The creative economy has become one of today’s most resonant terms in both cultural and economic discourse. It has evolved into a major economic enterprise and a top political priority for any nation seeking to strengthen its global standing. The world has come to realize—albeit somewhat belatedly—that art and culture are far more than tools of soft power or expressions of national identity. They are powerful economic engines and instruments of political influence. At its core, the creative economy is about transforming imagination into industry. Any creative idea can become an economic asset. A film, a song, a short series, a video game, a fashion design, digital content, a translation, an animated series, or even a simple traditional craft—all can be turned into globally resonant creative products worth billions of dollars, provided the state manages the sector wisely and creates a genuinely supportive environment. What is truly striking is that the concept of the creative economy is not new to Egypt. In fact, Egypt was among the first countries in the Global South to put this idea into practice long before the term itself was coined. For decades, Cairo was not merely a political capital but the beating heart of Arab art. Egyptian cinema, theatre, music, radio, and drama were never just forms of entertainment; they were vital sources of Egyptian influence across the Arab world and important economic lifelines for the state. In Egypt, art has never been a detached luxury. In the most difficult moments of its history, creativity served as a pillar of resilience and social cohesion. During times of war, the work of artistic giants—foremost among them the immortal Umm Kulthum—provided crucial support for the Egyptian army. In the January 2011 revolution, songs, dramas, and visual arts played a central role in expressing the spirit and identity of Egyptian society, carrying its voice to the world. The revolution was even described as “the White Revolution,” reflecting a civilized people who chose artistic expression over chaos and violence. Even during the COVID-19 pandemic, when entire economic sectors ground to a halt, artistic and digital content remained one of the few engines keeping economic and social life moving—not only in Egypt but across the globe. This reveals the sector’s true value: it is not marginal, but one of the few capable of persisting and producing even in the harshest crises. Perhaps the most significant shift in recent years has been the radical transformation in how we understand culture itself. In the past, cultural institutions saw their role as limited to enlightenment and the dissemination of knowledge. Today, the question has fundamentally changed: How can culture be converted into economic value? How can creators earn a living from their creativity without needing a second job? And how can the state project its identity to the world through technology and digital platforms? It is from this perspective that we can best understand the recent moves within Egypt’s Ministry of Culture, especially since Dr. Jehan Zaki assumed leadership. With her strong academic, cultural, and diplomatic background, she brings a sharp awareness of soft power and its connection to Egypt’s international image. What stands out in the ministry’s current discourse is the gradual shift from merely “managing cultural activities” to viewing culture as an integral part of the nation’s broader development and economic project. In this context, the ministry has already launched several policies and initiatives that genuinely reflect this transformation—not mere slogans. These include developing online platforms for showcasing books and short films, strengthening partnerships with the private sector to create funding mechanisms for cultural industries, and launching programmes to support translation and dubbing to help Egyptian cultural products reach international markets. These efforts signal a clear evolution: from simply patronizing culture to actively building it into a real industry. Over recent years, there has been a serious attempt to reposition culture as a driver of sustainable development rather than a service sector or seasonal activity. The ministry has expanded its activities, rolled out digital initiatives, opened genuine discussions on cultural and creative industries, developed new cultural sites, and linked cultural discourse to the broader goal of building the Egyptian citizen within Egypt’s Vision 2030. Yet the most critical question remains: Are we still thinking in terms of “cultural activities,” or have we truly begun thinking in terms of “cultural industries”? The difference is vast. Organizing seminars, festivals, or theatre performances is undoubtedly valuable, but it is not enough to build a real creative economy. That requires a fundamentally different mindset—one that sees the artist, writer, and content creator as genuine economic producers, not merely bearers of a noble cultural message. Prof. Inas Abd El-Khalek The world has changed at breathtaking speed, which is why certain international experiences deserve close study—not for blind imitation, but for understanding and adaptation. China, for example, did not wait for Western platforms to validate it, nor did it cling to the traditional format of