scholarly journals STARTUP AS A STRATEGIC COMPONENT OF THE DEVELOPMENT OF THE CREATIVE ECONOMY OF UKRAINE

Author(s):  
N. Ivanova ◽  
D. Kucherenko ◽  
Т. Kuznetsova ◽  
N. Hurzhyi ◽  
L. Lutay

Abstract. The radical changes that took place at the end of the last century contributed to the emergence of a creative economy. Unlike previous economies, in which the main factors of production were production capacity, land and labor, the basis for the development of the creative economy was the creative potential of man. The current economic situation in Ukraine faces many challenges that need to be confronted with viable solutions. The occupation of Crimea cost Ukraine 3.6% of GDP, and the occupied territories of Donbass cost another 15% of GDP and 25% of all Ukrainian industry. In addition, many industries and factories in Ukraine are physically and morally obsolete and require large capital investments. These problems, which, as the experience of Ukraine shows, are not solved by traditional tools, force us to look for non-standard ways to solve them. Such approaches are offered by the creative economy.To assess the opportunities provided to Ukraine by the development of the national creative economy, the article considers the positive effects of the creative economy as evidenced by the successful experience of other countries. Such effects are the formation of creative human capital, increasing incomes, increasing tolerance, the revival of depressed regions. However, the realization of these positive effects is possible provided that there are components of the creative economy in Ukraine. Research by Ukrainian scientists proves that in Ukraine there are the main features of the creative economy, namely: creative industries; creative class as a basis of the creative lever of development of creative economy; young, creative, ambitious entrepreneurs — startups. A key factor in the development of the creative economy is creative human capital, an essential component of which are entrepreneurs — innovators who establish startups to implement their ideas. Analyzing the various definitions of the category «startup», the authors concluded that the most acceptable is one that reflects the fundamental difference between startups and other businesses, namely: a startup is a business structure based on revolutionary innovations, the purpose of which is to solve a specific problem presentation of a new product or service in conditions of extreme uncertainty. Taking into account the innovative nature of startups, their impact on the creation and development of creative industries and the creative economy in general allowed the authors to conclude that startups are a strategically important component of the development of the creative economy. Research has shown that the Ukrainian startup ecosystem has good potential for development. However, the Government of Ukraine is not yet paying due attention to the development of the ecosystem for the successful creation and operation of domestic startups. Only in the last few years has Ukraine begun to support innovative products at the state level. Examples of such support are the creation of the Invention Support Fund of the Ministry of Economic Development and the Ukrainian Startup Fund. In addition, according to the strategy for the development of innovation for the period up to 2030, startups are a structural part of the national innovation ecosystem. However, intensive long-term work is needed to create an effective startup support ecosystem. Even with large investments and the desire to replicate the successful ecosystems of Silicon Valley or New York, it is very difficult, because their infrastructure was formed over 30 years. Keywords: creative economy, positive effects, creative human capital, startup, ecosystem of startups. JEL Classification М11 Formulas: 0; fig.: 1; tabl.: 1; bibl.: 14.

2020 ◽  
Vol 5 (01) ◽  
pp. 84-108
Author(s):  
I Wayan Aditya Harikesa

President Joko Widodo or Jokowi has made a great leap in enhancing Indonesia�s Small Medium Enterprises (SME)s and the country�s overall creative industries by establishing a new non ministerial institution called Badan Ekonomi Kreatif (BEKRAF) or the Creative Economy Agency. The BEKRAF, established under the Presidential Regulation Number 6 of 2015 issued on January 20, 2015, is responsible for accelerating the development of creative economy in Indonesia. Small Medium Enterprises (SMEs) have been playing crucial roles for generating economic progresses as well as social inclusion in Indonesia. Among the most important and worthy of priority is the country�s creative economy. The existence of BEKRAF will enhance close cooperation between the government, SMEs players and related economic stakeholders. This paper aims to assess the concept of �Creative Industries,� as a boundary concept that allows for increased co-operation between players and the generally opposing knowledge concepts�as reflected in their respective knowledge and cultural politics. Indonesia has great potential in terms of economic growth. In 2015, Indonesia�s Gross Domestic Product (GDP) rocketed to 4.79 percent, far above the previous expectation of only 2.4 percent. This encouraging climate is indeed the right moment for the government to strengthen the country�s economic foundation particularly in the real economic sector. Hence, BEKRAF has a vision to build Indonesia as one of the world�s great economic powers in the field of creative economy by 2030. This issue will be discussed comprehensively in the final part of the paper.


