Creative Industries as Cultural Arts Practice By : Prof. Penn T. Larena ,CPS,MPA Bachelor of Arts and Culture Education

1. C R E AT I V E I N D U S T R I E S I N
A R T S & C U LT U R E P R A C T I C E
J O S E F I N O T U L A B I N G L A R E N A J R . , C P S , M P A

2. L E A R N I N G O U T C O M E S
• apply theories of creative production and cultural value to analyse texts across a variety of media
• critically evaluate writing and publishing projects in terms of their feasibility, sustainability and
cultural and societal outcomes
• develop and deliver creative industries projects and events while working independently and
collaboratively
• determine a range of partnership opportunities and funding sources for creative industries projects
and events
• interpret and critically evaluate contemporary policy for the creative arts and industries
• combine skills in creative development, project management and marketing and apply them to
deliver writing and publishing projects

3. W H AT I S C R E AT I V E I N D U S T R I E S
• The creative
industries refers to a
range of economic
activities which are
concerned with the
generation or exploitation
of knowledge and
information

4. B A G U I O A S U N E S C O C R E AT I V E C I T Y:
R E V I TA L I Z I N G C U LT U R E A N D
C R E AT I V I T Y F O R S U S TA I N A B L E
U R B A N D E V E L O P M E N T
• Launched in 2004, the United Nations
Educational, Scientific and Cultural
Organization (UNESCO) Creative Cities
Network (UCCN) aims to make creativity
an essential driver for sustainable urban
renewal and development.
• On October 31, 2017, Baguio City, the first
City in the Philippines to be designated
City of Crafts and Folk Art, joins the 180
member cities from 72 countries.

5. G L O B A L A L L I A N C E F O R C U LT U R A L
D I V E R S I T Y
• UNESCO. The United Nations Educational,
Scientific and Cultural Organisation works through
its Global Alliance for Cultural Diversity and Creative
Cities Network to strengthen cultural industries
internationally by encouraging knowledge-sharing,
capacity building, good practice and mentoring
between its members. The Global Alliance promotes
cultural diversity by strengthening the capacity of
cultural industries to produce and distribute goods
and services and help them gain access to national
and international markets

6. I N V E S T I N F I L I P I N O C R E AT I V I T Y T O
P R O M O T E C U LT U R E , H E L P B O O S T
E C O N O M Y
• The National Commission on Culture and Arts is currently
developing two cultural hubs in the country, particularly the
Maestranza, in Intramuros, Manila and another one in Bohol.
These creative hubs will help in developing the country’s pool of
creative talents and create opportunities for them.
• On the local level, local government units currently have a
dedicated budget on culture through the Department and Budget
Management’s Local Budget Memorandum no. 78, s. 2019 and
that will allow Local Culture and Arts Councils in LGUs to be
established in the next three years.
• The creative economy comprises music, performing arts, including
dance and theatre, handicrafts, architecture, visual arts, graphic
arts, cartoon animation, literature, fashion, furniture and interior
design, film, digital inventions including computer games, television
production, publishing, and advertising.

7. I N T E G R A T E D I N D U S T R Y D E V E L O P M E N T F O R
C R E A T I V E I N D U S T R I E S
• This program is prepared and crafted to provide a
strategic direction for the development of the Philippine
Creative Industries, which will lead to improved
competitiveness, enhanced capability, increased
productivity, export promotion and development, and
compliance to global standards for greater market
access. Components of creative Industries covered in
this project include live entertainment and performing
arts; audio visual sector specifically film; animation;
game development; marketing services; creative
process outsourcing; and creative freelancers.

8. I T I S A L I G N E D W I T H T H E P H I L I P P I N E S ’ N E W
I N D U S T R I A L S T R A T E G Y
• i3s: Inclusive Innovation Industrial Strategy aimed to
• (1) build innovation and entrepreneurship ecosystem – upgrade and develop new
industries;
• (2) remove obstacles to growth; and
• (3) strengthen domestic supply chains & deepen participation in global/regional value
chains.

