2022年文化产业英文文献汇编 .pdf

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1、1. Introduction It is generally recognized that the 21st century will be a century of globalization. Notwithstanding all the benefits of economic globalization, it causes the substantive threat of cultural globalization (Grazuleviciute, 2006). Culture is important driving force in the process of urb

2、an economic development (Songjie, et al., 2011). Nowadays, it is becoming increasingly important to preserve the valuable cultural heritage of history. Protecting cultural heritage is economical, as well as historical, and also a cultural process (Ekwelem et al.,2011). Culture heritage can be one of

3、 country? s main revenue through tourism. Cultural heritage is not only former history, but also one of the main identities of a nation. As key resource, cultural heritage has become adriver for sustainable development. Cultural heritage can be managed and preserved through several ways. One way tha

4、t commonly used is preserving cultural heritage through creative industry. Cultural-creative industry is one of creative-industry type. Creative industries are becoming important components of modern post-industrial knowledge-based economies. Not only are they thought to account for higher than aver

5、age growth and job creation, they are also vehicles of cultural identity that play an important role in fostering cultural diversity (UNESCO, 2005). The important question is what are factors that must be considered in preserving cultural heritage through creative industry? How the creative industry

6、 can combine culture and business principle to get succeed in preserving cultural heritage? The objective of this paper is to answer those research questions, particularly to show how creative industries succeed in preserving cultural heritage. 2. Literature Review 2.2 Cultural and creative industri

7、es The terms “ culture industries” and “ creative industries” are often used interchangeably; there is little about these terms and little appreciation or official explanation of the difference between the two (Galloway et al it will come up with a feast of learning about the international conversat

8、ion around these terms and the activities that come under their banner. This conversation is part of the global awakening about what 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 1 页，共 6 页 - - - - - - - - - creative activity means for our present lifestyle and our f

9、uture economic survival (Pippen, 2008). The term cultural industries refer to industries which combine the creation, production and commercialization of creative contents which are intangible and cultural in nature. The contents are typically protected by copyright and they can take the form of a go

10、od or a service. Cultural industries generally include printing, publishing and multimedia, audiovisual, phonographic and cinematographic productions as well as crafts and design (UNESCO, 2005). The definition of the cultural industries and its related terms has been the subject of intense debate ov

11、er the last few years. It is related to cultural forms that can be intangible and tangible. Industries often claim themselves as cultural industry while not engaged in the preserving cultural heritage. But according to the terms of the Convention on the protection and promotion of the diversity of c

12、ultural expressions adopted by UNESCO in 2005, cultural industries produce and distribute cultural goods or services which, at the time they are considered as a specific attribute, use or purpose, embody or convey cultural expressions, irrespective of the commercial value they may have. . In this pa

13、per, cultural industry means kind of industry which has purpose to preserve culture, includingtangible and intangible culture. 3. Methodology 3.1 Data collection and research methodology As an exploratory study, this research adopts qualitative approach in order to combine an in depth understanding

14、about preserving cultural heritage through creative industry. Qualitative approach is proper for this research because this research aims to gather in-depth understanding of creative industry behaviour and the reasons that govern such behaviour. The case study methodology allowed us to combine diffe

15、rent data collection strategies: observation and interviews. The study involved multiple sources of data, such as semi-structured interviews, analyses of organisations?annual reports, use of website materials and semi observation. This study took about one month semi observation. The semi-structured

16、 interviews conducted with Head of each division. Since SAU has seven main division (sales and marketing, finance and accounting, corporate secretary, human 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 2 页，共 6 页 - - - - - - - - - resource, guest-relation officer, g

17、eneral and household, and craft and souvenir division), this research conducted seven semi-structured interviews.The limitation of this methodology is this case study only take in one industry. The research is also onlyqualitative, not combined with quantitative (i.e. using questionnaire). Improveme

18、nt in methodology can be conducted to gather more accurate result. 4. Key successful factor for preserving cultural heritage through creative industry There are three main parties involved and two core strategies in preserving cultural heritage through creative- cultural industries. The three main p

19、arties should be involved are government, educational institution, and society. Furthermore, the two core strategies (commonly used in creative-industry in advance their business) are training the human resources and has proper marketing strategy. The following section discusses the key findings fro

20、m the case study analysis, structured by the five identified themes. 4.1 Training and education of art A significant theme identified in all of the top performing cultural-creative industry was the importance of human resource and training. Children who perform at SAU show are called ,talent?. Befor

21、e the talent can perform at the show, about how to play music with Sundanese music instruments by trainer for several weeks. Talent can perform if they have advance in playing Sundanese music instrument. SAU also provide dance studio, with the purpose of teaching the talents about Sundanese dance. C

22、hildren can choose dance if they prefer dancing than playing music instrument. “ If children prefer dancing than playing angklung ,they can perform as dancer. We have dance trainer and dance studio to teach the talent,”said Head of Performance Division. It makes the children happy with their activit

23、ies and the love their culture without any element of compulsion. It also help the children elaborated theirtalents or ability in art.Training and education of art to the children foster a sense of belonging and love for their own culture.Furthermore, it is very helpful in culture preservation becau

