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"ABSTRAKKajian ini menyajikan ilustrasi daya saing UMKM Industri Kreatif pada sebuah kota di Indonesia. Berbeda dengan konstruksi daya saing yang sudah dilakukan dalam riset sebelumnya - misalnya market based view dan resource based view, maka daya saing direkonstruksi dengan basis kerangka kelembagaan bertingkat tiga, dengan meminjam model new institutionalism in economic sociology (NIES) ebagaimana diperkenalkan oleh Nee.Kajian ini termasuk dalam SSM-based action research dengan kategori theoretical research practice atau research interest. Menurut Flood and Jackson (1991) dengan pilihan ini, perubahan yang diinginkan dan mungkin dilakukan (feasible and desirable change) dengan mempertimbangkan systematically desirable, culturally feasible adalah pertimbangan di antara para peneliti dan reviewers, bukan pada pemilik masalah (problem owner).Berbeda dengan kajian Hardjosoekarto (2012), kajian ini senada dengan Kane dan Del Mistro (2003) yang memperlakukan P (small-and Medium-scale Creative Industry's) sebagai real world instance of A (Competitiveness Based on Three-tiered Institutional Frameworks), seperti yang disebutkan oleh McKay dan Marshall (2001).Hasil kajian menunjukkan bahwa daya saing UMKM Industri Kreatif (institutional framework based competitiveness) ditentukan oleh tiga tingkat kerangka kelembagaan (three-tiered Institutional Frameworks), yaitu regulasi, struktur tata kelola dan institusi informal yang berisi norma, budaya, nilai dan keterlekatan. Sebagai hasil kajian riset tindakan, menurut Checkland & Scholes (1990), konstruksi dya saing ini merupakan experience based knowledge yang dapat dikategorikan sebagai promary thesis dari konstruksi daya saing berdasarkan tingkat tataran kelembagaan, yang dapat digunakan sebagai basis pengujian lebih lanjut dari suatu eksplorasi studi saintifik lainnya, sebagaimana dikemukakan oleh Barton et al (2009), dan Stephens et al (2009) yang kemudian dipertegas oleh Hardjosoekarto (2012).

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ABSTRACT

The research presents a reconstrction of creative industry small medium enterprises competitiveness in a city in Indonesia. Unlike the competitiveness reconstruction done in previous researches, such as the market-based view and the resource-based view, this research reconstructs competitiveness based on the three-tiered institutional frameworks, borrowed from Nee's New Institutionalism in Economic Sociology (NIES) (2003, 2005).

The study applies SSM-basd action research with the category of theoretical research practice or research interest. According to Flood and Jackson (1991), through the choise, the feasible and desirable change, by considering the systematically desirable and culturally feasible factors, is the consideration among the researchers and reviewers, not on the problem owners.

Different from Hardjosoekarto's study (2012), the study s more similar to the one by Kane and Del Mistro (2003) that treated P (SMEs on Creative Industry) as the real-world instance of A (Competitiveness Based on Three-tiered Institutional Frameworks) as stated by McKay and marshall (2001).

The result of the research shows that the institutional framework-based competitiveness of SMEs is determines by the three tiered institutions consisting norms, culture, values, and embededness. As a resulth of Action Reserch study, according to Checkland &Scholes (1990), the competitiveness reconstruction is an experience-based knowledge that can be categorized as the primary thesis of the competitiveness reconstruction based on the more reliable institutional frameworks founded on the exploration of scientific study as stated by Barton et al. (2009), and Stephens et. al. (2009), later confirmed by Hardjosoekarto (2012)."

"This paper explain descriptively the relevance and the progress of the creative economy in Indonesia. This concept develops flourishingly in the recent years.The creative economy entails industries such as film,entertainment,art,craft,tourism etc...."

