Creative industries in developing countries: experience of Kazakhstan
https://doi.org/10.52821/2789-4401-2021-4-100-110
Abstract
Purpose of the research. The aim of the study is to identify the characteristics of creative industries in a developing country like Kazakhstan and derive the main obstacles.
Research methodology. In this study, a descriptive analysis of the creative industries in Kazakhstan was carried out on the basis of a qualitative study (interview), in which 84 representatives of the following spheres took part: performing arts (26 %), design (20 %), craft (14 %), software and computer systems (13 %), music (13 %), cinematography (6 %), architecture (3 %), television and radio (2 %), interactive entertainment programs (3 %).
Originality / value of the research. The concept of creative industries is gaining in importance and infl uence in both developed and developing countries. The results of the study are valuable for both academic and political spaces, enriching the literature with theoretical and practical recommendations for improving the development of creative industries.
The results of the study. As a result of the study, codes were identifi ed, united into groups that formed the following categories: business model, motivation, fi nancing, technology, networks, barriers, position of Kazakhstan and COVID-19, according to which a qualitative analysis of domestic creative industries was carried out. As a result, the decoding of each code revealed that the bulk of the industry representatives (38 %) are individual entrepreneurs, 31 % are freelancers, 21 % are LLP representatives; the main source of funding are the representatives of the industry themselves (65 %), lending (17 %) and government support (6 %), which indicates a low involvement of government agencies in the development and support of creative industries. To eliminate barriers to development, it was proposed to increase the level of state involvement in the form of fi nancial and legal support, to establish communications with foreign representatives to exchange experience and improve the qualifi cations of domestic specialists, etc.
About the Authors
A. S. ZhuparovaKazakhstan
Almaty
A. K. Kozhakhmetova
Kazakhstan
Almaty
References
1. United Nations Conference and Trade Development (UNCTAD). (2008), Trade and development report. New York and Geneva, 234 p.
2. Shilimbetova, G. T. (2016). Kreativnye industrii kak dvizhushchaya sila gorodskogo razvitiya. Vestnik KazNU. Seriya Ekonomicheskaya, 116, 42-51 (In Russian).
3. Creative industries and development : UNCTAD XI High-level Panel on Creative Industries and Development, 13 June 2004 (2004). United Nations Digital Library, São Paulo, Retrieved from http://digitallibrary.un.org/record/522590
4. Oliveira, V. and Silva, M. (2013). Morpho: urban morphological research and planning practice. Revista de Morfologia Urbana, 1, 31–44.
5. Salwa, I. and Suriawati, I. (2011). The Development of the Creative Economy in Malaysia as Experienced in Two Different Case Studies. IEEE Symposium on Business, Engineering and Industrial Applications (ISBEIA), 521-526.
6. Flew, T. and Cunningham, S. (2010). Creative Industries After the First Decade of Debate. The Information Society, 2(26), 113-123, DOI: https://doi.org/10.1080/01972240903562753.
7. Potts, J., Cunningham, S., Hartley, J. and Ormerod, P. (2008). Social network markets: A new definition of the creative industries. Journal of Cultural Economics, 32(3), 167–185, DOI: https://doi.org/10.1007/s10824-008-9066-y.
8. Bærenholdt, J. O., Haldrup, M. and Larsen, J. (2008). Performing Cultural Attractions: Book Chapter. Creating Experiences in the Experience Economy, Edward Elgar, 176-202.
9. Murphy, P. D. (2003). Chasing Echoes: Cultural Reconversion, Self-representation and mediascapes in Mexico: Book Chapter. Global Media Studies: Ethnographic Perspectives, Chapter 14, 257-275.
10. Oakley, K. (2004). Not so Cool Britannia: The Role of the Creative Industries in Economic Development. International Journal of Cultural Studies, 7(1), 67-77.
11. Keane, M. (2010). Great Adaptions: China’s Creative Clusters and the New Social Contract. Continuum: Journal of Media & Cultural Studies, 23(2), 221-223.
12. Sindhu, B. K. (2009). Malaysia Losing Creative Minds in Content Industry: Let the Tap of Local Ideas Flow Freely. The Star, 6, 172-186.
13. Vicziany, M. and Puteh, M. (2004). Vision 2020, The Multimedia Super corridor and Malaysian Universities. 15th Biennial Conference of the Asian Studies Association of Australia, 9, 20 p.
14. Pandiyan, M. V. (May 7, 2009). Overhaul is Long Overdue. Along the Watchtower. The Star Online.
15. Cruz, S. and Teixeira, A. A. (2004). Assessing the Magnitude of Creative Employment: A Comprehensive Mapping and Estimation of Existing Methodologies. European Planning Studies, 22(10), 2172–2209, DOI: https://doi.org/10.1080/09654313.2013.822475.
16. Throsby, D. (2008). The concentric circles model of the cultural industries. Cultural Trends, 17(3), 147–164, DOI: https://doi.org/10.1080/09548960802361951
17. Xu, Y. H., Lu, L. and Yao, Z. X. (2016). Culture and Creative Industry in China: Critical Review on the Current Research Trends and Future Development. International Journal of Innovation and Technology Management, 13(6), 1–24, DOI: https://doi.org/10.1142/S0219877016400162.
18. Gibson, C. and Homan, S. (2004). Urban redevelopment, live music and public space: Cultural performance and the re‐making of Marrickville. International Journal of Cultural Policy, 10(1), 67–84, DOI: https://doi.org/10.1080/ 1028663042000212337.
19. Hall, P. (2000). Creative cities and economic development. Urban Studies, 37(4), 639–649, DOI: https://doi.org/10.1080/00420980050003946.
20. Pratt, A. C. (2008). Creative cities: the cultural industries. Geografiska Annaler: Series B, Human Geography, 2(90), 107–117.
21. Pratt, A. C. (2009). Urban regeneration: From the arts “feel good” factor to the cultural economy: A case study of Hoxton, London. Urban Studies, 46(5–6), 1041–1061, DOI: https://doi.org/10.1177/0042098009103854.
22. Evans, G. (2009). Creative cities, creative spaces and urban policy. Urban Studies, 46(5–6), 51–62, DOI: https://doi.org/10.1177/0042098009103853.
23. Kačerauskas, T. (2012). Creative economy and technologies: Social, legal and communicative issues. Journal of Business Economics and Management, 13(1), 71–80, DOI: https://doi.org/10.3846/16111699.2011.620151.
24. Wyszkowska-Kuna, J. (2009). International Creative Product Exchange. Comparative Economic Research, 12(4), 95–120, DOI: https://doi.org/10.2478/v10103-009-0024-5.
25. Welch, C., Piekkari, R., Plakoyiannaki, E. and Paavilainen-Mäntymäki, E. (2011). Theorising from case studies: Towards a pluralist future for international business research. Journal of International Business Studies, 42(5), 740–762, DOI: https://doi.org/10.1057/jibs.2010.55.
26. Pritvorova, T. P. and Abzalbek, Ye. Zh.(2018). Postindustrialnye uslugi v Kazakhstane: oczenka dinamiki i struktury v kontekste mirovykh tendenczij. Economy of Central Asia, 1(3), 35-52 (In Russian).
Review
For citations:
Zhuparova A.S., Kozhakhmetova A.K. Creative industries in developing countries: experience of Kazakhstan. Central Asian Economic Review. 2021;(4):100-110. (In Russ.) https://doi.org/10.52821/2789-4401-2021-4-100-110