” by Susan Bansin, Theatre Leader and Committee Member, Society of Performing Arts Kota Kinabalu Sabah (SPArKS) 

The presentation started with a moving monologue by the presenter. It is believed that arts not only enhance human development, but also can help shape the social, physical, cultural and economic identity of a community, spurring economic development, creating stronger social cohesion and revitalising disinvested communities. This intentional intersection between arts and culture and community revitalisation is called “creative placemaking”. 


Paper 4: “Bamboo and Wood Music Innovation”
by Kohadie Koch Watiman, Group Leader of Kinabalu Merdu Sound, Bundu Tuhan 

The paper noted that bamboo and wood music played an important role in boosting the economy in the rural areas, and produce job opportunities for the local community, as such in Kundasang. Traditional bamboo and wood music can help to promote the identity of Sabah as one of tourist attractions. It is also a way to preserve the almost forgotten traditional music.  It is vital for both the government and private sector to understand that the industry is one of the important ingredients to develop the tourism industry. The presentation ends with a performance by Kinabalu Merdu Sound, which performed Sabah ethnic music with bamboo musical instruments. 


Session 3: Creative Media
 

Paper 5: “Kampung Greenscreen: Using Innovation and Film to Develop Rural Communities” by Jo Luping and Aaron Cowan, Producer/Director of Siung Film Productions Sdn. Bhd. 

The paper disclosed the presenters’ experience in the making of the movie “Huminodun”, the first full-length Kadazan movie. The paper highlighted several solutions for the development of the film industry in Sabah.  There is a need create a coordination unit within the State to reduce bureaucracy. The government should also look into the creation of Creative Hubs in the rural regions, which can be set up at a minimum cost. These hubs are currently being implemented in Sarawak for the purpose of exporting skills anywhere in the world.  The paper also stressed the importance to develop internships between training centres in Sabah and local production houses. There is also an opportunity to set up a film rental business which caters for heavy gears such as stands, lights, cranes and dollies. 

In summary, the seminar was held successfully and achieved its overall objectives in creating awareness of the creative industries sector in Sabah as a whole. It also highlighted its potential contributions to rural development, and in providing an avenue for industry players to disseminate information and updates on a diverse array of successful creative community initiatives in the rural areas. The number of participants was beyond expected and exceeded the actual target. The participants had shown a keen interest in all the topics discussed and they were a lot of interactions between the speakers and participants during the question and answer sessions. The overwhelming response may be due to the fact that this was the first ever creative industries-related seminar organised in Sabah. It is hoped that more related seminars could be organised in the future to increase public awareness particularly on creative rural communities. (by Alden Alex Raymond & Richard T. Koh / June 18th, 2020 | https://ids.org.my         

 

Comment by Dokusō-tekina aidea on March 20, 2022 at 5:07pm

Olivia Miwil: Sabah's creative talents can produce world class animation

Further Reading:

Sabah Creative Economy and Innovation Centre (SCEIC)

Pitchbah! competition aims to create job opportunities and teen ent...
Sabah wants more students in Stem to meet future digital challenges


KOTA KINABALU: Sabah has talents who can produce world-class animation, said permanent secretary of the state Science, Technology, and Innovation Ministry Jasmine Teo.

She was referring to part of the Sabah Creative Economy and Innovation Centre's (SCENIC) five-year blueprint in propelling the state's animation industry as Malaysia's first Toon Boom Authorised Training Centre.

Toon Boom is an innovative animation software that is used by world-class animation companies such as Disney, Nickelodeon, and Warner Bros. Animation.

The training centre has started working with Toon Boom Animation - an animation software company based in Canada and specialising in animation production and storyboard software.


"There is no shortage of creative potential in Sabah. It is not impossible that we may one day be able to produce world-class animation on par with international production.

"In addition, by training animation talents in Sabah we can also provide more job opportunities to them due to the network support available to Toon Boom and its community.

"The state government is very pleased with this cooperation and welcomes the involvement of experts from various industries as well as institutions of higher learning to jointly drive the development of the technology and innovation agenda in Sabah to increase the state's economic results," she said during the virtual launching of SCENIC's five year blueprint.

The launch was also attended by Deputy Permanent Secretary 1, Zainudin Aman and Deputy Permanent Secretary 2, Henry Idol and SCENIC general manager Viviantie Sarjuni.

The virtual event was also witnessed by Malaysian Digital Economy Corporation (MDEC) chief executive officer Mahadzir Aziz, Studio Ace Production chief executive officer Sinn Chun Hou @ Geoffrey, and a representative from Toon Boom.