"Precariat di industri kreatif merupakan kelompok yang digadang-gadang sebagai penggerak ekonomi namun memiliki ketidakamanan pekerjaan dan rentan menghadapi eksploitasi yang berkedok fleksibilitas. Kerentanan yang mereka alami meluas pada kehidupan mereka, salah satunya keamanan bermukim. Penelitian ini bertujuan untuk memahami apa aspirasi merumah precariat di industri kreatif di Indonesia khususnya pada kelas ekonomi pendapatan rendah hingga menengah atas. Menggunakan etnografi studi kasus yang dilengkapi dengan teknik wawancara mendalam dan observasi langsung, penelitian ini mengeksplorasi delapan informan yang merupakan pekerja di industri kreatif Indonesia yang terdiri dari lima laki-laki dan tiga perempuan. Untuk menjelaskan precariat di industri kreatif Indonesia, peneliti menggunakan tiga dimensi precariat menurut oleh Guy Standing, yaitu: dimensi hubungan produksi, dimensi hubungan distribusi, dan dimensi hubungan dengan pemerintah. Selain itu, penelitian ini juga mendalami bagaimana cara merumah precariat di industri kreatif Indonesia dan kondisi mereka di konteks sistem perumahan di Indonesia. Temuan dari penelitian ini adalah aspirasi merumah bagi precariat di industri kreatif di Indonesia ada tiga: tetap tinggal bersama orang tua; memiliki rumah baru; dan aspirasi merumah yang didorong oleh rencana karir dan pendidikan di masa depan. Penelitian ini juga menyoroti kondisi dilematis yang dihadapi precariat di industri kreatif ketika mereka mengikuti program rumah subsidi.

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Precariat in the creative industry is a group that is glorified to drive the economy but has job insecurity and is vulnerable to exploitation under the guise of flexibility. The precariousness that they experienced extend to their lives, one of which is housing security. This research aims to understand what are housing aspirations of  precariat in the creative industry in Indonesia especially in the lower income to upper middle income economic classes. Using ethnographic case studies equipped with in-depth interview techniques and direct observation, this research explores eight informants who are workers in the Indonesian creative industry, consisting of five men and three women. To explain the precariat in Indonesia's creative industries, researchers use three dimensions of the precariat according to Guy Standing, namely: the dimension of production relations, the dimension of distribution relations, and the dimension of relations with the government. Apart from that, this research also explores how to house the precariat in Indonesia's creative industries and their conditions in the context of the housing system in Indonesia. The findings from this research are that there are three aspirations for living at home for the precariat in the creative industries in Indonesia: remaining with their parents; have a new house; and housing aspirations driven by future career and educational plans. This research also highlights the dilemma faced by them when they participate in the subsidized housing program."

"Abstract. This purpose of this research paper is to describe the role of the Denpasar City Government in supporting the resources of endek fabric creative industry. The Denpasar Government has done a number of policies/activities in supporting the resources of endek fabric creative industry. As a result, the Denpasar Government earned with Upakarti and Innovative Government Award nomination in 2012. Furthermore, one of their attempts was submitted in UNPSA Competition. Nevertheless, endek fabric industry still face several problems, namely the lack of weavers and the crisis of competitiveness of the endek fabric. This research utilizes several concepts, such as the role of the government in the Triple Helix Model, the resource endowment in regional development, and creative industry. The approach is of the study is the qualitative approach that utilize in-depth interviews and literature study. The result is that the Denpasar City Government plays the role as the regulator by formulating the Denpasar Local Regulation No. 6/2012 as a cornerstone of the endek industry development. Furthermore, the Denpasar City Government provided weaving tools and conducted eight activities/policies, such as training and exhibitions; suggestion for using endek products; holding Denpasar Festival and trade mission; promoting Endek Ambassador pageant; building Imperium Kumbasari and Denpasar Design Center; establishing Denpasar's Endek, Bordir, and Songket Association. The Denpasar City Government has provided the interaction space between university and business interaction spaces. On the other hand, the Denpasar City Government still cannot overcome the crisis faced by the weavers.Abstrak. Penelitian ini bertujuan untuk mendeskripsikan peran Pemerintah Kota (Pemkot) Denpasar di dalam mendukung sumber daya industri kreatif kain tenun ikat endek (kain endek). Pemkot Denpasar telah melakukan kebijakan/kegiatan untuk mengembangkan industri kain endek yang mana hal ini membuat Pemkot Denpasar diganjar penghargaan Upakarti dan juga memperoleh nominasi Innovative Government Award 2012 berikut diajukan dalam pemilihan United Nations Public Service Awards (UNPSA). Kendati demikian, industri kain endek masih mengalami krisis penenun dan daya saing industri ini juga rendah. Teori yang digunakan adalah peran pemerintah dalam model Triple Helix, dukungan sumber daya dalam pembangunan ekonomi regional, dan industri kreatif. Pendekatan penelitian ini adalah pendekatan kualitatif dengan teknik pengumpulan data wawancara mendalam dan studi literatur. Hasil penelitian ini adalah Pemkot Denpasar berperan di dalam membuat kebijakan Peraturan Daerah Kota Denpasar No. 6 Tahun 2012 sebagai landasan pengembangan industri endek. Selain itu, Pemkot Denpasar membantu permodalan UKM/IKM endek dalam bentuk peralatan serta melakukan delapan kegiatan yakni pelatihan dan pameran, himbauan untuk menggunakan produk kain endek, pelaksanaan Denpasar Festival dan Misi Dagang, Pemilihan Duta Endek, pendirian Denpasar Design Center, Imperium Kumbasari, dan Asosiasi Endek, Bordir, dan Songket Kota Denpasar sehingga memberikan ruang kepada universitas dan dunia usaha untuk berinteraksi. Kegiatan/kebijakan tersebut telah dapat mendukung sumber daya industri kain endek, tetapi belum dapat menanggulangi krisis penenun."

