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UK to be seen as the preferred partner in the creative economy in Indonesia / SEA region

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Long term goal for MY is to position the UK as the go to country for CE

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Connections platform

Use training programme - core offers to update stakeholders to make sure they are connected to UK experience and future trends

Sharing knowledge through programme, positions the BC as the drivers of future trends as a way of connecting the specialists together - more about perception of British Council as a platform for case studies

BC's international network - share different examples with each other

No other org like BC (in this area) having that ability / access to so many networks

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Creative Economy as an important sector contributing to Indonesia's GDP - moving away from goods based to service and knowledge based sectors

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Help practitioners advocate for the MY gvt to understand the economic, social and cultural values of CE and help policy makers better support the sector and make that sector a pillar of the economy in MY. Create connections and networks as well is important

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Builds reputation of BC across world

Builds horizontal connections

Networking / sharing / connecting is as important as knowledge aspect (new knowledge) - i.e. how can people make best use of funding

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Objective to support ministries - i.e. in Egypt worked with three ministries - develop professional skills for ministry staff who can think of a CCIs framework / strategy

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To position Creative Economy as Indonesia's soft power as the country grows their influence in the region/globally

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Network of governmental staff - sharing information and research and sharing knowledge with them of what is happening in the sector and create links with private sector

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Creative Economy can support youth demographic in Pakistan

Have done less with government and of interest in Pakistan

Research with sustainable fashion - bigger uptake if they go down the creative entrepreneur route but working policy makers is a more long term route

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Create links with government depts in Tunisia which doesn't exist so much with the CCIs

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Uncertainty of what a change in government mighr mean for the creative economy sector and how that is dealth with - but also an opportunity to bring in new people into training programme

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Sector Professionals and Policymakers working together

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Sector Professionals and Policymakers working together

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Policy makers and sector professionals need to work together - they can lobby as one

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Malaysia - creative economy is fragmented / huge focus on digital content production (ministry of tourism that only concentrates on traditional art forms) - little knowledge of creative economy as an economic sector

Want to use training by focusing on grassroots and practitioners and helping entrepreneurs on how they will engage with policymakers

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BC keen to make a programme that creates a global cohort, especially to support countries that have smaller budgets and create a global community

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Countries that want to join the EU in the future - key issues is that the policy towards CE is not well defined

Grassroots initiatives (that exist in UK) that lobbied the UK govt don't exist and need support

Benefit - brought together people who are interested in shaping policy conversation from the bottom up

A need for futher conversation and dialogue - need to keep the group together and offer them something else / now need a different offer - second step

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Case study from Kazahstan - needs to be something people can relate to

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MENA - all countries receive FCDO support. There are ODA eligible countries and the Gulf countries that are non-ODA. They have different requirements and 'expectations' of the British Council's creative economy.

None of the governments need convincing that the CCIs is important

Gulf countries - developing the CE policy - Developing, creating the creative economy national structures (Ex. Arts Councils), developing creative hubs. Our goal is to position the UK as a CE sector lead and go to expert. For ODA countries, our goals is to influence and support the development of robust policy frameworks and increase national capacity to do so.

That can be done by setting up engagement (delegations) fellowships, shadowing programmes, structured trainings.

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Developing the capacity for people to develop CE policy

Engaging in a space where something can be achieved

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Engagement by British Council with indie arts scene

Working under a new paradigm (little entry point to the government)

Policy training is a trojan horse into the government

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No apex body or single dept that supports the CE

Conversations around G20 - 4 culture working groups - CE became something the govt was looking into

There is interest in understanding on how to prepare a policy with the new government

A lot of interest on how the CE can contribute to GDP

Support for young entrepreneurs and women - intersectional strands

Blending of audiences and giving them skills and info will enable them to have these conversations on CE