Speaking on Sabah's animation industry, Sinn said the state needed a platform to provide local talent with opportunity and exposure to compete with the global market.

"We are proud to see the Malaysian flag among other international countries like the United States, Italy, and Canada on the Toon Boom website.

"This means there is plenty of opportunity to be a competent global talent and to upgrade our profile to build more demand for our work."

Viviantie said SCENIC's key thrusts wereCreative Chamber, Technology and Innovation, and Innovation Driven Entrepreneurship.

The blueprint has also identified 13 main strategies and 26 initiatives that cover aspects of human capital development and how talent, the discovery of new technologies, and innovations can help drive Sabah's economy.

"We hope these initiatives can be carried out successfully for Sabah people through the collaboration of various stakeholders because the work of developing a state, in which the demographics are very different from other states, is not an easy task," she added.

(September 29, 2021 https://www.nst.com.my)

Comment by Dokusō-tekina aidea on November 23, 2020 at 10:09pm

Patrick Cooke·Can the creative industries of ASEAN make waves?

Strolling through Bonifacio Global City on a sunny Saturday, it is easy to spot the groups of smiley teenagers self-learning slick K-Pop dance moves in the shadows of gilded skyscrapers and leafy parks. 

This joyful scene in a privileged enclave of Metro Manila is replicated every weekend across the sprawling cities of South-east Asia, as teens continue to ride the seemingly unstoppable “Korean Wave”. Whereas US music stars once reigned supreme in the Philippines and the wider region, they now compete for affection with the latest K-Pop idols to roll off the conveyor belt in South Korea. 


K-Pop is just one element of Korean popular culture that has made inroads across the region and beyond in recent years, alongside TV dramas, movies, cuisine, fashion, cosmetics and video games. It has been driven not just by the creativity of Korean artists, performers and designers, but by a highly corporate – and sometimes ruthless – approach to talent management, combined with innovative social media strategies to engage directly with consumers and supportive government policies.      

As a result, South Korea’s cultural exports generated a record $8.2bn in 2017, and the Korean Wave – known in the mother country as Hallyu – has been partially credited for driving growth in the tourism industry. Other soft power benefits are more difficult to quantify yet easy to imagine. 

But should the fast-growing nations of ASEAN be content to remain consumer markets for the pop-culture giants of South Korea and the US, or can they realistically aspire to nurture their own creative industries into new growth engines for their economies?

 

A new economic pillar for the Philippines?

The Philippines is certainly in need of new growth engines. Expansion in two of the country’s major foreign exchange earners – business process outsourcing (BPO) and overseas remittances – has moderated in recent times. 

The BPO industry is challenged by advancements in artificial intelligence and the proposed rationalisation of incentives for foreign investors in economic zones, while remittances have taken a hit from the 2014-16 oil price slump that impacted Middle Eastern states popular with Filipinos seeking opportunities abroad, as well as the repatriation of workers from that region this year.  

 

Can the creative industries pick up some of the slack? That is one of the questions to be addressed next month in Manila at the Arangkada Creative Industries Forum, hosted by the Joint Foreign Chambers and supported by Oxford Business Group. 

The Philippines has many inherent advantages that could support the growth of the creative industries. First and foremost, it has a large, consumption-driven internal market, buoyed by advantageous demographics. The median age is one of the lowest in Asia, and the Philippine Statistics Authority forecasts the population to expand from 92m in 2010 to 142m by 2045. This creates a fertile ground for a vibrant youth culture to flourish, sustained on a diet of music, film, fashion, arts and online content. The innate Filipino creativity and all-pervasive musicality is impossible for first-time visitors to the country to ignore; the challenge lies in harnessing this for wider economic benefits.

 

Already we see signs of success and growing demand for local cultural content, as evidenced by the highest-ever grossing Filipino movie at the box office in 2018. As far back as 2014, the creative industries contributed as much as 7.34% of national GDP and 14.14% of employment. Philippine culture also holds natural cross-over appeal for a wide variety of international markets, owing to its unique blend of Hispanic, American and Asian influences. 

Beyond music and audio-visual content, the Philippines can also look to capitalise on its existing pool of digital talent in the well-established BPO sector to further develop the creative process outsourcing industry, focusing on more high-value activities such as graphic design, online marketing and web development, while also branching out into the lucrative video game development industry.

