confident and connected cultural industries sector can operate as a strategic asset for international development policy and strengthen national distinctiveness. The cultural industries can also play a vital role in giving a more contem- porary, progressive identity for a nation. √ With a focus on cultural excel- lence and entrepreneurialism, the cultural industries is a proficient tool for the growth, innovation and competitiveness of the economy, enabling culture to become an important element of trade and international competitiveness, helping Vietnam to build a strong creative economy made up of high value and value-adding jobs. √ The cultural industries can strengthen social cohesion through the increased participation of diverse communities in cultural activities and via more professional and entrepreneurial cultural infrastructure and organisations. √ The cultural industries can provide excellent opportunities to nurture talent and support sustaina- ble employment. This includes generating high value employment √ The Vietnamese cultural sector is not fit for purpose and is in need of major reform: it is too subsidy-de- pendent and lacks a sustainable blend of investment sources; it suffers from issues of low pay and low morale; management and entrepreneurial skills are weak; digital technology has not been widely adopted; and it does not have the capacity or means to build strong and deep relationships with audiences / markets who increas- ingly demand excellence and distinctiveness. In addition, cultural Why vietnam needs a cultural industries strategy Our Definition Of The Cultural Industries 1.1 Although multi-faceted reform has been conducted in Vietnam for nearly twenty years, at the present time, the development of culture has not yet kept speed with economic development. In particu- lar, the cultural industries have not yet been considered a priority sector and thus the demands of building a genuinely developed society are still to be met. Cultural products and services of Vietnam in general are still poor, and have not fulfilled the diverse and changing demands of the domestic market, created distinctive competitive advantages, or reached out and connected with international markets. In the meantime, foreign cultural goods have had a very strong influence on Vietnamese markets, especially media products. Cultural Industries: Driving A New Phase Of National Development 1.2 POSITIVE DRIVERS (OPPORTUNI- TIES TO PURSUE): NEGATIVE DRIVERS (CHALLENGES WE NEED TO OVERCOME) (e.g. in digital media activities), which can contribute significantly to national GDP, and help to transform the fortunes of specific places – e.g. via creative clusters in our cities and through stronger cultural organisa- tions in our rural areas. √ The cultural industries can be a provider of value-adding ‘spillover effects’ – e.g. a strong and dynamic cultural industries sector is a key attractor to contemporary patterns of cultural tourism; a strong design sector can lift the innovation capacity of the manufacturing and services sector; and growth in digital content businesses opens up new international markets for other sectors. governance is too complex, with unnecessary duplication and a lack of coordination in all areas of Government. √ Too many talented people are not reaching their potential – with the education sector not providing the range of creative skills and perspec- tives critical for success in the cultural industries. The cultural workforce is also not accessing the necessary skills and professional development for ongoing adapta- tion to new business and organisa- tional models for the cultural industries. √ Issues of copyright infringement, bureaucracy and censorship combine to reduce confidence and stifle entrepreneurialism in culture, which in turn reduces the capacity of the sector to deliver value to the economy and society. √ Vietnam is significantly behind other comparable countries in the governance and support environ- ment for the cultural industries: if we are to move into a new phase of economic competitiveness and socialization, we need to move quickly toward a coherent and committed approach to the cultural industries. One positive interpretation of this situation is that the cultural market in Vietnam is still in its infancy. Cultural resources and the talent in Vietnam have not yet been effectively mobilised to bring about direct and added values. So there is much to play for. This Strategy for the Development of Cultural Industries in Vietnam to 2020, Vision to 2030, is a crucial governmental management tool, and strategic action with the aims of reviving Vietnamese culture in a new historical period of modernisation, market liberalization and internation- al integration. The development of cultural industries is a part of the process of Vietnamese development overall: to keep pace and in some instances set the pace for culture-led economic and social development. Each nation defines the cultural industries slightly differently. This is because it is important to focus on activities which have a particular relevance to the local context. It is also because the relationship between the traditionally subsidised cultural sector and the more commercially driven creative industries, varies. In Vietnam, where there is a strong historical commit- ment to state subsidy for culture, plus a diverse arts sector across the country, we have made the decision to focus on a definition of the cultural industries which includes the full range of artistic creation