东盟创意经济区域感知民意调查

ASEAN-UK Advancing Creative Economy initiativewww.britishcouncil.org/research-insight Link for publication:https://doi.org/10.57884/S1NY-T022 Citation:British Council.(2025). Regional Perception Poll on ASEAN Creative Economy. https://doi.org/10.57884/S1NY-T022 Commissioner: UK Mission to ASEAN, British Council, and the ASEAN Secretariat, with the support of theSenior Officials Responsible for Culture and Arts (SOMCA) Research Team:iDNA SolutionsContributors:Dina Dellyana, Nila Armelia Windasari, Nina Arina, Pakchira Chartpanyawut,Au Yong Hui Nee, Robin Serrano, Manithip Vongphachanh, Siti Hazirah binti Marzuke,Lim Wei Ling Tania Patricia, Anitha Silvia, Association for Myanmar Contemporary ArtsEditors:Eleanor Turney and Tate & Clayburn Report Designer:Dani Wadiandini Contents Executive summaryIntroductionBackgroundStudy approachSurvey objectivesMethodologyDemographic profile of the respondentsGeneral PublicCreative PlayersThe creative economy in ASEAN: current state of playASEAN–UK creative economy cooperationBridging the gap: boosting ASEAN’s creative economyThe creative economy landscape:ASEAN-level perspectivesPerceptions from the General PublicPerceptions from Creative PlayersChallenges and opportunitiesConclusionRecommendationsSupport for countries to develop their creative economiesSupport for the creative economy by sectorPolicy recommendationsAppendix 1: General Public dataAppendix 2. Creative Players dataGlossary of terms3778101012121315171920202328313333353847542 Glossaryof terms Executivesummary Scope and goals of the study The Regional Perception Poll on the ASEAN Creative Economyexplores the evolving landscape of the cultural and creative sectorsin the Association of Southeast Asian Nations (ASEAN) and identifiesthe challenges and opportunities that these sectors present. It usesan ecosystem approach to understand the cultural and creativeindustries and to emphasise the intricate relationships among thedifferent parties involved. Drawing from microsystems, exosystemsand macrosystems, the study reveals the complex interrelationsinherent in cultural and creative practices and highlights the needfor creative economy strategies that are tailored and context-specific. Methodology The study captures perceptions from both producers andconsumers, analysing two groups: the General Public and creativeeconomy players. The assessment of the General Public categoryevaluates societal understanding of changes in the cultural andcreative sectors in ASEAN. The analysis of the Creative Playerscategory examines the creative economy ecosystem includingenterprises, associations, government agencies and academicinstitutions. The study uses a survey as the major tool in gatheringopinions from diverse ASEAN-wide stakeholders. Through bothonline and on-paper data capture techniques, surveys caneffectively reach specific communities and clusters, ensuringinclusivity and representation across different demographics andsectors. A total of 4,117 respondents, across the 10 ASEAN Member Statesand Timor-Leste, participated in the Regional Perception Poll on theASEAN Creative Economy. Of the sample population, 38 per centcomprised members of the General Public and 62 per cent creativeeconomy players. The demographic profile samples demonstratethat the Regional Perception Poll on the ASEAN Creative Economyis conducted with a commitment to treating all individuals fairlyand respectfully, irrespective of gender, disability, or other personalcharacteristics. This ensures inclusivity and a comprehensiverepresentation of societal views. Major poll findings Important results from the survey of members of the public are listed below. Consumption Awareness 39 per cent of the ASEAN Member States (whichinclude Indonesia, Malaysia, Myanmar, Thailand, andViet Nam) frequently engage with creative productsand services such as local films, streaming videos,music, books and local crafts. The Philippinesexhibits a moderate level of consumption. Incontrast, the remaining five countries – BruneiDarussalam, Cambodia, Lao People’s DemocraticRepublic (PDR), Singapore, and Timor-Leste – tend toconsume these creative offerings on an occasionalbasis. This variation in consumption and engagementwith creative products and services indicates thatthere are barriers to both accessing and consumingcreative products. 47 per cent of respondents are somewhat familiarwith the term ‘creative economy’. This indicates alack of promotion regarding the creative economy,which can lead to insufficient information about thecreative economy. Perception 60 per cent affirm that the creative economy in theregion is experiencing significant growth. Althoughthe majority are not very familiar with the term‘creative economy’, they are confident that thecreative economy at the ASEAN regional level isundergoing substantial growth. Barriers 53 per cent agree that the primary barrier toincreased consumption of creative products andservices from ASEAN is the