Author(s):  
Denny Kusuma

One of the characteristics of millennials is being creative. However, this creativity has not been utilized fully due to the absent of spare rooms to be used, whilst the main drive of creative industry is millennials themselves. The government begins to realize the importance of the emergent creative industry that can play a big role in the overall economy of the country. So, the government is currently trying to provide various spaces to accommodate them, likewise supporting them to open up to possibilities and innovation that drives them towards the creation of start-up companies. Millennial Hub that is situated at Grogol functions as a space for millennials to co-share, co-develop, open up ideas and creativity in order to assemble start-up companies or innovative produces that can increase the creative economy on a nationwide or global scale. Here, there are two main programs: millennial hall and creative hub. Both spaces support each other – creative hub functions as a space for the millennial generation to develop their creativity, meanwhile millennial hall functions as a space for them to exhibit their own creative innovations so as to be acknowledged by the public that can help in the investment on the nation or global scale.AbstrakSalah satu karakteristik millennial adalah kreatif, di mana kreativitas millennial ini belum tersalurkan secara maksimal dengan adanya wadah-wadah yang dapat menampungnya, sedangkan pendorong utama industri kreatif utama saat ini adalah generasi millennial tersebut. Pemerintah pun mulai menyadari akan pentingnya industry kreatif ini untuk mendorong perekonomian negara. Oleh karena itu maka pemerintah mulai membuat wadah-wadah untuk menampung dan juga mendorong generasi millennial ini untuk menyalurkan hingga akhirnya membentuk perusahaan-perusahaan baru dalam bidang industri kreatif. Pusat Kegiatan Kaum Millenial atau Millennial Hub yang terletak di Grogol ini difungsikan sebagai wadah bagi generasi millennial untuk saling berbagi, mengembangkan dan menyalurkan ide dan kreativitas mereka hingga akhirnya mereka dapat membentuk dan menghasilkan perusahaan start-up maupun sesuatu yang berguna untuk meningkatkan ekonomi kreatif baik skala nasional maupun internasional. Di dalam Pusat Kegiatan Kaum Millenial ini terdapat 2 program utama yaitu Balai Millennial dan Pusat Kreativitas dimana kedua program ini saling mendukung satu dengan lainnya dimana Pusat Kreativitas difungsikan sebagai wadah bagi generasi millennial untuk menyalurkan dan mengembangkan kreativitasnya, sedangkan Millennial Hall difungsikan sebagai wadah bagi mereka untuk menunjukkan hasil dari kreativitasnya tersebut hingga diketahui dan diakui oleh masyarakat dan dapat dibantu kembangkan hingga skala nasional maupun internasional.


2017 ◽  
pp. 159-186
Author(s):  
Guilherme Fraguas Nobre

Some key players have been considering the ‘creative economy’ (or the ‘knowledge economy’, ‘creative industries’, etc.) a viable driver for Girona – a way to escape from a traditional socioeconomic model, based on agriculture, hard industry, or low-tech services. Although the rhetoric coming from the heads of the government (local and regional) seems to adhere to such opinion, the facts reveal a strong concentration of such activities at the Province of Barcelona instead. Actually, a study over the data available to Girona shows its economy deep-seated at services mostly intensive on managerial competences. Therefore, it is suggested that Girona also approaches the ‘creative economy’ from a managerial perspective, embracing the wider concept of ‘experience economy’ – in the sense given by the Scandinavian countries.


2017 ◽  
Vol 13 (2) ◽  
pp. 163
Author(s):  
Dessy Wahyuni

The life of the Malay Duanu community, a remote indigenous community, is started to be exposed recently. Their existence is recognized by the world through the Menongkah Festival that has achieved  the MURI record twice. Unfortanely, following the current globalization progress, the expose of this ethnic group starts  to erodes their culture and language  toward extinction. It is unfortunate as wel that this activity only highlight the ceremonial part. In fact, Duanu people can take advantage of this Menongkah Festival as a medium for the revitalization of Duanu language and culture. If the festival is managed well, then it is believed that this activity will be able to support the emergence of a creative economy that improves the welfare of its supporting community, as well as to revitalize their culture and language. The government should be able to create policies that capable to support the creation of locality-based creative mindset, systems, and practices of the creative industry and to keep prioritizing the existing cultural values. Therefore, through ethnographic methods, the aim of this paper is to offer the model of creative industries based on culture and language of Duanu. If Menongkah Festival is optimally utilized by developing creative undustries, it is believed that the endangered language and culture of Duanu cen be revitalized and people’s live will be more prosperous.Kehidupan masyarakat Melayu Duanu, sebuah komunitas adat terpencil saat ini mulai mengemuka. Eksistensi mereka diakui dunia melalui Festival Menongkah yang mendapatkan rekor MURI sebanyak dua kali. Namun tanpa disadari, seiring arus globalisasi yang menerpa, mengemukanya suku ini mengikis budaya dan bahasa Duanu secara perlahan ke arah kepunahan. Selain itu sangat disayangkan, kegiatan ini hanya menyorot kemeriahan sesaat. Padahal masyarakat Duanu bisa memanfaatkan Festival Menongkah ini sebagai media revitalisasi budaya dan bahasa Duanu. Apabila dikelola dengan baik, diyakini, kegiatan ini akan dapat menjadi penopang munculnya ekonomi kreatif yang meningkatkan kesejahteraan masyarakat pendukungnya, sekaligus dapat merevitalisasi budaya dan bahasa mereka. Pemerintah seharusnya dapat membuat kebijakan yang mampu mendukung terciptanya pola pikir, sistem, dan praktik industri kreatif berbasis lokalitas dan tetap mengedepankan nilai-nilai kultural yang ada. Dengan demikian, melalui metode etnografis, tulisan ini bertujuan menawarkan model industri kreatif berbasis budaya dan bahasa Duanu. Jika Festival Menongkah dimanfaatkan secara maksimal dengan mengembangkan industri kreatif, diyakini bahasa dan budaya Duanu yang nyaris punah dapat terevitalisasi serta kehidupan masyarakat pun semakin makmur.