activities; and we have linked these to activities of production, distribution/- dissemination, and consumption/ex- perience. We call these ‘value chain activities’ for the cultural industries. Overall, we have identified 13 sub-sectors which are of central importance for the cultural industries –in Vietnam: (1) Advertisement, (2) Architecture, (3) Crafts, (4) Design (Fashion Design, Product Design, Communication Design, interior and landscape design) (5) Film and Video, (6) Publishing, (7) Software and Interactive Entertainment Games, (8) Electronic Publishing, (9) Music, (10) Performing Arts, (11) Visual Arts, (12) Television and Audio Broadcasting, (13) Cultural Tourism (inclusive of relevant institutions such as muse- ums). Some of the above sub-sectors sit under the jurisdiction of the Ministry of Culture, Sport and Tourism (MoCST), while others are the concern of different Ministries, for example, the sub-sectors of Software and Interactive Entertainment Games, Electronic Publishing and Television and Audio Broadcasting are under the jurisdiction of the Ministry of Information and Commu- nications; the sub-sector of Architec- ture is under the authority of the Ministry of Construction. In addition, all of these sub-sectors are of relevance to the Ministry of Educa- tion and Training and Ministry of Industry and Trade: they depend on a high quality education for their talent and they all contribute to the economic development and wellbe- ing of the country. It is important therefore for this Strategy to mark a new phase of productive partnership between the ministries of Govern- ment: so that the cultural industries are supported in a joined-up and holistic way. This is the approach of other successful cultura industries strategies – e.g. the approach in Singapore is for a pan-departmental approach where culture is positioned as a central platform for economic growth, social development, innovation and tourism. NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 07 NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 06 National Strategy for the Development of Cutural Industries in Vietnam. Client Date Published VICAS 2014 Service EDITORIAL DESIGN Top Five Threats to the Vietnamese Cultural Industries Lack of action and inertia from Government and partners. Current approaches to governance, invest- ment, management and regulation are seriously hampering cultural industries development and it is more difficult for cultural talent to prosper in Vietnam than many SE Asian countries. For the cultural industries to grow and play a value-adding role for Vietnam, real commitment and vision is required from Government and partners. Certainly other countries in the region (e.g. Malaysia, Thailand and Indonesia) are undertaking reform and investing expertise and resourc- es to gain competitive edge in the cultural industries. Ongoing lack of creative education and serious skills gaps across the cultural industries.Vietnam has a strong and diverse talent base, but the conditions for talent develop- ment are missing. Without targeted support in training, professional development and entrepreneurial- ism, the sector will not flourish to is potential. In addition, there are some specific skills gaps which threaten long term growth and competitive- ness – e.g. converging skills in computer programming / coding and digital arts – which is essential for a flourishing digital media, gaming and animation sector. Lack of networking and collabora- tion; plus low levels of progression in the cultural industries labour market. The cultural industries sector needs strong networks – to encourage trade, build value chain relationships and accelerate innovation. There is also a real need in Vietnam to establish effective institutional partnerships – e.g. universities working together and with industry to ensure the creative education and skills offer is coherent and that standards are high. In addition, the cultural industries labour market is currently too rigid, with many cultural organisations led by managers who are in post for many years. Shorter term contracts and performance-re- lated incentives would help to introduce some dynamism to the cultural industries labour market, as would greater trust in young talent from employers. Weak local markets for Vietnamese cultural goods and services. The above issues have a negative impact on the quality and relevance of Vietnamese cultural goods and services. In addition, copyright infringement plus relatively underde- veloped markets for certain cultural industries sub-sectors (such as for high quality design, designer fashion, and cutting edge film and theatre), render the Vietnamese cultural industries market comparatively weak ad under-developed. Economic stagnation.Vietnam has seen enormous changes over recent years, with year on year improve- ments to standards of living, health and wellbeing. However, economic growth has slowed and other countries in the region are showing higher performance than Vietnam. Add to this the burgeoning middle class in other Asian countries, which is propelling new markets for the cultural industries, and it is clear that Vietnam needs to act to stay competitive overall and if the cultural industries are to play a role in this competitiveness. Key Objectives Themes for this Cultural Industries Strategy & NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 17 NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 16 - Vietnam Socio-Economic Development Strategy for the 2011-2020 period was