"ABSTRAKIndustri kreatif di Indonesia menghadapi banyak peluang untuk berkembang. Kemajuan teknologi serta bonus demografi yang diharapkan di Indonesia menjembatani kemungkinan untuk mempercepat efisiensi industri kreatif yang akan berkontribusi terhadap pertumbuhan sektor ekonomi. Kaum muda harus menyadari pentingnya partisipasi kreatif mereka dalam media digital, karena mereka bertanggung jawab atas berlangsungnya kehidupan masyarakat. Rasa memiliki antar satu sama lain akan memulai bentuk kreatif lebih lanjut seperti kewiraswastaan, di mana manfaatnya bisa diberikan untuk individu maupun masyarakat. Makalah ini akan meneliti berbagai jenis partisipasi kreatif oleh anak muda, pentingnya, dan bagaimana hal itu dapat berdampak pada pengembangan industri kreatif di Indonesia. Dengan menggunakan metode penelitian kualitatif, penelitian dilakukan dengan melakukan tinjauan pustaka, wawancara mendalam, dan studi kasus. Kisah sukses yang ditemukan di kaum muda di bidang tertentu akan menjadi masukkan rekomendasi peneliti tentang bagaimana meningkatkan kesadaran kaum muda tentang pentingnya industri kreatif di Indonesia dan partisipasi mereka yang turut berpengaruh dalam perkembangannya.

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ABSTRACTCreative industry in Indonesia is facing a great deal of opportunities to develop. The advancement of technology as well as the expected demographic bonus in Indonesia bridges the possibility to accelerate the efficiency of the creative industry that will contribute to the growth of the economic sector. Young people must be well aware of the importance of their creative participation in digital media, as they are responsible for the occurrence of the society. The sense of belonging with others will then initiate further form of creative such as entrepreneurship, in which the benefits could be taken for individuals as well as for community. This paper will examine the different types of creative participation by youth, the importance, and how it may be impactful towards the development of creative industry in Indonesia. By using qualitative research methods, the research was done by doing literature review, in depth interview, and case study. The successful stories found in youth will then become insights for the researcher rsquo s recommendation on how to make youth to become aware of the importance of creative industry as well as their creative participation towards its development. "

"Industri kreatif adalah industri baru yang memiliki potensi besar untuk dikembangkan. Indonesia memiliki kekuatan tersendiri untuk mengembangkan industri ini melalui keragaman keunikan geografisnya. Subsektor fashion adalah salah satu sub-sektor yang memiliki pengaruh besar pada pertumbuhan ekonomi di industri kreatif. Namun seiring dengan perkembangan teknologi dan permintaan pasar, industri fashion terus berjuang untuk eksis. Untuk dapat menganalisis perubahan yang cepat seperti itu, para pelaku di industri fashion dapat menggunakan pendekatan dinamika sistem. Penelitian ini akan menganalisis variabel apa yang berperan dalam perubahan ekosistem di industri fashion. Hasil analisis dapat memberikan rekomendasi yang tepat untuk opsi kebijakan yang dapat diambil dalam kondisi industri yang telah ditampilkan. Kami melihat bahwa perkembangan industri fashion di Indonesia berpusat di kota-kota besar di Jakarta, Bandung, Makasar, Padang dan Bali.

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Creative industry is a new industry that has great potential to develop. Indonesia has its own strength to develop this industry through its diversity of geographic uniqueness. Fashion subsector is one of the sub sectors that have a big influence on economic growth in the creative industry. But along with the development of technology and market demand, fashion industry is continuing struggling to exist. To be able to analyze such rapid changes, actors in the fashion industry can use system dynamics approach.

This study will analyze what variables that play a role in ecosystem changes in the fashion industry. The results of the analysis can provide appropriate recommendations for policy options that can be taken in the industry conditions that have been displayed. We see that the development of the fashion industry in Indonesia is centered on the big cities of Jakarta, Bandung, Makasar, Padang and Bali."

