A BRIEF OVERVIEW OF THE ROLE OF THE CREATIVE INDUSTRIES AND THEIR POTENTIAL IN IRAQ

By Ashley Barlow

The creative industries have often been ignored in Iraq, trapped between having an aesthetic value whilst its financial value is often misunderstood by both the consumer and the artist. It is also a concept that is ill defined, many presuming that art is to be displayed in galleries, collections or homes. Yet art is everywhere in the business world; logo design, visual identity, social media; it is in the packaging and the design of products, carefully planned by artists and designers. Architects design buildings and street planners consider the beauty and practicality of their design, just another part of the creative industry that we rarely take into consideration.

Each country also has a unique style that is reflected in its creative traditions, continuously evolving and changing to adapt to modern tastes but reflect a familiarity and a certain sense of nostalgia. Iraq is no different. The prevalence of motifs from ancient Mesopotamia is apparent in logos and branding, many companies directly taking their names from this period. The legacy of amazing architects continues to influence those ambitious designers today.

DOMINANCE OF FOREIGN MARKETS

Without question, throughout the country, the wider market is dominated by Turkish or Iranian products which are supplied at a low price and attractively marketed. Iraqi brands therefore often seem less preferential, perhaps somewhat outdated, lacking the visual identity or marketing power that neighbouring countries have. This is where the role of the creative industries can come in. By rebranding Iraqi products to make them more appealing to the target audience, either through packaging, marketing, or an improved branding campaign, there is the potential to reach new customers. Combining the creative power of those young designers, with more traditional businesses, will not only help to improve the products themselves but also inject new energy to businesses that have perhaps lacked innovation for a long time.

How can we support those working in branding or visual identity? Promoting the numerous startups already operating in this field and connecting them with businesses will help forge new and exciting brand identities that will resonate with the Iraqi community today.

CULTURAL NARRATIVES AND LENSES

With the recent changes in visa regulations by the Iraqi federal government to attract international investors, it is highly likely that Iraq may also see an increase in the number of international tourists that can access the country much easier than before. The recent visit of Pope Francis brought international attention to the country, particularly his visit to the ancient Ziggurat of Ur, with many outside seeing it as a positive reflection of Iraq. The renovation of the royal mausoleum in Adhamiyah, and ongoing restorative work at the nearby Adhamiyah Palace is a clear indication that tourism may be back on the agenda. The upcoming visit of King Abdullah II is likely to also raise the profile of such important monuments. If tourism is to increase, a new gap in the market is likely to open up that creatives can easily fill. Tourists are more likely to purchase souvenirs of the country that they visit rather than the local community, and having a wide variety of products available to them will offer new sources of income for the creative sector. If we take Egypt as an example, where the economy is heavily reliant on tourism, there is a huge array of souvenirs and objects for the visitor. This may be from simple models of monuments made in China, but equally so may be local work that offers a unique touch. Organisations around the country are using the tourism market as a means to provide sustainable incomes for many creatives, marketed in a way that reflects their understanding of different tourist groups.

It allows the producer to also define their country to tourists, giving artists and creatives a voice through their work that may not necessarily be heard through mainstream media, or even drowned out in the online world. Artists have a unique ability to influence the way that we perceive a place, space or period, and therefore they can be a powerful asset as Iraq aims to challenge the existing narrative of conflict and crisis.

It will be an opportunity for tourist sites and official institutions to also increase their sales by taking innovative and interesting products rather than outdated books, ancient postcards or Chinese made replicas. Film and Television also has a similar potential. The recent Netflix drama “Mosul”, and Channel 4 UK’s “Baghdad Central”, highlight how international audiences are exposed to themes centred around war and conflict, and is indicative of the perception of Iraq from foreign eyes. Such themes are replicated by Iraqi producers who see that market as they attempt to provide their own narratives to similar events. This should be seen as a positive step, Iraqi representation in TV and Film should be supported considering the international interest in Iraq.

