The Cultural Creatives: How 50 Million People Are Changing the World

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For culturally loose countries, we again find two alternative combinations in this case represented by Bulgaria, Romania, Lithuania and the Netherlands.

Boundless Creativity was set up as a joint research project by UK Research and Innovation’s Arts and Humanities Research Council (AHRC), in partnership with the Department for Digital, Culture, Media & Sport (DCMS). The project has examined the role of innovation in shaping cultural experiences during the COVID-19 pandemic and generated a new evidence base to inform the recovery, renewal and future growth of the UK’s cultural and creative sectors.AHRC to work with DCMS and other arts funding agencies to look at the digital skills gaps in the UK cultural and creative sector, with a focus on regional growth and interconnectivity. Building on Arts Council England’s digital maturity index and tech champions network, DCMS will continue to invest in schemes such as the National Skills Fund, Digital Skills Partnerships and Digital Skills Bootcamps to ensure the whole cultural and creative sector can embrace digital transformation and build a workforce with the necessary skills. Recommendation 8: Cement the link between Cultural Access and Health and Well-being up. Leadership tends to be male-centered and performance-driven. It is established by the authority of institutions granting academic degrees for theology rather than the leaders’ personal experiences with God and spiritual gifts. Boundless Creativity benefited from access to the latest data of The Audience Agency’s COVID-19 Cultural Participation Monitor as well as new data from the AHRDC/NESTA Policy and Evidence Centre. ↩ Corneloup, J. (2011). La forme transmoderne des pratiques récréatives de nature. Développement durable et territoires, 2(3), 1–22. concerned with big business and the means they use to generate profits, including destroying the environment and exploiting poorer countries

The Economist (2020) ‘The Economics of Creativity: Exploring the economic importance of Creative Industries and the significant shifts that have taken place in 2020’ ↩ Boundless Creativity was established by the Arts and Humanities Research Council in partnership with the Department for Digital, Culture, Media & Sport to capture the extraordinary ingenuity and imagination that have marked our cultural life during the pandemic. What is clear from everyone we have spoken to – and from our assembled case studies – is that cultural organisations have adapted and innovated to sustain our national life when we have needed them most.

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Reshape the Policy Environment to invigorate Creative R&D: DCMS will work with the HMRC and the cultural sector to revisit the definition of R&D for the creative industries, supported by research produced by the AHRC Creative Industries Policy & Evidence Centre to understand how R&D can be bolstered within the cultural and creative industries, to quantify the value of creative R&D, and offer workable policy solutions. We will also seek to learn from Festival UK* 2022 to understand the effectiveness of R&D in fostering creativity and innovation between cross-sector organisations. Following a nation-branding campaign in the 1990s called “Cool Britannia,” government agencies under a New Labour government in the United Kingdom increased public funding and started a National Lottery to seed and to incentivize creative industry clusters in 13 sectors. Those industries that the government formerly considered “cultural,” such as publishing and film, were combined with more traditional arts, crafts, and performance sectors as well as new all-digital industries, such as software and games. The government used new public management techniques to assess the value of culture based on consumption metrics and intellectual property receipts. The strategy was based on the economic principle that industries within any particular sector would benefit from the agglomeration and sharing of resources, particularly labor. In turn, the strategy put a premium on the employment of a young, college-educated workforce that could settle in close proximity to businesses offering increasingly shorter-term contracts. Creative industry policies thus touted “creativity” as a valuable job skill while fostering new models for flexible work conditions within and across firms in these geographically located clusters (Oakley, 2004). As flexibility inferred the power of employers to casualize workers at will, creative industry growth happened concurrently with the growth of a new social class of creative workers, also called the “precariat” (Standing, 2011) or the “cognitariat” (Miller & Ahluwalia, 2012). Paul H. Ray and Sherry Ruth Anderson, in their 2000 publication Cultural Creatives, estimated that 50 million adult Americans focus on values that actively support the goal of ensuring everyone can pursue enough money, meaning, and friends to thrive, including an aggressive approach toward mitigating the problems of climate change. Targeted research by the AHRC Creative Industries Policy & Evidence Centre to understand how R&D can be bolstered within the cultural and creative industries, to quantify the value of creative R&D, and to offer workable policy solutions.