"Industri kreatif menjadi salah satu fenomena yang berkembang seiring dengan masifnya globalisasi. Perkembangannya begitu masif sehingga mulai diperhatikan dalam kajian studi Hubungan Internasional. Salah satunya adalah dalam proses diplomasi ekonomi yang berlangsung, dengan industri kreatif ini menjadi salah satu keunggulan kompetitif yang dapat bersaing di pasar global. Tulisan ini bertujuan untuk menganalisis kelola industri kreatif yang berpengaruh terhadap diplomasi ekonomi Indonesia dengan sub sektor mode sebagai studi kasus. Dipilihnya Indonesia adalah karena adanya kedekatan antara isu ekonomi kreatif dengan diplomasi ekonomi yang dilakukan. Sementara sub sektor mode dipilih karena menjadi salah satu kontributor tertinggi dalam industri kreatif Indonesia. Dalam melakukan analisis, penulis menggunakan kerangka konsep governance dalam industri kreatif dan juga diplomasi ekonomi. Berdasarkan analisis yang telah dilakukan, penulis menemukan bahwa tata kelola industri kreatif ini berpengaruh dalam diplomasi ekonomi. Pengaruh ini terlihat dari masuknya industri kreatif ke dalam ranah politis, di mana menjadikan sub sektor mode sebagai isu non- tradisional dalam pelaksanaan diplomasi ekonomi. Tentunya hal ini tidak terlepas dari aktor-aktor sub sektor mode selain pemerintah dalam tingkat domestik Indonesia. Selain itu, juga terdapat aspek-aspek lain yang mempengaruhi berjalannya diplomasi ekonomi tersebut yang berkaitan dengan tata kelola industri kreatif Indonesia itu sendiri seperti konteks hubungan internasional, ekonomi politik internasional, hingga perekonomian itu sendiri.

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Creative industry become one of the phenomenon that develops along with the massive globalization. Its development was so massive that it began to be noticed in studies of International Relations. For example is the ongoing economic diplomacy process, with creative industry become one of the competitive advantages that can compete in the global market. This paper aims to analyse the relationship between creative industry governance with Indonesia's economic diplomacy in the fashion sub-sector. The choice of Indonesia was due to the closeness between the issues of the creative economy and the economic diplomacy undertaken. While the fashion sub-sector was chosen because it is one of the highest contributors to Indonesia's creative industry. In conducting the analysis, the author use the framework of governance in the creative industries and also economic diplomacy. Based on the analysis that has been done, the author find that the governance of creative industries is influential in Indonesia's economic diplomacy. This influence can be seen from the significant of the creative industry have to the political sphere, which makes the fashion sub-sector as a non-traditional issue in the implementation of economic diplomacy. Of course this is inseparable from the actors of the fashion sub-sector besides the government at the Indonesian domestic level. In addition, there are also other aspects that affect the course of economic diplomacy relating to the governance of Indonesia's creative industry itself such as dynamic in international relations, international political economy, and of course the economy."

"[ABSTRAKbrPenelitian ini bertujuan untuk melihat hubungan antara readiness for changes dangeneral self-efficacy pada karyawan industri kreatif. Saat ini masih jarangpenelitian yang membahas konstruk general self-efficacy dalam konteks psikologiindustri dan organisasi. Responden pada penelitian ini adalah 102 karyawan yangbekerja di sektor industri kreatif. Alat ukur yang digunakan dalam penelitian iniadalah Readiness For Change Scale oleh Hanpachern (1997) dan New GeneralSelf-Efficacy Scale oleh Chen et al (2001). Hasil penelitian ini menunjukkanhubungan yang signifikan antara readiness for change dan general self-efficacypada karyawan di industri kreatif dengan r = .45 (p < .01).;The purpose of this research is to study the correlation between readiness forchange and general self-efficacy among creative industry. There were rarelyresearch which study general self-efficacy in industrial and organizationalpsychology. The respondents of this research were 102 employees who work increative industry. The instruments for this research were Readiness For ChangeScale by Hanpachern (1997) and New General Self Efficacy Scale by Chen et al.(2001). The result of this research showed that there was a significant corellationbetween readiness for change and general self-efficacy among creative industryemployees with r = .45 (p < .01);The purpose of this research is to study the correlation between readiness forchange and general self-efficacy among creative industry. There were rarelyresearch which study general self-efficacy in industrial and organizationalpsychology. The respondents of this research were 102 employees who work increative industry. The instruments for this research were Readiness For ChangeScale by Hanpachern (1997) and New General Self Efficacy Scale by Chen et al.(2001). The result of this research showed that there was a significant corellationbetween readiness for change and general self-efficacy among creative industryemployees with r = .45 (p < .01);The purpose of this research is to study the correlation between readiness forchange and general self-efficacy among creative industry. There were rarelyresearch which study general self-efficacy in industrial and organizationalpsychology. The respondents of this research were 102 employees who work increative industry. The instruments for this research were Readiness For ChangeScale by Hanpachern (1997) and New General Self Efficacy Scale by Chen et al.(2001). The result of this research showed that there was a significant corellationbetween readiness for change and general self-efficacy among creative industryemployees with r = .45 (p < .01), The purpose of this research is to study the correlation between readiness forchange and general self-efficacy among creative industry. There were rarelyresearch which study general self-efficacy in industrial and organizationalpsychology. The respondents of this research were 102 employees who work increative industry. The instruments for this research were Readiness For ChangeScale by Hanpachern (1997) and New General Self Efficacy Scale by Chen et al.(2001). The result of this research showed that there was a significant corellationbetween readiness for change and general self-efficacy among creative industryemployees with r = .45 (p < .01)]"