adopted at the 11th National Congress of the Communist Party of Vietnam. - Central Resolution No.5, legislation VIII of the Central Executive Committee of the Communist Party of Vietnam on the building and development of a Vietnam- ese advanced culture imbued with the national identity. Resolution of the 5th Meeting of the Central Committee of Vietnamese Communist Party (legislature 8) on the continuously implementing the Central Resolution No5. - Resolution No 23-NQ/TW of the Ministry of Politics continuing to build and develop culture and arts in the new era. - Decision No582/QĐ-TTg dated on May 06th 2009 of the Prime Minister approving the Cultural Development Strategy until 2020. - Law on Cultural Heritage dated on June 29th 2001 and Law amending and supplementing a number of articles of the law on Cultural Heritage dated on June 18th 2009. - Law on Cinematography (promulgated in 2006, amended and supplemented in 2009) - Vietnam Law on Publication (promulgated in 2004, amended and supplemented in 2008) - Vietnam Press Law (promulgated in 1989, amended and supplemented in 1999) - Vietnam Law on Tourism (promulgated in 2005) - Law on Intellectual Property Rights (promulgated in 2005) - Vietnam Advertisement Law (promulgated in 2012) - Decree No32 (November 07th 2012) on Management of cultural products exported and imported for non-com- mercial purposes (replacement of the Decree No88/2002) This Strategy is driven by a single vision: for Vietnam to be a Major Centre and Market Leader for the Cultural Industries of South East Asia by 2020 and a Globally Recognised Creative Economy by 2030. To deliver on this Vision, the Strategy Section 2 provides a SWOT analysis of the current situation of the cultural industries in Vietnam. This provides an overview of our strengths/ assets, points to our major weaknesses, identifies a set of major opportunities, and reminds us of the threats to success. This SWOT informs Section 3 of the Strategy, where we identify a set of 3 clear objectives for sector development to ensure we reach the fulfilment of our Vision by 2030. These are: - Creative Talent: for Vietnam to make the most of its greatest asset – a youthful, diverse and talented population – so that the cultural industries is a major source of jobs, inspiration and confidence; and to inspire a new generation of cultural producers and consumers. - Creative Excellence: for Vietnam to nurture a new generation of cultural organisations and businesses which are world class in their quality, audience-facing and relevant to contemporary society, digitally literate, design conscious, open and entrepreneurial. - Creative Cities and Regions: for Vietnam to position culture and creativity to the heart of its major cities, so they become burgeoning hubs for the Asian creative economy; and for smaller cities and rural areas to benefit from strong sector networks and specialist hubs of cultural industries activity (e.g. in crafts, festivals and cultural tourism). SECTION 3 of the Strategy continues with an introduction to the 5 Strategic Themes for successful cultural industries development. These are, in effect, the building blocks for effective investment, reform and a set of required interventions which will collectively enable us to fulfil our Vision. The 5 Strategic Themes are: - Theme 1: Creative Education and Skills. This Theme is designed to build a professional, entrepreneurial, Structure of this Strategy for the Development of Cultural Industries in Vietnam to 2020, Vision to 2030. 1.3 The Legal Foundation for this Cultural Industries Strategy highly skilled and collaborative workforce for the cultural industries of Vietnam. This is to maximise the potential of the huge and growing talent base of the country, introducing opportunities for more people to enter careers in the cultural industries, supporting people to develop cultural practices which can help to lift them out of poverty, and improving the overall creative skills base – which will benefit not only the cultural industries sector but the economy as a whole. - Theme 2: Governance, Investment and Regulation. This Theme is to improve systems of governance and build a cultural industries sector which is open to innovation, able to trade and create jobs and wider economic value, and is more connected to the needs and aspirations of the population. It is necessary because the current approach to funding and manage- ment acts as a major barrier to sector development, with cultural organisations stricken by bureaucracy, poor funding models, inflexibility and low levels of aspiration. In turn this is having a detrimental effect on the opportunities for diverse cultural talent to flourish. In addition, a set of regulatory and investment aspects need urgent attention to enable the cultural industries to grow to its potential. - Theme 3: Audiences and Market Development. This Theme focuses on building strong and active markets for Vietnam’s cultural products and services; and on diversifying, growing and more effectively engaging audiences for cultural organisations and productions. This is critical if the overall cultural economy is to grow: Vietnam has only just begun to build markets for its cultural industries, with so much potential to grow a dynamic sector over the coming years. - Theme 4: Clustering and Networking. This Theme focuses on building strong and dynamic centres of excellence in key strategic areas of Vietnam; plus on generating a vibrant creative community of cultural businesses and organisations via