17
Mar 2025
9:00 AM to 1:00 PM
Drama Classes for Kids
Mayoor Private School, 42nd St. Al Wathba South, Abu Dhabi, UAE
Following the success of the city-wide symposiums in Kochi, Mumbai, and Bengaluru, the Federation of Indian Chambers of Commerce & Industry (FICCI) third annual national conference offers a comprehensive look at India's culture and creative economy. It addresses critical themes such as policy, innovation, tourism, philanthropy, and community impact. Structured as a dynamic blend of keynote addresses and panel discussions, the conference will advance conversations on harnessing the economic potential of the arts sector to develop employment, build infrastructure, preserve heritage, and take it to global platforms. Additionally, it aims to maximize the integration of technology with design and diversity in the creative industries to supplement and boost cultural work for sustainable progress. The second day will feature an exclusive roundtable discussion, fostering collaboration among stakeholders to translate ideas into scalable solutions to strengthen policy frameworks.
Join us for the following sessions to propel India’s creative ecosystem forward:
Creative Economy Symposium Report Launch
Creative and Cultural National Policy
The Vibrant Intersection of Tourism and the Arts
Philanthropy as a Catalyst for Artistic Innovation
Transforming Communities Through Creative Arts
Art in the Digital Age: Redefining Creativity Through Technology
Intersection of Tourism, Heritage, and Entertainment
Culture, heritage, and various entertainment elements are deeply intertwined with tourism. The United Nations and the World Trade Organization (UNWTO) have defined cultural tourism as tourism centered on cultural attractions and products. It is one of the fastest-growing segments of the tourism industry, accounting for an estimated 40% of all tourism worldwide. It intersects with heritage and religious sites, crafts, performing arts, gastronomy, festivals, and special events.
Role of Mega Events in Community Development
Festivals and outdoor cultural experiences present the opportunity to connect and feel a part of the community in positive and inspiring ways. These festivals and mega/special events are considered significant catalysts for well-being, critical modes of expressing oneself, or recovering from some sought trauma. Donald Getz defined special events as "an opportunity for leisure, social, or cultural experience outside the normal range of choices and beyond everyday experience" in 1991. Human beings are social animals, and every opportunity for collective celebration, whether in the form of festivals or cultural events, is crucial for happier environments and building resilient communities. The participation and demand for these special events, along with the virtual dimension post COVID, has opened new avenues of exploration.
Artistic Entrepreneurship
Arts entrepreneurship is about leveraging opportunities and taking risks in the pursuit of new ideas that ultimately support activities in the cultural and creative industries (Woronkowicz, "Arts, Entrepreneurship, and Innovation"). Arts, business, and entrepreneurship appear to be very distinct and separate sectors; however, they have multiple fundamental characteristics in common. These three domains complement each other in the direction of thinking, value addition, and overlapping toolsets. In the modern-day situation, it is crucial for all artists to embrace entrepreneurship at various stages of their creativity. While defining their signature style, artists must also be able to understand the current role of market practices, their target audience, and the cycle of making profits to build a successful brand.
Cultural Infrastructure
The consumption and access to arts and culture in our everyday lives have a huge impact on our physical and mental growth. It is very crucial to recognize the significance of art with respect to its role in entertaining us, moving us, inspiring us, and how it forms an important part of our identity as individuals, communities, and as a nation. The cultural infrastructure includes two types of buildings, structures, and places: the first where art/culture is consumed, experienced, exhibited, sold, like in museums, galleries, theaters, cinemas, libraries, music venues, and historical cultural sites; and the second where it is produced, including places of cultural production by artists, performers, makers, manufacturers, or digitally inducing creative workspaces, performing arts rehearsal spaces, music recording studios, film and television studios (Isabella Duffield). Arts funding and development of these infrastructures in an organized and transparent manner, along with increased participation of the local communities, will lead to the growth of the sector.