9. T H E S C O P E O F T H E D E V E L O P M E N T O F T H E P H I L I P P I N E
C R E A T I V E I N D U S T R I E S P R O J E C T I S C O M P O S E D O F F I V E
( 5 ) S U B - P R O J E C T S A I M E D T O D E V E L O P V A R I O U S
C R E A T I V E S E C T O R S :
1.Development of Creative Industry Roadmap
2.Filipino Performers and Entertainers Accelerator – Capacity Building Program for the
Workers in Film, Live Events and Performing Arts
3.Development of Shared Digital Services Facility
4.Development of Creative Services Special Zone
5.Professionalize Filipino Online Creative Freelancers

10. C R E A T I V E I N D U S T R I E S I N T H E P H I L I P P I N E S
• The Philippine semiconductors and electronics industry is the largest contributor to the country’s
manufacturing sector. In 2013, the industry accounted for 41% of total exports, brought in US$ 918
million-worth of foreign and domestic investments, and employed 2.2 million workers. The potential for
the industry remains high, as member firms intend to move to higher value-added manufacturing to meet
global demand. These companies plan to improve current production capacities, to expand current
research and development and design capabilities, and to further develop the labor force over the next
several years.
The industry is working to drive up the semiconductor and electronics manufacturing index of the country
by identifying customers’ needs, understand suppliers’ baseline, develop relevant capabilities, match
industry supply and demand, and conduct periodic assessment of its performance. In addition, the
industry recommends that the government continue with its scholarship program for operators and
technicians, improving the country’s business environment, conducting R&D capability development,
and aggressively promoting local industries and SMEs through investment missions abroad.

11. F U T U R E F O R T H E C R E AT I V E
I N D U S T R I E S
• The Department of Trade and Industry (DTI) is pushing for promotion of the economic
potential of the country’s creative industries in Southeast Asia to boost exports in
services, as the Philippines aims to be the leading creative economy in the region in the
next decade.
• DTI Secretary Ramon Lopez said industry players have mapped out a creative economy
roadmap that intends to provide necessary support to creative services, including
promotion budget.
• Lopez said the country has stronger creative services, particularly graphic design, game
development, and software development which have been identified as “service
winners”.

12. G A W A D S A M A N L I L I K H A N G B AYA N
• In April 1992, the Gawad sa Manlilikha ng Bayan or the National Living Treasures Award
was institutionalized through Republic Act No. 7355. Tasked with the administration and
implementation of the Award is the National Commission for Culture and the Arts, the
highest policy-making and coordinating body for culture and the arts of the State. The
NCCA, through the Gawad sa Manlilikha ng Bayan Executive Council, conducts the
search for the finest traditional artists of the land, adopts a program that will ensure the
transfer of their skills to others, and undertakes measures to promote a genuine
appreciation of and instill pride among our people about the genius of the Manlilikha ng
Bayan.

13. H I S T O R Y
• The National Living Treasures Award
(Gawad sa Manlilikha ng Bayan) was
institutionalized in 1992 through Republic
Act No. 7355. The National Commission for
Culture and the Arts, which is the highest
policy-making and coordinating body of the
Philippines for culture and the arts, was
tasked with the implementation and
awarding. This is in line with UNESCO's
criteria of Living National Treasures.

14. G A W A D S A M A N L I L I K H A N G B A Y A N G U I D E L I N E S
• To become a Manlilikha ng Bayan, an individual or group candidate must:
1. Possess a mastery of tools and materials needed for the traditional, folk art and be a maker
of works of extraordinary technical quality;
2. Have consistently produced works of superior quality over significant period;
3. Have engaged in a traditional and folk art which has been in existence and documented for
at least fifty (50) years;
4. Command respect and inspire admiration of the country with his character and integrity;
5. Must have transferred and/or willing to transfer to other members of the community the
skills in the traditional and folk arts for which the community has become nationally known.
6. However, a candidate who, due to age or infirmity, has left him/her/them incapable of
teaching further his/her/their craft, may still be recognized provided that he/she/they must
possess the qualifications as enumerated above.

16. W H AT I S T H E F U T U R E O F O U R
C R E AT I V E I N D U S T R I E S

18. T H A N K Y O U