THE DIFFERENCE IN THE PERCEPTION OF CREATIVE INDUSTRIES BETWEEN THE LOCAL AND INTERNATIONAL COMMUNITY

Ashley Barlow

The term “creative industries” is gaining a bit of a hype in Iraq these days, with numerous international partners seeking to offer opportunities for Iraq youth to develop their skills. But just what exactly is it? What is the potential for youth to develop their skills, and in which fields? And can it truly have an impact on the economic growth of graduates?

“Creative industries” can mean a lot of things to lots of people, it is incredibly broad and varied, and for that reason, it can often be difficult to pin down what is exactly meant. Generally speaking, creative industries encompass anybody who works in the following sectors: advertising, architecture, arts and traditional crafts, graphic design, fashion, film, video, photography, music, performing arts, research and development, game design, computer games, television, and radio. Of course, there are many other areas that overlap, but the list above highlights the great depth of the sector.

There is generally an assumption in Iraq that the creative industries are limited to those operating in the arts scene, one that has heavily suffered from a lack of innovation, a mass exodus of leading artists, and an overarching concept that art is for art’s sake, rather than for economic empowerment. But if you visit any coworking space in the country, you are likely to find a start-up or group of freelancers working in this field, perhaps they just don’t know they are working in a creative industry.

Is that necessary though? Do such labels need to be understood to operate? In Iraq, perhaps not right now. The scene is being driven by the youth - graphic designers working with companies to push their products in a fresh and innovative way, filmmakers who are providing training to the next generation of professionals to ensure that they have the skills to tell their own stories, fashion designers that can reimagine traditional dress in a way that is a viable product on the market today. What is necessary though, is to identify these early sector leaders to position support mechanisms in a targeted response; their knowledge of copyright challenges, supply chain issues, and company registration is critical to making change. These young creative industry leaders already exist, what is more critical is changing the mindset of the more ‘traditional thinkers.’ A cultural scene, and all of the added holistic benefits, can not be sustainable without economic mechanisms, be that through the support of the state or the private sector. The attitude that “art is for art” will not support the next generation - something that donor-led initiatives also need to understand - when the sponsored project is over, where is the benefit for the participant?

Finding opportunities to ensure that if an artist wants to sell their work, engage with the community, gain money through conducting workshops, doing commissions, that is how to achieve potential ecumenic sustainability for artists. At The Station, we have begun this process through the provision of space for artists to exhibit, networking with all aspects of the community to identify opportunities for them to gain revenue. We are bridging the generational gap that has existed for so long. The Station’s creativeSpace is a platform for creative youth, and by bringing the masters of the arts scene into the community, we are promoting dialogue, knowledge transfer, and collaboration. It is essential that our creatives are in an environment where there is a focus, even if indirectly towards them, on the potential for the private sector.

A major challenge that needs to be considered is the market itself, particularly by those producing handmade products or creating pieces of art. In a country dominated by much cheaper Turkish and Iranian products, buying Iraqi products is increasingly difficult when the customer is concerned about the rising cost of living. It is equally difficult for the customer to consider the amount of hours of work that have gone into the production. A comprehensive understanding of potential markets, domestically and internationally, needs to be conducted to help guide creative practitioners to ensure that they can continue to lead.

It will be necessary that we engage with the government too to advocate for this. Over the course of a year, there are countless bazaars and shows around the country with people selling handicrafts and artwork, all sponsored by the Ministry of Culture. If you are lucky enough to visit one of these markets, you will see that the participants have technical skills, but lack the understanding of the market, thus designing products that they themselves often feel are not for the purpose of income generation. Without these skills, their products will never sell, and it is clear that this issue has not been resolved for some time.

Aside from the potential for Iraqi creatives to generate income from their work, there is a great deal of opportunity for expression that enhances the social cohesion of the country. A new story of Iraq is just waiting to be told.

What is quite clear is that there is a significant challenge in the understanding of the value, and the role, of the creative industries. Support from the international community remains limited to just a handful of organizations; many in private sector development see the creative scene as something that offers very little financial empowerment, or lacks the ‘buzz’ of a ‘start-up.’ Donor-led funding, based on rigid parameters, limits programs that cut out these creatives that could incubate an incredibly savvy generation of freelancers and producers. Our partnerships with UNESCO, the British Council, and the National Bank of Iraq have helped build ideas into viable products and services, and we look forward to continuing to monitor their progress. They will now have opportunities to take the next step by joining our incubation programmes to build their business models.

SO WHO ARE THESE YOUNG CREATIVE LEADERS?

ZUQAQ13

Founded by Hussein Abul Ma’ali in 2017. Coming from a creative background working as a graphic designer, Hussein founded Zuqaq13 to become a window for creatives to showcase their artworks. Zuqaq13 is an Iraqi streetwear brand based in Baghdad. The brand’s visual elements and designs are used in its high-quality T-shirts and other apparel and are inspired by Iraqi and Arabic culture and heritage. It is heavily influenced by the contemporary scene and the daily events. Zuqaq13 works in collaboration with a group of local and international designers to deliver diverse collections of artistic, highend designs, reinforcing a positive identity.

ISHTAR IRAQ FILM PRODUCTION

Founded by Huda Khadimi, Ishtar Film Production is one of the growing powerhouses of Iraqi cinema. Their extensive network of filmmakers, both inside and outside Iraq, allows them to develop incredibly powerful movies that are now getting international recognition! Recently, Hanging Gardens was shortlisted at the Cannes Film Festival, building on previous successes at the Busan Film Festival, and becoming the Iraqi nomination for the Oscars for their short movie Mosul 980. They also provide training support services for other filmmakers around the country, most notably supporting 24 Frame, a new and upcoming film production start-up in Mosul working on short, powerful documentaries offering fresh insights into Mosul.

XO

Founded by Jaafar H. Alsaadi in 2020, XO Center was created as a means to build a creative platform for graphic designers and artists whose work can be utilised in the production of accessories such as: posters, clothes, tote bags, pins, notebooks, and other merchandise. XO believes in democratising art and allowing the artists to express themselves freely through products available in the market, and this belief is reflected in the variety and diversity of their designs.

JAMANA

Founded by Sarah Abdulwahid and Huda Hassan in 2020, Jamana is a designer who blends traditional designs into her modern clothing. Her work reflects her passion and values in promoting a positive identity amongst the Kurdish community by utilising motifs and materials that represent the history, tribal origins, and the diversity of the Kurdish community. Jamana represents a start-up that is keen to keep Kurdish culture alive, in a reimagined form that defies traditional gender-based fashion norms.

As-U

Founded by Esraa Talib in August 2020, As-U was built around the belief that the art of resin is an important modern art form and has a promising future in Iraq in terms of product design. Not only can it be used to create modern designs for furniture and decoration, but the process helps to preserve objects, reducing the need for waste. Her current product lines range from small decorative pieces to kitchen furniture, and everything in between. Esraa aims to make her start-up the first company in Iraq to provide resin art products.

Dhay

Founded in April 2018 by Hussein Ali, this start-up aims to fix the mistakes of the sculptures manufactured abroad to truly reflect Iraqi heritage from across the country, and also ensure that locally made souvenirs are available in the market. Hussein has constantly been working to enhance his designs to match the needs of the market and used the COVID-19 lockdown to work on new designs that reflect the diversity of the country through souvenirs relating to heritage. You can now find his products in the markets across the country.