Creativity against autocracy

Mr Newbigin, there is an increasing tendency towards autocratic systems in many parts of the world. What role can the creative industries play in such contexts?

John Newbigin: Autocratic regimes emphasise control, while creativity thrives on openness, diversity and individual initiative. This is precisely why the creative industries are often a haven for freedom of expression and social change, especially in countries with repressive structures. Art, music, design and digital media enable people to network, express themselves and ask critical questions. Even in places where political discourse is suppressed.

Iraq is a good example of this. Despite the difficult political situation, there is a growing creative scene there that gives women a central role and creates alternative economic prospects.

In what way?

Newbigin: In Baghdad and other cities, more and more coworking spaces are springing up that work according to a remarkable principle: Fifty per cent of their members are women. In many Muslim societies, it is acceptable for women to run cultural enterprises and engage in entrepreneurial and creative activities.

Despite ongoing conflicts, Iraq is experiencing an astonishing cultural renaissance. The fashion, film and music scenes have grown with few resources but a great deal of commitment. What is particularly exciting is that companies in the creative sector often drive social innovation. They create platforms for young talent and promote cultural identity in a society characterised by decades of war and crisis.

A similar phenomenon is happening in Ukraine. Despite the war, cultural funding has not been cut. Why?

Newbigin: The Ukrainian government has recognised that culture is more than just entertainment. It is an essential element for social cohesion. Theatre performances, music events and comedy clubs will continue to take place as long as security conditions allow. They serve as a spiritual anchor for people. Many Western countries often view culture as a luxury that cannot be afforded in times of crisis. But Ukraine is proof of the opposite: it treats culture as something that is of fundamental importance. This sends a strong signal to its own population and to the rest of the world. It emphasises that culture is a means of resilience.

In London, you launched the "Boroughs of Culture" project, which has had a positive impact on socially deprived areas. How exactly does the concept work?

Newbigin: The city has initiated a competition that awards "Borough of Culture" status to one of London's 32 boroughs each year. The winning borough receives one million pounds for cultural projects, and the local authority itself usually raises a further three to four million pounds. It is worth noting that the winners are not the wealthiest districts, but rather those that include areas with high levels of poverty. The impact has been immense: before the programme, most residents said they were ashamed to live there. By the end of the year, the situation had turned 180 degrees. A full 60 per cent were proud of their neighbourhood. Culture can also strengthen social identity and a sense of belonging.

The USA is experiencing a massive cultural debate under Trump. What does this mean for Europe?

Newbigin: The global shift to the right is worrying because it is based on division. The USA is currently experiencing a rhetoric of cultural warfare that is reminiscent of the classic strategies of the extreme right: spreading fear, creating images of the enemy and promoting insecurity. Culture, science and the media are portrayed as threats. Europe must counter this trend with openness and cultural exchange. Diversity is not our weakness, it is our greatest strength.

Interdisciplinary collaboration is becoming increasingly important in both the creative industries and the technology sector. How crucial is this approach for economic innovation?

Newbigin: Interdisciplinary collaboration is the key to true innovation. Steve Jobs proved this impressively: When developing the iPhone, he put a designer at the helm instead of an engineer: Jonny Ive. Jobs understood that technology is only successful if it is intuitive and aesthetically pleasing. This way of thinking is spreading more and more. Rolls-Royce, for example, hires video game developers because they have a high level of mathematical expertise but think more creatively than conventionally trained engineers.

When different disciplines come together, completely new ideas emerge - and these overlaps drive economic innovation.

In Germany, we are currently seeing massive cuts in cultural funding. What can be done to strengthen the creative sector?

Newbigin: The best way to convince political decision-makers is with facts. We need to emphasise the economic value of the creative industries. A good example is the British film industry: the government has introduced tax incentives for TV productions with a budget of at least one million pounds per episode.

The result?

Since the introduction of the tax incentives, Game of Thrones has been filmed in Northern Ireland. These productions have not only created creative jobs but also pumped millions into the economy.

Which country inspires you when it comes to promoting culture?

Newbigin: Albania. The country has long suffered from a negative image associated with poverty and crime. But the government realised that something had to change. It created a new ministry that combines business, culture and innovation to open up new opportunities for young people. It is about recognising creativity as a key factor for the future. If a country like Albania can follow this path, then anyone can. All it takes is courage and the will to change.