Policies that Support Businesses of Cultural and Creative Economy Actors Name of agency(ies) responsible for the implementation of the policy/measure

(former) Creative Economy Agency
Describe the main features of the policy/measure: 

The followings are some forms of support from the government for the business of cultural and creative economy actors:
1. Head of the Creative Economy Agency Regulation 8 of 2017 on the 2015-2019 Strategic Plan of the Creative Economy Agency;
2. Head of the Creative Economy Agency Regulation 9 of 2017 on Marketing of National Creative Economy Products; and
3. Indonesia Creative Incorporated (ICINC).

Support for the Marketing of the National Creative Economy Product is one of the priorities in the 2015-2019 Strategic Plan of the Creative Economy Agency (see Goal 3, Medium and Long-term Sustainable Culture Development Policies and Plans). The (former) Creative Economy Agency (Bekraf) had one of the tasks to facilitate the formulation, designation, coordination, and synchronization of marketing development policies and programmes. Bekraf had been targeting the facilitation of domestic market access for more than 2,050 creative economy actors since 2017 by carrying out more than 125 supporting activities for creative economy actors in developing the local market. Bekraf also sought to increase the knowledge of creative economy actors about marketing by targeting technical guidance for 1,000-2,000 creative actors each year. For foreign markets, Bekraf targeted facilitation to international exhibitions/roadshows for a minimum of 25 creative economy actors each year with business agreements related to global access of four agreements per year.

Bekraf also issued Head of the Creative Economy Agency Regulation 9 of 2017 on Marketing of National Creative Economy Products aimed at promoting actors rights and maximizing the role of the government as a facilitator of advancement of culture for cultural and creative economy actors, specifically in terms of marketing of national creative economy products. The marketing of said creative economy products is carried out with the goals that are specific, measurable, realistic, and time-limited, to:
1. improve the image of creative economy products domestically and internationally;
2. increase the value of business cooperation in each creative economy sub-sector;
3. increase investment value in the creative economy sub-sector;
4. increase business transactions at home and abroad; and
5. increase the value of exports of creative economy products.

Within the framework of marketing support for the creative product, Bekraf initiated the Indonesia Creative Incorporated (ICINC) programme. It is an acceleration program that prepares the expansion of creative products and services abroad intending to promote and further incorporate Indonesia's creative economy products and services into the global market ecosystem. It is a commitment of the government through Bekraf to increase the export value of local creative economy products to the global market.

Bekraf established ICINC for Film in 2017 to develop the film ecosystem in Indonesia. ICINC also synergized and collaborated in formulating policies and accessing matching funds, box office systems and capacity building related to the creation of value chains through film labs, investment with project market and commercialization through film markets and film festivals. Actors who must be involved in this ecosystem are not limited to academics, government, and business (triple helix), but are broader and engage the creative community and the creative work consumer community, and the media (penta-helix). The success of the creative film business is highly dependent on a comprehensive approach to a collaboration involving all stakeholders. As the initial stage of the ICINC for Film programme, Bekraf collaborates with Torino Film Lab (TFL) through the Feature Lab programme. Bekraf sent two film-making teams to participate in residential workshops to receive training and education in the form of consultations for multiple aspects of film making and film development to take part in Torino Film Lab's Feature Lab-360 program. The collaboration between Bekraf and TFL is also supported by film stakeholders including APROFI (Indonesian Film Producers Association), JAFF (Jogja-NETPAC Asian Film Festival), Sea Screen Makassar, IN-DOCS, COLLECTIVE, directors, producers in the company, community, and association.

Within the ICINC framework, Bekraf encourages the participation of Indonesian creative products and service brands in trade shows in various countries, including in the United States: craft exhibition in New York (NY) Now, 10-14 August 2019 and international fashion exhibition Agenda Show and Liberty Fairs, 12-14 August 2019 in Las Vegas. NY Now is attended by more than 25 thousand buyers with around 2,300 exhibitors and brands from various countries. The eight selected participants represent the Indonesia Pavilion at Agenda Show and Liberty Fairs at the Sands Expo, Las Vegas. There are Annas Tribe, KoolaStuffa, Niion, and Reinkarnasi at Agenda Show, while Pot Meets Pop (PMP), Elhaus, Monstore, and Bluesville at Liberty Fairs. Agenda Show offers a streetwear and lifestyle exhibit. Liberty Fairs is a men's contemporary fashion and lifestyle trade show. In 2018, Bekraf also facilitated Indonesian creative actors to get a purchase contract and cooperation with Urban Outfitters, Inc., a multinational lifestyle retail corporation.