"ABSTRAKJumlah produksi film Indonesia telah mengalami peningkatan setiap tahunnya Namun hal ini tidak berbanding lurus dengan jumlah penonton film Indonesia dimana hanya 13 dari total populasi penduduk Indonesia yang memiliki akses ke bioskop Sementara itu sejak film masuk sebagai salah satu subsektor industri kreatif maka triple helix pemerintah pebisnis dan cendekiawan memegang peranan yang penting dalam mengembangkan industri kreatif perfilman Industri perfilman juga diharapkan mampu menghasilkan produk produk komersialisasi yang mengandalkan pemasaran penjualan dan promosi Pada kenyataannya kondisi industri kreatif perfilman saat ini masih belum kondusif dan ideal Permasalahan itu terutama berada dalam rantai penggerak roda industri film rantai produksi distribusi dan eksibisi Pemerintah masih belum bisa menegakkan sejumlah aturan yang telah dirancang Investasi di bidang perfilman masih terbilang minim Apresiasi penonton film Indonesia masih rendah Promosi perfilman masih terkendala kreativitas dan sumber dana Salah satu hal yang harus dilakukan dalam rangka mendorong peningkatan investasi adalah dengan penyediaan data riset penonton Meskipun demikian untuk membenahi kondisi ini semua pihak memiliki perannya masing masing yang pada akhirnya bermuara pada satu tujuan yaitu peningkatan kualitas dan kuantitas film Indonesia serta penonton.

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ABSTRACT

Number of Indonesian film production has been increasing year by year However this is not followed by the growth of Indonesian moviegoers where merely 13 of the population have access to the cinema Meanwhile since film has been included as one of creative industry subsectors so there are parties known as triple helix government business people and intellectual who hold the role that is significant in developing creative industry of film This industry is also expected to be capable in producing commercialization products which has to rely on marketing sales and promotion In fact this industry is not in a conducive and ideal condition yet The main problem is in the chains that drive the industry wheel production distribution and exhibition The government is still poor in upholding to the law that have been well designed The investment in the film industry is still considered as a low rate and the appreciation from moviegoers as well The promotion which is essential is obstructed by the people rsquo s creativity and funding sources Availability of the audience research data is believed as the way that will increase the investment rate Nevertheless all the parties have their own role to be done that will lead to the ultimate goals increasing the quality and quantity of Indonesian films and the moviegoers as well."

"Strategi Cool Japan merupakan sebuah strategi yang dikelola oleh pemerintah Jepang dengan fokus terhadap budaya populer dan industri kreatif. Tujuan utama dari Cool Japan adalah menarik perhatian dunia secara positif. Pada mulanya Cool Japan berada di bawah pengawasan Kementrian Luar Negeri Jepang atau MOFA. Hingga pada tahun 2011 Cool Japan menjadi bagian dari program kerja Kementrian Ekonomi, Perdagangan, dan Industri Jepang atau METI. Penelitian ini menemukan formulasi teori nation branding yang dikemukakan Simon Anholt dalam program-program yang dilaksanakan oleh Cool Japan.

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'Cool Japan rdquo is a Japan's goverment strategy which is focused on pop culture and creative industry. The main aim of'Cool Japan rdquo is attract the world in positive way. At first'Cool Japan rdquo is being supervised by Ministry of Foreign Affair MOFA . Up to 2011'Cool Japan rdquo is being a part of Ministry of Economy, Trading, and Industry or METI's program. This research found that nation branding's theory by Simon Anholt formulated in Cool Japan's activities."