This can only be developed through support from the Ministry of Culture due to the bureaucratic processes involved in providing permits to film. If successfully managed, we could see a flourishing of IraqiInternational Film Partnerships that will give a voice to Iraqi film-makers and provide opportunity for them to grow.

TRADITIONAL PRACTICES REIMAGINED FOR NEW MARKETS

Local traditions and practices have disappeared over centuries and we continue to witness this to this day. Technological advances replace outdated techniques thus losing century or millennia old solutions to continual problems. The period that we live in has seen this process speed up as technology evolves quicker than ever. Despite that, new life can be found for these practitioners who continue to take up the ways of our forefathers.

If we take calligraphy as an example, an age-old practice that features as an important part of the literary identity of many cultures, it is finding a new life in a digital format. Versatile yet beautiful, the essence of calligraphy has found a new home in visual identity, printed on clothes and accessories, as well as featured in posters and other artworks. Therefore there is clearly a demand for this cultural legacy to continue to exist, and a new generation of tech-savvy calligraphers and graphic designers will be able to ensure that it thrives, not within the pages of a book but on pin badges, clothes and stickers. Startups such as XO, a resident business in our co-working space, bring together graphic designers to create innovative representations of Iraq that can be sold as a variety of products.

This reimagining is not limited to calligraphy, older music is being reintroduced to a younger generation through more popular, current styles. Project Suli blends traditional Kurdish music with techno beats whilst Tribe of Monsters mashes up old Iraqi songs with American Hip Hop. Iraqi and Kurdish rappers can be found in unexpected cities like Mosul and Ranya, Frank Flo rapping in English, reaching new audiences and providing a unique insight into contemporary rap culture to non-Arabic or Kurdish. There is a growing music community that is innovating and exciting but fragmented and under-supported. Supporting this generation of musicians will empower them financially whilst they help to challenge stereotypes of Iraq abroad. The provision of recording studios, production training as well as platforms to share their work will only embolden this creative sector.

NEW SPACES AND NEW PARTNERS

The limitations of having spaces is not limited to the music industry. Many young creatives find it difficult to find spaces to work outside of their home, and are therefore fragmented and disconnected from other members of the creative community. They have limited access to exhibition spaces and little opportunity to highlight their work to other communities due to stateled bureaucracy.

That said, we see new hubs arriving into the Iraqi entrepreneurial ecosystem, dedicated to supporting the creative industries. Karge Kulture in Sulaymaniyah Cigarette Factory is host to multiple organisations, independent businesses and exciting arts projects. X-Line is just one of those whose exciting concept blends arts and culture with inclusivity and community ownership.

The Station has opened new spaces in Baghdad and Mosul that will provide training opportunities, exhibition space as well as community studios that will help address this issue. We believe that we are well suited to apply our experience in entrepreneurship to the creative sector to help foster new start-ups, freelancers as well as support artists in generating revenue or building their portfolio. Keep following for updates about exciting new programmes, culture clubs, studio memberships and events!

It is an exciting time as cultural stakeholders such as the British Council, UNESCO and the Goethe Institute all begin to lend their support to the creative industries in Iraq. With new spaces and new partners on the scene, and with concerted efforts between all parties to make true success stories, we can highlight the potential of the creative sector as a source of economic independence that could encourage wider changes in attitude - at a community and governmental level. This in turn will challenge perceptions of Iraq and contribute to a more confident and innovative youth.

CHECK OUT SOME OF THE STARTUPS THAT ARE ALREADY IN THE STATION COMMUNITY AND IN OUR MADE IN IRAQ CORNER:

„ Ishtar Film - A leading Baghdad Film production company „ XO - A creative agency using innovative graphic art „ Mankousha - A startup selling Mosul inspired products „ Onbar - A music production startup „ Bil Weekend - Tours across Iraq to promote the value of Iraqi heritage „ Urbilium - Board Games based on the diverse heritage of Iraq „ Tricot - Traditional carpets with modern geometric designs from the Hawraman district of

Sulaymaniyah.