Creativity and Cultural Production
Below is my brief take on " Creativity and Cultural Production " by Keith Negus and Michael Pickering from the International Journal of Cultural Policy.
In "Creativity and Cultural Production," Negus and Pickering argue that the term 'creativity' is multifaceted and often misused across various contexts, particularly in media and advertising. They highlight how creativity is frequently celebrated in popular discourse, yet this celebration can obscure the complexities and deeper meanings associated with the concept. The authors emphasize that creativity should not be viewed in isolation; somewhat, it is shaped by cultural, historical, and political contexts that influence how it is perceived and valued. They critique the simplistic dichotomy between artistic vision and everyday life, suggesting that creativity exists on a spectrum influenced by the conditions of its production.
Furthermore, the authors discuss the impact of mass culture and the techniques of the media and entertainment industries on contemporary understandings of creativity. They argue that these industries have transformed perceptions of creativity throughout the twentieth century, leading to a more commodified view that often overlooks the intricate processes involved. Negus and Pickering also challenge dominant narratives that portray creativity as solely the domain of individual genius, advocating for recognising the collaborative and contextual nature of creative work. By doing so, they call for a more nuanced understanding of creativity that acknowledges its diverse manifestations and the constraints that can both limit and energize the creative process.
Image 1: AI-generated
How do the authors relate creativity to cultural production in the media and entertainment industries?
Negus and Pickering relate creativity to cultural production in the media and entertainment industries by emphasizing the interplay between creative processes and the structural constraints imposed by these industries. They argue that cultural production is not merely a backdrop for creativity but is integral to understanding how creativity is realized and valued. The authors highlight that the environment of mass culture and the specific production techniques within these industries significantly shape the nature of creative work. This relationship suggests that creativity is often a response to, and is influenced by, the material and social conditions of production rather than being an isolated or purely individual endeavour.
Moreover, the authors critique the traditional notion of the "lone creative genius" by illustrating how contemporary creative individuals often operate within collaborative frameworks that can dilute individual expression. They argue that while these creators may strive for autonomy, they are frequently navigating a landscape of organizational constraints that can both challenge and inspire their creative output. This dynamic illustrates that creativity in the media and entertainment sectors is not just about personal inspiration but is also shaped by collective efforts, industry standards, and the commodification of cultural products. Thus, Negus and Pickering advocate for a more comprehensive understanding of creativity that recognizes its embeddedness within the processes of cultural production.
So, in the case of Papua New Guinea, a country that is diverse and rich in culture and creativity, what suggestions would policymakers consider when developing policies and frameworks to protect their industries while providing opportunities for creative practitioners?
In the context of Papua New Guinea, where cultural diversity and creativity are abundant, policymakers can consider several strategies to develop effective policies and frameworks that protect local industries while providing opportunities for creative practitioners:
Cultural Heritage Protection: Establish policies that recognize and protect the diverse cultural expressions and traditional knowledge of various communities. This could include legal frameworks for intellectual property rights that safeguard indigenous art forms, music, and storytelling, ensuring that local creators benefit from their cultural heritage.
Support for Local Industries: Create incentives for the development of local creative industries, such as grants, tax breaks, or subsidies for artists, musicians, and filmmakers. This support can help nurture talent and encourage the production of culturally relevant content that resonates with both local and international audiences.
Capacity Building and Training: Invest in training programs and workshops that enhance the skills of creative practitioners. This could involve partnerships with educational institutions to provide courses in arts management, digital media, and entrepreneurship, equipping creators with the tools needed to thrive in a competitive market.
Promotion of Cultural Exchange: Facilitate cultural exchange programs that allow local artists to collaborate with international practitioners. This can help broaden their exposure, foster innovation, and create new opportunities for showcasing Papua New Guinea's rich cultural heritage on global platforms.
Infrastructure Development: Improve infrastructure that supports the creative industries, such as performance spaces, galleries, and studios. Access to quality facilities can enhance the production and presentation of creative works, making it easier for practitioners to showcase their talents.
Market Access and Distribution: Develop strategies to improve market access for local creative products, including online platforms that allow artists to sell their work directly to consumers. This can help reduce reliance on intermediaries and ensure that a larger share of revenue goes to the creators.