 

However, if the country is to truly realise its vast potential as a global hub for creativity, a more cohesive master plan may be needed to establish a viable ecosystem that ensures Filipinos have access to the financing and tools required to develop their considerable talents, as well as an effective means to access local and international markets. As Paolo Mercado, president of the Creative Economy Council of the Philippines, told OBG in an interview this month, a more stringent framework for intellectual property rights might be needed to ensure the creative accomplishments of Filipinos are legally protected and adequately compensated.       

 

Indonesia well positioned for creative economy growth

Another ASEAN member state in need of new growth engines to counteract weaknesses in its domestic economy is Indonesia. Indeed, the country shares many similarities with the Philippines in that it is a vast and highly populated archipelagic nation whose economy is largely dependent on private consumption. 

As it undertakes a variety of policy measures to address its chronic current account deficit and stabilise the currency, the administration of President Joko Widodo (Jokowi) has recognised the potential of creative industries to boost domestic consumption and increase foreign exchange earnings. In 2015 the Jokowi administration mandated the establishment of the Creative Economy Agency (BEKRAF), tasked with nurturing the growth of film, fashion, music, handicrafts and other creative industries to end an overreliance on commodities.

 

Oxford Business Group recently conducted an interview with BEKRAF head, Triawan Munaf, which will be published in our forthcoming Indonesia 2019 report. Since the contents of that interview are still going through the editing process, I will point to separate comments he gave to international media earlier this year, in which he highlighted that the creative industries contributed 7.4% to Indonesia’s GDP in 2017, with the target being to raise this to 9% by 2020. 

During the most recent incarnation of Indonesia’s foreign negative investment list, published in 2016, film production, distribution and screening were opened to 100% foreign investment for the first time, which has led to a surge in the number of cinemas and ticket sales across the country.

 

Indonesia can also capitalise on demand for its cultural content beyond the 250m people who live there, as its national language is a variation of Malay that is widely understood in Malaysia, Brunei Darussalam and Singapore. 

The country’s leadership potential should be further boosted next month, when it hosts the inaugural World Conference on Creative Economy in Bali, which is expected to attract over 1000 local and international delegates. One potentially unwelcome challenge on the horizon for Indonesia’s nascent creative industries could be posed by the rise in sectarian politics and religiously conservative ideology. It will be interesting to see how Indonesia can harness the economic potential of a dynamic and creative youth culture without igniting opposition from more reactionary elements of society.

 

About the Author: Patrick Cooke, Asia Regional Editor of Oxford Business Group

Source:26 Oct 2018 Oxford Business Group

Comment by Dokusō-tekina aidea on November 23, 2020 at 10:06pm

Developing Creative Economy, Bekraf Collaborates with
Asian Philanthropy Network


Businesstoday.id, Jakarta - The Creative Economy Agency (Bekraf) collaborates with the Asian philanthropic network, the Asian Venture Philanthropy Network (AVPN), to develop the creative economy in Indonesia.

"Synergy with AVPN is expected to increase startup opportunities and creative economic players get additional capital while increasing their skills in the creative industry," Deputy Capital Access Bekraf Fadjar Hutomo Fadjar said after signing a memorandum of understanding of the agency's second collaboration with AVPN CEO Naina Subberwal Batra in Jakarta, Monday (09/10/2018).


Fadjar explained, the development of the creative economy through the approach to startup development has been constrained by funding sources.

"Startup in every phase of his life requires dierent funding. So the role of government and angel investors or philanthropy ventures is needed to be able to help their development, "he said.

In the memorandum of understanding, Bekraf and AVPN are committed to fostering skills opportunities and livelihoods for creative economic actors in Indonesia, increasing employment and exports, and facilitating stakeholders to support creative economic development in the country.

Both institutions will also mobilize social investment capital from various stakeholders, provide opportunities for capital collaboration that have a sustainable social impact and improve the quality of life of Indonesian people with the creative industry.

In the next stage, the two institutions will work together to conduct research, publish reports on existing funding, and increase employment in Indonesia's creative industry.

Meanwhile, Naina Batra welcomed the cooperation to support the creative economy sector in Indonesia.

Even so, he claimed he would still study which projects could be funded by philanthropists.

He stressed the importance of such cooperation because it can encourage the creation of jobs throughout Indonesia, not only in Jakarta.

"We will identify fund owners who are interested in supporting the creative economy in Indonesia. So, we cannot mention the amount, "he said.

Naina also said later that cooperation would not only be limited to funding in the form of money capital but also intellectual capital and capacity building. (aij)

By Business Today - September 10, 2018

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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