Cultural industry and the creative sector in the European Union

Objectives of the course:
- To acquaint students with the complexity of the phenomenon of creativity and its importance in the wider social, economic and cultural environment;
- to acquaint students with basic terms in the field of the cultural industry as well as with their impact on the economy and culture;
- to familiarize with European policies in the field of cultural and creative industry tto understand the importance of the creative sector in the EU (by presenting examples);
- teach students to think critically about and interpret culture not only in the context of strategies and processes of marketing or management, but mainly of its importance for producing meanings in everyday life;
- to give students basic skills and knowledge to recognize the potentials of the cultural industry for the launch of creative entrepreneurship and cultural innovation, especially in the context of local and traditional as sources of creativity.

Subject-specific competences:
Students will manage basic concepts in the field of cultural and creative industries as important factors of modern culture and economy.
Students will acquire comprehensive and reliable information about European programs, financial mechanisms, events and manifestations in the field of cultural and creative industries.

General competences:
Ability of analytical thinking and social-critical observation;
the ability of socio-cultural and historical contextualization;
ability to participate in discussions and interdisciplinary thinking.

There are no enrolment or degree requirements for the course.

The course deals with the importance and development of the creative sector and the concept of "Cultural and Creative Industries" (CCI) in all its complexity: from definitions of the basic concept of "creativity" to familiarization with the European cultural policies, cultural events and projects, as well as their criticism introducing also a new view of the relationship between heritage and innovation as sources of creativity.

The course consists in the following thematic sections:

1. Understanding the definition and meaning of creativity. The connection of creativity with the social, economic and cultural environment and how a creative atmosphere (creative milieu) is created in a certain local environment; Everyday life as the democratization of creativity; AI and creativity beyond human creativity.

2. The CCI phenomenon, concepts and development: what did the phrase "cultural industry" originally mean (Adorno, Horkheimer), how did its meaning develop and transform, in what way does it affect society and the economy, what are the styles and models of cultural production and creativity: creativity for innovation (new technologies, digitization, communication, etc.) and creativity for social quality (culture, territory, cultural districts, etc.).

3. CCI as a leading segment of the global economy with an overview of the European cultural policy regarding cultural and creative industry and the importance of the creative sector in the EU, as well as intersectoral connections, especially in the art-science-technology triangle. Creativity and cultural production in the EU - models of cultural industries; projects and programs (Creative Europe, Horizon, S+T+ARTS, etc.).

4. Problematization of the cultural industry and the problem field of CCI: instrumentalization of creativity and the importance of culture as a consumer good; creativity as capital-labour in the context of the cultural industry. In other words: does consumption and the cultural industry as part of the economy really produce and preserve culture?

5. Presentation of the importance of heritage and the theory of goods:

• how does heritage work as a source of creativity?
• Tradition/innovation: a false dichotomy?
• What does national heritage mean as a cultural industry (cultural tourism and art cities) in juxtaposition with creative tourist?
• the importance of cultural events and manifestations (Expo, Venice Biennale, ECoC, etc.).
• Design and material culture: the cultures of design and co-design (Homo faber, Community of practice, learning by doing, etc.).

1. Designing a project in the CCI:
   - developing an idea that arises from needs and limitations – both human, social and natural, and is based on contemporary critical thought, as well as on appropriate methods and technologies,
   - checking the relevance and feasibility of the idea by predicting the effects and possible risks,
   - implementation of the project plan in all key elements (background, goals and purpose, approach/method, structure, expected results and effects, dissemination and evaluation),
   - presentation and evaluation of the plan itself at the course level.

Knowledge and understanding:

The student understands the meaning and the basic concepts of CCI and their connection with the social and economic context.
Knows and critically evaluates modern trends in the field of development of CCI and wider development of the economy in direction of tertiary and quaternary activities of post-industrial society.
The student develops an attitude towards culture and the creative sector and cultivates the need for new knowledge and the discovery of advantages and opportunities in the field of CCI and specific possibilities of interdisciplinary and inter-sector integration, including new forms of networking and co-creation.
He knows the basics of project preparation and evaluation in the area of CCI.