24、se foster the next generation who are knowledgeable about local culture. 4.2 Cooperation with government for international recognition and promotion SAU make good cooperation with local government in legal aspect. SAU cooperate with Ministry of Foreign Affair of Indonesia, to distribute their produc

25、t and introduce 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 3 页，共 6 页 - - - - - - - - - Sundanese culture to around the world. This partnership is very valuable to carry up the name of Saung Angklung Udjo into international tourism. Saung Angklung Udjo also can be

26、come go international in performing their cultural art and in Sundanese culture products. In 2010, to complete its mission (to conserve and preserve Sundanese culture), Saung Angklung Udjo prove its sincerity by participating on registers Angklung at UNESCO with the aim of protecting the instruments

27、 as one of Indonesia?s culture heritage(UNESCO, 2010). “ In 2012, Indonesian government challenge SAU to produce 150,000 units angklung in one year. The angklung will be distributed all around Indonesia and also will be exported to other countries.,said the head of Production Division. It proves gov

28、ernment have important role in preserving cultural heritage. With the help of government, SAU can work better on its mission to preserve angklung as Indonesian cultural heritage. 4.3 Cooperation with educational institution SAU holds function as an art educational institution. SAU executes education

29、al activities include training, Sundanese art and cultural research, seminar and workshop. SAU holds cooperation with several educational institutions in order to expand their market, and organize some events. Many universities frequently invite SAU to perform at their event. It helps SAU in their m

30、arketing strategy and also helps in preserving angklung as cultural heritage. Moreover, several universities support SAU by sending their student, to be SAU talents. As evidence, SAU holds cooperation with University of Indonesian Education (UPI) in several ways. UPI provides new trainer and new tal

31、ent from their art-student and also often invites SAU to perform at their events. Another example, SAU often holds angklung and art show by coordinating with Universitas Padjajaran (Unpad). Conservation of cultural heritage is important for the growing need of integration and expertise into higher e

32、ducation. Relating the university curriculum with cultural heritage in an interdisciplinary way is essential to further promotion in the importance of heritage for a sustainable future. Through teachings, the need for joint cooperation between professionals and academics to achieve common goals will

33、 come out intensely. 4.4 Broadening marketing strategy 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 4 页，共 6 页 - - - - - - - - - At the beginning of SAU establishment, Udjo Ngalagena marketed its product by spreading SAU name card to hotels at Bandung. The main targ

34、ets are domestic and foreign tourists who visited Bandung city. Based on its history, SAU has broadened its marketing strategy. Not only market its product to local community, SAU also market to foreign country. Going international is one goal of SAU. In 2012, Indonesian government challenge SAU to

35、produce 150,000 units angklung to be exported. In this case, Indonesian government is very helpful to get SAU going international. SAU also cooperate with several travel agents in Bandung. Travel agents help SAU to promote its art performance to foreign tourists. Word of mouth communication between

36、foreign tourists becomes the main marketing strategy at foreign tourism business. Cooperation with educational institution also helps SAU to market their products. In short, cooperation with many parties will give advantages in broadening marketing strategy. As Head if Marketing Division said, core

37、marketing strategies of SAU nowdays are exhibition in Indonesia and abroad, distributing pamflets as much as possible, through media partnership (talk show and live show), mini souvenir shop at hotel, and coordinating with travel agents. 4.5 Make local community are involved in production process In

38、volvement of local community in preserving cultural heritage is also becoming important factor. SAU give opportunity to surrounding community to make half-made angklung and then sell it to SAU to be finished. Not only angklung, but also the souvenirs are made by community arround. Along this way, SA

39、U help goverternal improvement improve the communities around. This way is also one of the corporate social responsibilities of SAU. “ SAU dosen? t produce its angklung and handicraft by itself. SAU give opportunit to surrounding community be involved, particularly in angklung process making. SAU te

40、ach to local community sorround it to make angklung. Then, several half-made units angklung are bought by SAU based on the quality standards previously set. Finishing touch of angklung is still hold by internal workers,”said Head of Productive Division. As highlighted by Stern et al.(2008) in his ar

41、ticle, cultural engagement contributes to the quality of community life by reflecting and reinforcing social diversity. Ethnic, 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 5 页，共 6 页 - - - - - - - - - economic, and / or household diverse urban neighborhoods are mor

42、e likely than homogeneous communities to house cultural programs, cultural participants, and artists. Likewise, culturally-active neighborhoods are more likely to maintain demographic diversity over time. Stern also state to succeed on social and economic justice grounds, a neighborhood-based creati

43、ve economy must integrate economic opportunity and social inclusion. Those key successful factors can only well applied when they are supported by surrounding community. Many parties should be involved in the process of preserving cultural heritage. Cultural-creative industry like SAU has role as in

44、termediary agent, introduce culture from local community to wider community. This process needs support from many parties, particularly government and educational institution. Another thing that determines the performance of those key successful factors is vision and mission of the cultural-creative

45、 industry must prioritize the preserving cultural heritage ?as a basis in executing itsactivity. Due to many creative industries only pursue the profit, not ambitious to preserve their own culture. 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 6 页，共 6 页 - - - - - - - - -