Community Engagement and Inclusivity: Ensure that policies are inclusive and engage local communities in the decision-making process. This can help identify the specific needs and aspirations of different cultural groups, leading to more effective and relevant policy outcomes.
Sustainability and Environmental Considerations: Incorporate sustainability into creative industry policies, encouraging practices that respect the environment and promote the use of local materials. This approach can enhance the cultural significance of creative works while addressing environmental concerns.
By implementing these strategies, policymakers in Papua New Guinea can create a supportive environment that not only protects the country's rich cultural heritage but also fosters innovation and growth within its creative industries.
Veraibari women participating in the Kutubu Kundu and Digaso Festival 2018
In doing so, how can collaboration among artists, cultural organisations, and government entities be fostered to enhance the creative ecosystem in Papua New Guinea?
Fostering collaboration among artists, cultural organizations, and government entities requires the establishment of structured platforms for dialogue and partnership. Regular forums, workshops, and conferences can be organized to bring together stakeholders from various sectors of the creative ecosystem. These gatherings would facilitate the sharing of ideas, resources, and best practices, allowing artists to voice their needs and aspirations while enabling cultural organizations and government representatives to understand the challenges faced by the creative community. By creating a culture of open communication, stakeholders can work together to identify common goals and develop collaborative projects that benefit all parties involved.
In addition to dialogue, creating formal partnerships and networks can enhance collaboration. This could involve establishing alliances between local artists and cultural organizations, as well as with international entities that can provide expertise, funding, and exposure. Government support in the form of grants or incentives for collaborative projects can further encourage these partnerships. For instance, joint initiatives that combine traditional art forms with contemporary practices can attract diverse audiences and promote cultural exchange. By leveraging the strengths of each stakeholder, these collaborations can lead to innovative, creative outputs that reflect Papua New Guinea's rich cultural heritage while also appealing to broader markets.
Finally, fostering a supportive policy environment is crucial for sustaining collaboration within the creative ecosystem. Policymakers should prioritize the development of cultural policies that encourage partnerships and provide resources for collaborative projects. This includes funding for joint initiatives, tax incentives for organizations that support local artists, and the establishment of cultural hubs that serve as meeting points for collaboration. By embedding collaboration into the fabric of cultural policy, Papua New Guinea can create a vibrant and interconnected creative ecosystem that not only supports individual artists but also enhances the overall cultural landscape of the nation.
And finally, what existing cultural policies are in place in PNG, and how effective are they in supporting local artists and cultural practitioners? What gaps exist in these policies?
In Papua New Guinea, several cultural policies and frameworks have been established to support local artists and cultural practitioners. The National Cultural Policy 2022-2032, for instance, aims to promote and preserve the diverse cultural heritage of the country while fostering the development of the creative industries. This policy emphasizes the importance of cultural identity, the role of arts in education, and the need for cultural infrastructure. Additionally, the Arts and Culture Act (National Cultural Property (Preservation) Act 1965 provides a legal framework for the establishment of cultural institutions and the promotion of artistic activities.
However, the effectiveness of these policies in supporting local artists and cultural practitioners has been mixed. While the policies outline important goals and objectives, implementation often faces challenges such as limited funding, inadequate infrastructure, and a lack of awareness among artists about available resources. Many local artists struggle to access financial support, training, and opportunities for exposure, which hinders their ability to thrive in a competitive environment. Furthermore, the policies may not fully address the needs of marginalized groups or those working in remote areas, leading to disparities in support and access to resources.
Gaps in the existing cultural policies include a lack of comprehensive strategies for capacity building and professional development for artists, insufficient mechanisms for community engagement in cultural decision-making, and limited focus on the integration of traditional and contemporary practices. Additionally, there is often a disconnect between policy formulation and the realities faced by artists on the ground, resulting in policies that may not be fully aligned with the needs of the creative community. Addressing these gaps requires a more inclusive approach that actively involves artists and cultural practitioners in the policy development process, ensuring that their voices are heard and their needs are met.
Disclaimer: This article represents the author’s personal opinions and interpretations of the themes discussed in Keith Negus and Michael Pickering's work on creativity and cultural policy. While influenced by their scholarship, this piece does not necessarily reflect their views or those of any affiliated institutions.
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