Addressing the Theme of "Culture × Economy"

■ Addressing the Theme of "Culture × Economy"

A new Cultural Economy Subcommittee has been established within the Agency for Cultural Affair’s Council for Cultural Affairs, aiming for a harmonious cycle between culture and the economy. The integration of economic principles into cultural policy introduces fresh perspectives into the cultural and artistic community.

The globalization of museums and art galleries is a hot topic. 

While it is common for cities like Paris, London, and New York to feature museums as main tourist attractions, how many tourists are actually coming to Japan with the goal of visiting art museums.

In terms of cultural policy, France and South Korea stand out. Both countries lead with government-driven initiatives and significant funding. 

Japan should also prioritize its policies more highly and invest accordingly. 

However, while France focuses on high culture and inbound ventures, South Korea emphasizes pop culture and outbound strategies. 

The strategies may differ, Japan would likely benefit from adopting a South Korea-like approach.

I strongly advocate for expanding the scope of cultural arts, moving from the conventional thought of art = high culture to encompassing pop culture and digital user-generated content (UGC) within the political realm. Although approaches to these political measures may vary, policy aims should be developed while considering the overall portfolio at large which align with national objectives.

Japan's global cultural footprint is overwhelmingly dominated by anime and games,  with Japanese culture being known through these. 

One of the most renowned artists is Hatsune Miku, born from digital UGC, targeting not the affluent but a broader audience. 

This reality must have an influence on decided political measures.

From the West and Asia to the Islamic world and Africa, and excluding Disney, Japanese anime and games are common topics among the global youth in respect to their cultural impact. 

If you ask for names of known Japanese artists, the answers are likely to be anime and game creators and video game composers. 

Policies should be drafted with this recognition in mind.

Researchers around the world, particularly those studying otaku (nerd) cultures, have noted that Japanese pop culture have transcended racial, religious, and political boundaries, fostering global harmony. 

We should recognize and value this asset.

This claim was accepted, broadening the scope to cover cultural policy and discussing it in the context of soft power and solving global issues.

The report highlights talent development and retention as key challenges. 

The issue isn't in production, as people are being trained, but there's a lack of individuals who can produce, manage, and promote these cultural products.

This has been a longstanding concern noted by the Intellectual Property Headquarters and the Ministry of Economy, Trade, and Industry, indicating a need for harmonious policy efforts.

Thus, the challenge has evolved beyond merely enhancing art and film schools, to how departments of economics and MBA courses can engage with the cultural industry. Strategic consideration must be given to identifying the intended audience of this report.

Design thinking has now become widely recognized among those at the management level.

Moreover, "art thinking" and "art management" have emerged as buzzwords in the business world. 

Magazines are even featuring articles on why global business leaders should study art. The goal is to refine these policies to the point of gaining agreement and endorsement from those in the management field.

This also emphasizes the importance of improved understanding and enhanced response by the Ministry of Education, Culture, Sports, Science and Technology, foreign embassies, and related organizations.

 Consequently, this leads to discussions on how law and economics departments can integrate design and art into their curricula, or the extent to how many designers and artists should be employed.

This area requires a shift in policy thinking.

The policy of "Cultural Economy" is still nascent and just about to take off. 

These thoughts shared by cultural and arts experts alone lacks the reach needed. It is vital that those outside these circles recognize its importance. 

The biggest challenge will be the promotion of these policies.