networking activities. For Vietnam to establish a high performance cultural industries sector, it is important to develop critical mass – which requires high profile densely networked clusters of cultural industries activity in major cities; strong social and professional networks (digital and face to face) in both urban and rural areas; and dedicated infrastructure for sectors such as film, performing and visual arts, where education, skills, production and commercial activities converge. - Theme 5: International Positioning. This Theme focuses on positioning Vietnam as a ‘cultural industries nation’ to international markets. It is important for both diplomacy and commercial reasons to ensure Vietnam is understood as a country with a strong and distinc- tive history and dynamic contemporary cultural life. Currently, Vietnam is not well known for its contempo- rary cultural industries sector, which means it is not associated with high levels of development, civil society and innovation. An additional opportunity exists under this Theme to build strong international relations with leading ‘cultural industries nations’ – to explore trade and knowledge exchange opportunities. It is also important to have a strong international dimension to encourage strategic partnership and co-investment with international development and donor agencies. SECTION 4 OF THE STRATEGY PROVIDES AN ACTION PLAN for Government and Partners for the short /immediate term (2014-2015), medium term (2016-2017), and longer term (to 2018- 2020). These are practical and viable actions which will be coordi- nated and supported by three overarching mecha- nisms: - A new National Committee for the Cultural Industries of Vietnam – the lead responsible Commit- tee for the Delivery of the Strategy - A new International Advisory Group of Leading Bodies – to provide strategic and technical assistance - A new cultural industries agency – to build a delivery team for sector development activities. This Strategy is driven by a single vision: for Vietnam to be a Major Centre and Market Leader for the Cultural Industries of South East Asia by 2020 and a Globally Recognised Creative Economy by 2030. NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 09 NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 08 I am pleased to support the first Cultural Industries Strategy for Vietnam. This is an exciting moment for Vietnam as it continues to develop and diversify its economy. Central to a productive and competitive economy will be a confident, diverse and entrepreneurial cultural industries sector. This will help to give direct and indirect value to the economy - introducing new opportu- nities for job creation and accelerating processes of innovation; plus opening up new markets for creative content and services which will lift the competitiveness of the wider economy. But most importantly, it will ensure we make the most of our most important resource: the talent of an increasingly youthful, creative and globally connected population. Since 2007, when Vietnam signed the UN Convention on a Diversity of Human Expressions, we have been working to build a stronger cultural industries sector - with a key agenda to support talent to build sustainable careers. But we recognised that if we are to reach a breakthrough moment where the cultural industries can play a major role in delivering the nation's ambitions, then it was necessary to develop a national strategy. This will allow us to begin a process of required reform and to support cultural organisations and businesses to flourish at the heart of a the overall national strategy to 2020 and vision to 2030. At VICAS, we are proud to play a role as lead research and development agency for the national cultural industries strategy. By working with every relevant Government department, we are passionate and determined to lift the performance and value of the Vietnamese cultural indus- tries to one of market-leader for SE Asia." PROFESSOR DOCTOR NGUYEN CHI BEN DIRECTOR OF VIETNAM INSTITUTE OF CULTURE AND ARTS STUDIES (VICAS). Preface NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 03 NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 Page 02 PREFACE 03 1.1 Our Definition of the Cultural Industries 1.2 Cultural Industries: Driving a New Phase of National Development 1.3 Structure of this Strategy for the Devel- opment of Cultural Industries in Vietnam to 2020, Vision to 2030 07 -- 08 13 14 15 16 27 02. THE CULTURAL INDUSTRIES OF VIETNAM: BRIEF OVERVIEW OF THE CURRENT SITUATION Top 5 Strengths of the Vietnamese Cultural Industries Sector Top Five Weaknesses of the Vietnamese Cultural Industries Sector Top Five Opportunities for the Vietnamese Cultural Industries Sector Top Five Threats to the Vietnamese Cultural Industries 12 INTRODUCTION Why Vietnam Needs a Cultural Indus- tries Strategy 04 03. KEY OBJECTIVES & THEMES FOR THIS CULTURAL INDUSTRIES STRATE- GY Theme 1: Creative Education and Skills Theme 2: Governance, Investment and Regulation Theme 3: Audiences and Market Development Theme 4: Clustering and Networking Theme 5: International Positioning 18 -- 20 21 22 23 06 04. CULTURAL INDUSTRIES ACTION PLAN 4.1 Three Priority Actions 26 CREDITS 34 VICAS’S PROJECT TEAM MEMBERS Team leader: Prof. Dr. Nguyen Chi Ben Project members: Dr. Bui Hoai Son Dr. Do Thi Thanh Thuy M.A. Nguyen Thi Thu Ha CONTENT NATIONAL STRATEGY FOR THE DEVELOPMENT OF CULTURAL INDUSTRIES IN VIETNAM TO 2020, VISION 2030 (DRAFT VERSION)
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