Author(s):  
Tatiana Posnova ◽  
◽  
Hanna Tereshchenko ◽  

Nowadays in Ukraine the problem of educational training of IT specialists is relevant as a factor of the formation of creative human capital. The problem of IT education development is one of the key tasks in the process of ensuring the growth of creative industries, the contribution of which can be assessed by their share in GDP, value added, number of jobs, export potential and foreign exchange inflows. The article uses general scientific research methods such as analysis, synthesis, comparison, induction, deduction and statistical method. The purpose of the article is to assess the development of IT education, identify issues and assess prospects for the formation of a creative economy. The article analyzes the Creative outputs of European countries in 2020; the analysis includes the dynamics of growth of the number of IT specialists in Ukraine for 2014-2020; the share of IT specialists in the general structure of employment, the level of formation of mathematical literacy of students in Ukraine against the background of the achievements of their peers in the OECD countries; regional data on the results of the participants in the external independent assessment in mathematics; the number of people who graduated in IT and mathematics. Based on the analysis, the main directions of the development of IT education as a factor of the formation of creative human capital were identified. Conclusions are made on the directions of the development of IT education as a factor of the formation of creative human capital, including the following: increasing funding for training of IT specialists, as well as broad involvement of students in research, which will ensure the development of innovative competencies of future graduates; increasing the mathematical competencies of general secondary school students; ensuring the ability of higher education institutions to train such specialists who meet the requirements of the labor market; creation of innovative business universities, which, in turn, will provide an opportunity to respond quickly to the needs of the IT sector; ensuring stable cooperation with leading IT companies, which will help adapt educational programs to the needs of the creative IT industry.


2015 ◽  
Vol 5 (2) ◽  
pp. 1-10
Author(s):  
Miroslav Šipikal ◽  
Emília Madudová

AbstractEducation is widely accepted as important source of future economic growth and is strongly supported by public sources. Most of this support is oriented toward traditional education and industries. However, several studies show importance of creativity education as important feature for innovation and future growth. However, public support of creative industries is relatively new and most of policy measures that have been implemented are still not fully evaluated and understood. There si a strong need to look much more closer on way how public education influence creative industries and what policies could be placed to strengthen positive effects of this education also in the long run.This article represents an output of the research about the creative industries support policy in Slovakia in the field of education activities. It is containing basic literature overview comparing support policies for traditional sectors and the creative industries. We analyzed conceptual documents at the national level and basic strategic documents in the regions and selected cities of the country. We also realized several interviews in different creative economy industries.Generally, creative industries in Slovakia are much less in the centre of public support policy compare to traditional industry sectors. This is also the same in case of education. Despite of wide varietyof support tools used in the world, only few of them are applied in Slovakia. Interestingly, creative industries do not strongly require more creativity in education in schools. We found out the most important support in the field of education should not be related to creativity itself, but more on the complementary skills as ICT or entrepreneurship. We also found very limited role of universities and other public institutions in creative industries success stories.


2021 ◽  
Vol 902 (1) ◽  
pp. 012051
Author(s):  
D Prasetyani ◽  
D T Ardianto ◽  
A A Firdaus

Abstract Low production capacity and the traditional farming method that is practiced in Indonesia have resulted in Indonesia dependent on imports to fulfil the demand. Meat, milk, eggs, even skins still can not be fully supplied from national production. Livestock supply chain strategies such as the application of the creative economy and creative industries are needed to overcome the dependency gap on imported raw materials. The challenge in Indonesia is lack of technology & knowledge. This study aimed to determine the role of the creative economy and the creative industry in improving the livestock supply chain in Indonesia. This study used a conceptual method from a literature study. Currently, the creative economy and creative industries are still relatively at the level of SMEs. The recurring problem shows the weak management of technology and knowledge. Based on the literature study result, the creative economy and creative industries can increase the supply of livestock in Indonesia. Hopefully the research on creative economy strategies and creative industries will not only become a trend but also sustainable in the future.