long-form dramas. It recognized that audience behaviour had shifted and that people now consume content rapidly on smartphones. Thus emerged “micro-dramas”—extremely short episodes lasting just one or two minutes, built on fast pacing and relentless engagement. The result was a multi-billion-dollar industry in which millions of young people create content from their phones and generate real income. China succeeded in building a complete economic model rooted in a deep understanding of the new audience. South Korea offers the clearest example of turning culture into a national project. Once known for heavy industry and electronics, it invested heavily in the “Korean Wave” (Hallyu) by supporting music, drama, video games, and star-making systems. Today, groups like BTS and series like Squid Game have become powerful global economic and political assets. Korean culture has transformed into a premium brand that markets tourism, cosmetics, language, and lifestyle. In Africa, Nigeria stands out as a smart, pragmatic model. “Nollywood” did not begin with massive budgets or Hollywood resources. It started by developing a deep understanding of its local audience, then gradually expanded to become one of the world’s largest film industries by volume of production. Crucially, it did not wait for external validation; it built its own audience first, then successfully exported its model across the continent and beyond. So where does Egypt stand? Egypt possesses most—if not more—of the ingredients these countries had. It boasts a rich cinematic heritage, an immense musical and literary legacy, a widely understood dialect across the Arab world, exceptional talent, and a vast domestic and regional audience. The real challenge is not a lack of creativity, but the slow pace of adapting to rapidly changing global realities. The new generation is no longer waiting for cultural institutions to grant it a platform. It is creating its own culture on TikTok, YouTube, and Instagram. If cultural institutions do not move swiftly into this new world, they risk becoming increasingly detached from reality, no matter how glorious their history. The next phase therefore requires cultural and intellectual courage more than slogans. It demands the establishment of business incubators for creative industries, active partnerships between the Ministry of Culture and economic and educational ministries, funding programmes for digital content, investment funds for young creators, and stronger links between arts academies and modern digital platforms. Serious investment is needed in animation, video games, translation, and dubbing, along with the creation of accelerators for creative projects targeting global markets. Most importantly, Egypt must prepare a new generation that understands platform algorithms as thoroughly as it masters the rules of theatre and cinema, while offering real incentives for innovative content that carries Egyptian identity to the world. Even cultural palaces can be transformed into centres for digital content production rather than venues for traditional seminars and events. Culture today is no longer consumed in the old ways, and any state that fails to grasp the digital transformation will gradually lose its ability to exert influence in an intensely competitive world. This is precisely why the recent discourse from the Ministry of Culture—linking culture to development and human development—is so significant. The mission is no longer merely preserving heritage as a historical trust, but transforming it into contemporary economic and intellectual energy capable of global competition. The world has already entered the “attention economy.” Whoever can capture people’s attention holds both influence and wealth. Therefore, the battle for the creative economy is not merely a ministerial or institutional one. It belongs to every Egyptian creator who dreams of living from their art without having to emigrate or take up a second job, and to every young person creating content on their phone and aspiring to turn their small project into a global brand that carries Egyptian identity. Egypt lacks neither imagination, history, nor talent. What it sometimes lacks is the speed of movement and the ability to shift from the concept of “patronizing culture” to “managing culture as an industry.” If Egypt can move with China’s speed, invest in its soft power as South Korea did, and leverage the popularity of local content as Nigeria has, it will not merely participate in the era of the creative economy—it will be positioned to lead it across the Arab world and Africa. Ultimately, the real question is not whether Egypt has the capacity to enter the age of the creative economy—for that capacity has existed for decades. The deeper, more urgent question is: Do we have the will and wisdom to rediscover our cultural strength in the language of this new era? This is the challenge I urge all cultural sectors to embrace. Ministerial efforts must be supported by diligent collective work and genuine collaboration among all stakeholders to turn these initiatives into a tangible and lasting reality. Prof. Inas Abd El-Khalek, Academy of Arts The post Opinion | The Creative Economy: Moving Beyond Cultural Enlightenment to Shape the Future first appeared on Dailynewsegypt.