In October 2019, Bekraf initiated ICINC EXPO, bringing buyers together with innovative curated companies, and startups, game developers and publishers who are all creative actors ready to enter the global market ecosystem.

In general, policies and measures that support the businesses of cultural and creative economy actors are intended to contribute to the following achievements of the National Strategy for Culture (see Goal 1, Main Policies and Measures that Contain Strategies and Frameworks for the Development of an Integrated Cultural and Creative Economy Sector):
1. Provide space for the diversity of cultural expressions and encourage cultural interaction to strengthen the inclusiveness of culture (Agenda 1);
2. Develop and utilize cultural resources to strengthen the position of Indonesia internationally (Agenda 3);
3. Utilize advancement of culture objects to improve people welfare (Agenda 4);
4. Institutional reform and culture budgeting to support the advancement of culture agenda (Agenda 6);
5. Strengthen the role of government as facilitator in the advancement of culture (Agenda 7).

What are the results achieved so far through the implementation of the policy/measure?: 

Bekraf Outlook Ekonomi Kreatif (OPUS) 2019 provides information on monitoring results of Bekraf's achievements and a forecast of Indonesia's creative economy prospect in 2019. The rapid development of digital technology significantly influences the creative economy sector. Many sub-sectors, such as design, music, fine arts, and others, have begun to use digital technology. In 2018, Ekraf's GDP reached more than one thousand trillion rupiah. This figure continues to increase to over 1.2 thousand trillion in 2019. The Fashion, Handicraft, and Culinary Sub-sectors remain the most significant contributing sub-sectors of creative industries in the Indonesian economy, mainly because they are relatively more resilient relatively more resistant to global economic turbulence. Besides, there are four sub-sectors potential to become a new economic force, namely film, music, art, and games (animation).

Since joining NY Now 2017, Bekraf recorded the total amount of the overseas sales of national products is the Indonesian rupiah equivalent of US$840,000.

In the effort to support the marketing of creative goods and services of the 2017-2018 term, at the domestic level, the Bekraf Marketing Deputy implemented several programs including ICINC Metro TV and KREATORIAL. With a total of eighteen viewings, ICINC of Bekraf video placed between Metro TV shows. Television audience can get first-hand information on creative economy actors and of activities that have been carried out by Bekraf to stimulate the growth of the creative economy. KREATORIAL is a regular rubric in leading national newspapers that presents updated information on the development of the creative economy in Indonesia and other educations related to Ekraf. KREATORIAL is a form of support from BEKRAF to encourage creative economy through media publications, both print and visual.

In its support to the businesses of the cultural and creative economy actors abroad, during the 2017-2018 period, Indonesia participated in four festivals. South by Southwest (SXSW) is an annual film, music, and interactive media festival. SXSW is one of the largest music festivals in the world with 2,500 artists, performers, and bands playing in more than 100 venues. New York Now is an annual exhibition and marketplace for household and lifestyle products that are attended by more than 2,800 companies. New York Now is a form of support from Bekraf in collaboration with the Indonesian Consulate General in New York to facilitate the leasing of land, design, and construction of booths, cargo, promotions, and publications for eight Indonesian brands participating in the event in the United States. In 2017, this B2B type event was held on 19-23 August 2017 at the Jacob K. Javits Convention Center of New York, United States. Salone Del Mobile is one of the prestigious product and craft design exhibitions held annually in Milan, Italy. Indonesia reached an important milestone in 2017 when it took part in the said world exhibition for the first time. La Biennale di Venezia known as the Venice Biennale or Venice Art Biennale is one of the oldest and most prestigious bi-annual art events in the world. The Indonesian Pavilion at the 2017 Venice Biennale, which took place from 10 May to 26 November 2017 in Arsenale, created a new history after Indonesian artist Tintin Wulia built her artwork in two different cities, Jakarta and Venice, with the help of internet.

Partner(s) engaged in the implementation of the measure: 
Name of partnerType of entity
Ministry of Foreign Affairs
Public Sector
Ministry of Trade
Public Sector
Has the implementation of the policy/measure been evaluated?: 
Objetivo(s) de la Convención 2005 de la UNESCO
Cultural Domain(s)
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