Author(s):  
Nur Iswantara

Discourse of creative industries was echoed. The government alsodeveloped the concept of creative industries development. Alvin Toffler,the father futuristic was said ideas and creative ideas into the fourthwave that could affect the world economy. Indonesia also inspired thedevelopment of creative industries of the world, adopted the triple helixmodel to drive the creative industries to creative economy towardsIndonesia. There are 14 industry groups developed creative Indonesia.In this position the creative industries need to get a response fromintellectuals and the public.


2020 ◽  
Author(s):  
Widiyanto . ◽  
Lola Kurnia Pitaloka

Creative economy is an economic concept that promotes the creativity of the players with the idea of relying on human resources as a factor of production by creating creativity as a resource that can always be updated in the process of economic activity and is expected to drive sustainable economic growth. Creative economic players culinary subsector is hardly detected due where are the players, although provided center point for culinary players but limited place for players an obstacle. Reconvene the concentration of culinary subsector or providing more places to be the center point for the perpetrators culinary subsector so that all have the same opportunity to widely known. Location of this research is in the Semarang City. Methods of data collection used interviews and documentation. Analysis data methods used spider web to see the area of convergence and determine convergence area in accordance with the state of the region and the state of the environment. Descriptive analysis is used to describe a general overview and potential concentration. Population in this study is all creative economic players of culinary subsector. Related parties are used as a resource is  the Department of Cooperatives and SMEs, the Department of Tourism, Department of Industry and the Association of creative economic players culinary subsector and elements of the creative economy businesses modern. Sample in this study used stratifie random sampling. Informants selected for samples are (1) the related department for culinary subsector; (2) creative economic players culinary subsector; (3) academics and associations that give high attention on the creative economy culinary subsector. The results of this study are (1) a development area of economic creative subsector culinary divided into five distinct regions, there are six center point subsector culinary established by the Government of Semarang, the area Simpang Lima, Chinatown, SMEs Center Banyumanik, Pekunden district, Pandanaran district and SMEs Gallery in the Old City; (2) Based on the distribution of types of cuisine can be divided into four areas based on its type, namely (a) the type of center souvenirs will be concentrated in Banyumanik and Central Semarang (b) the type of café is located in Central Semarang, South Semarang and Tembalang; (c) the type of meals centered in the region of Central and South Semarang and (d) the type of streetfood concentrated in one region, namely South Semarang. the conclusions of this studys are (a)  necessary for the government to increase the number of concentration for a culinary subsector because there are many players who have failed the creative economy; (B) the need for training for a culinary subsector creative economic players to want to join and use the concentration of efforts in order to facilitate the arrangement of the environment and to maintain the comfort and cleanliness of the environment; (C) the need for policing, especially health and hygiene environment for creative economic players after selling. Keywords: Creative Economy, Culinary Subsector, Center Point, Development, SMEs


Author(s):  
Alla Samoilenko ◽  
Kateryna Khrulkova

The article considers the essence of human capital from the standpoint of its creativity in the hotel industry. Groups of creative assets that form the creativity of human capital are presented. The Strategy of Sustainable Development of Ukraine until 2030 is studied, in particular in the direction of "Creative Industries and Hospitality Industry", and on the basis of which strategic measures to create a competitive creative economy are identified. It is noted that material motivation in labor activity is considered from the standpoint of the complex action of a number of macro- and microeconomic factors, including: the level of wages and its dynamics; the presence of a direct dependence of the level wages from quantity, quality and results of work; wage differentiation in the enterprise and in society as a whole; personal income structure; material support of available cash income, etc. Methods of personnel motivation at hotel business enterprises and features of motivation system on the basis of factor factors are presented. The components of intangible incentives in the hotel business to increase the creativity of human capital are described. It was found that the motivation of human capital in the hotel industry is an important factor in the successful operation of enterprises in this area, as well as a significant means of increasing the creativity of human resources. It is also emphasized that motivation methods should be based on an individual approach. The creative abilities and competencies that a modern employee of the hotel industry should have are proposed, namely: the ability to generate new ideas and solutions; tendency to be critical of one's own ideas and the ideas of others; the ability to identify new opportunities, publicly present their ideas and experiences, coordinate their activities and acquire new knowledge. Intangible ways of motivation will make it possible to increase the level of creativity of human capital in the hotel industry, as employees will also not be willing to change jobs and will be very enthusiastic and energetic to work. In the hotel business, the method of motivating employees by departments is widely used. Programs are being developed for individual departments in order to increase the desire of staff to perform their work better and better.


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