Promote the safe return of the sector through a reopening campaign to help restore confidence and demand. Leading creative content studio Factory42 has partnered with the Natural History Museum, Science Museum Group, University of Exeter and others to create Dinosaurs and Robots. Combining mixed reality technology with immersive theatre, two separate adventure game visitor experiences create multi-sensory and interactive worlds for visitors to the Nature History Museum and Science Museum. Overall, we find that cultures are not more or less creative than one another, rather their cultural values and their enforcement through norms determine whether a country realizes its creativity through creative relevant skills, task motivation or domain-relevant knowledge. The Principal Adviser to the Minister of Arts, Culture, and Creative Economy, Faiz Imam, has said that the ministry will work hand in hand with the Ministry of Communications, Innovation and Digital Economy to deliver data and connectivity to young creatives in Nigeria.. Major new AHRC research programme, with the support of DCMS, subject to the forthcoming spending review, to grow the evidence base linking cultural assets and creative activity post-COVID to mental health specifically and to health generally. Demonstrate the health and wellbeing benefit of the cultural sector through the Cultural Heritage Capital programme, which seeks to align cultural capital with HMT Green Book. Recommendation 9: Diversify and nurture talent.A partnership between the ENO and Imperial College Healthcare NHS Trust, ENO Breathe is an integrated social prescribing programme of singing, breathing and wellbeing, breaking new ground as the first of its kind created to provide crucial support for people recovering from COVID-19. But while entrep Cultural tightness refers to the extent to which cultural values are actually enforced through norms. Following a successful six-week trial in autumn 2020, the programme was rolled out nationally with NHS Trusts across the country at the end of January 2021. Following its national rollout, the programme received national and international press and media coverage, including ITV News at 10, BBC News, CBS (USA), NBC (USA), the New York Times, The Telegraph and many more. Currently the ENO Breathe programme works with over 30 NHS Trust partners across England and continues to expand, aiming to reach 1,000 patients by the autumn. The ENO and Imperial are continuing to build the evidence base for the programme, with a randomised control trial commencing in May, in partnership with the research team at Imperial College.

The Tempest was an intramedia performance produced by Creation Theatre. With funding support from AHRC, Pascale Aebischer and Rachael Nicholas from the University of Exeter developed a digital toolkit based on Creation Theatre’s experiences to help other companies transition from physical performances to digital ones. Led by Dr Chris Michaels at the National Gallery, a new Working Group on Creative R&D has formed from a partnership between the National Gallery, the Serpentine, Royal Shakespeare Company, Watershed Bristol, Royal Opera House, Manchester International Festival, Young Vic and the National Theatre. The Working Group is seeking to build a new national network that supports the practice of and measurement of the value from digital innovation and R&D within the cultural and creative sector. Through research and collaboration, the Working Group is seeking to build a stronger understanding of R&D within the creative and cultural sectors and what changes might be required to drive forward growth. Catalysing new collaborations Ray and Anderson assert "values are the best single predictor of real behavior". The list below outlines the values dictating a "Cultural Creative"'s behavior:Development of new Boundless Creativity funding calls, subject to the spending review, designed to achieve size, ambition and scale. Devised by AHRC in collaboration with DCMS, and launched successively over the next 24 months to target the specified research fields highlighted in the recommendations below, to help drive the UK creative and cultural sector’s recovery from the pandemic, and to reap its economic and social benefits. Recommendation 2: Reach New Global Audiences. DCMS to work with HMRC and the cultural sector to explore the definition of R&D for the creative industries – initially feeding into the recently-announced HMT consultation on R&D in the Spring Budget. If you are a baby boomer like me, almost everything you think is normal is already changing: from the houses we live in; to how we get energy, transport ourselves, grow and buy our food; the materials we use for clothing and household items; and on and on. What has been an almost hidden force of cultural values is beginning to show itself. A recent poll done by NPR/PBS NewsHour and Marist conducted July 15-17, 2019 reveals that the majority of Americans believe in the following ideas: Liogier, R. (2018). Le sens de la nature. Comment la nature est devenue surnaturelle. Études théologiques et religieuses, 93(3), 451–467. You long for authentic friendship with a few others that includes deeper mystical experiences of mediation and prayer.