He knows the mechanisms of support and financing (e.g. Creative Europe, Obzorje, etc.) as well as the way of operation and the importance of events and manifestations at international level (EPK, Expo, various biennials, festivals, etc.). He/she is aware of the importance of appropriate contextualization of creative ideas in the environment and socio-historical reality, as well as the importance of communicating with the public and other stakeholders.

Students develop the ability to communicate and narrate, and acquires basic knowledge for research work related to CCI field, but also knows how to identify opportunities for placing a project idea in the context of CCI.
Students are aware of the necessity of an interdisciplinary approach. They acquire the ability to think analytically and to independently and reflectively analyze social and cultural phenomena.

Method (written exam, oral examination,
tasks, project):

Active participation in course activities (meetings, ongoing tasks) - 30%

Preparation of the project task (project proposal) - 20%

Presentation of the project assignment with an oral examination of subject knowledge - 50%

Assist. Prof. Daša Tepina, PhD graduated in history and sociology of cuture at the University of Ljubljana. She defended her doctoral thesis entitled Revolutionary utopiy: anarchism in practices and theories. Latest research projects Models and Practices of Global Cultural Exchange and Non-aligned Movement: Research in the Spatio-Temporal Cultural Dynamics and Protests, art practices and culture of memory in the post-Yugoslav context. Currently she is an assistant professor at the Faculty of Humanities of the University of Nova Gorica,

Selection of articles:
1. TEPINA, Daša. Revolucionarne utopije : anarhizem v praksah in teorijah. 1. izd. Maribor: Aristej, 2022.

1. TEPINA, Daša. Anarchism and the history of social movements in Slovenia. Journal of breath research. 2021, vol. 2, no. 20, str. 1-16.

2. GRAFENAUER, Petja, TEPINA, Daša. Art and rebellion : the struggle for freedom and autonomy at the Ljubljana 2020/2021 protests. Third text. 2022, vol. 36, iss. 5, str. 409-428.

3. TEPINA, Daša. Vrednost umetniškega ustvarjanja in avtonomni prostori na primeru AKC Metelkova mesto. Časopis za kritiko znanosti. 2021, letn. 49, št. 283, str. 103-121.

4. TEPINA, Daša, GRAFENAUER, Petja. Hegemonija kapitalizma in vizualni kod v neuvrščeni Sloveniji. V: et al. Vizualna pismenost : teoretsko raziskovanje, razumevanje, ustvarjanje in interpretacija sodobnosti. 1. izd. Ljubljana: Založba Univerze, 2024. Str. 44-60.

5. GRAFENAUER, Petja, TEPINA, Daša. Cuban representation at the Biennial of Graphic Arts and non-aligned cultural policy. The international journal of cultural policy. [Print ed.]. 2024, vol. 30, no. 2, str. 207-219.

6. TEPINA, Daša. Yugoslav–Egyptian cultural relations : a case study of art intersections in Ljubljana and Alexandria in the 1960s and 1970s. V: PREDAN, Barbara (ur.), TEPINA, Daša (ur.). The culture of the non-aligned : the clash of cultural and political narratives. Ljubljana: University of Ljubljana Press, 2023. Str. 199-221, 257-258, 266-267.

7. TEPINA, Daša. Umetniška stičišča : utopije - neuvrščenost. V: PREDAN, Barbara (ur.). Robovi, stičišča in utopije prijateljstva : spregledane kulturne izmenjave v senci politike. Ljubljana: Inštitut za novejšo zgodovino: Akademija za likovno umetnost in oblikovanje, 2022. Str. 77-90,

8. CRNKIĆ, Adin, TEPINA, Daša. Misliti anarhizem v slovenskem prostoru : kronologija in zgodovinski razvoj. Časopis za kritiko znanosti. 2014, letn. 42, št. 257, str. 13-29.

9. TEPINA, Daša. Anarhizem kot revolucionarna utopija. V: PAGON, Neda (ur.), PAGON, Saša (ur.), BORAK, Neven. Utopije - še vedno : zbornik o utopijah v 21. stoletju. Ljubljana: Studia humanitatis, 2015. Str. 257-281.