The Philippine Creative Industries Development Council (PCIDC) represents a landmark institutional framework established under Republic Act No. 11904 (Philippine Creative Industries Development Act) enacted on July 28, 2022. As the Philippines pursues its ambitious vision to become Asia's Premier Creative Hub by 2030, the PCIDC serves as the primary coordinating mechanism for creative industries policy, development, and implementation at the national level.

The AXEAN Festival is a prominent Southeast Asian music export platform, combining a music conference and showcase festival. Launched in 2020 during the pandemic by music professionals across Southeast Asia, AXEAN Festival has successfully hosted both virtual (2020-2021) and in-person (2022-2024) events. Over five editions, it has featured 200 artists from 20 countries, attracted 240 delegates from 32 countries, and reached over 46,000 virtual viewers, along with close to 15

UNWTO-Netflix report examines how streaming films and TV series can foster deeper cultural connections that extend far beyond traditional screen tourism. The study represents a collaboration between the World Tourism Organization and Netflix to understand how digital content distribution creates what researchers term "cultural affinity."

"ART ARCHIVE 01," the inaugural volume of a comprehensive series published by the Japan Foundation, Manila in November 2017. The publication serves as an extensive scholarly examination of contemporary visual and performing arts in the Philippines, bringing together diverse voices from the archipelago's vibrant cultural landscape through essays contributed by practicing artists, performers, art writers, curators, journalists, and academic experts in the field.

Netflix report examines how Korean content is influencing global perceptions of Korea through a comprehensive survey of over 11,000 respondents across eight markets. The research reveals that Korean content has achieved remarkable global reach, with 60% of Netflix's 280 million users having viewed K-Content and over 80% of Netflix members worldwide watching Korean programming. Korean titles have maintained such consistent popularity that at least one has appeared on Netflix's

In the evolving landscape of Southeast Asian contemporary art, few artistic partnerships embody the dual role of producer and researcher as comprehensively as Myanmar-based artists Wah Nu and Tun Win Aung. Their collaborative practice represents a critical voice in contemporary art from Myanmar, one that transcends the simplistic political narratives often imposed on the region's artistic output by international observers.

In the bustling creative hub of the Zhongshan Building in Kampung Attap, Kuala Lumpur, a remarkable cultural institution quietly reshapes how Malaysians understand their visual heritage. The Malaysia Design Archive, founded in 2008 by graphic designer Ezrena Marwan, began as a simple website where she and her collaborator Jac sm Kee shared visually interesting discoveries from Malaysia's past.

The fourth edition of Frieze Seoul has revealed a fundamental shift in Asian art market dynamics that carries significant implications for cultural policy makers across the region. Rather than representing market decline, the fair's evolution from international showcase to regional hub demonstrates how sustainable cultural ecosystems can emerge when grounded in authentic regional networks rather than unsustainable global expansion.

Charoenkrung has been serving as a place for the specialized showcases of Bangkok Design Week, fostering initiatives, endeavors, collaborations, opportunities, and even new perspectives on how to address the issues of the city. Charoenkrung continues to stride toward the horizon as Thailand's first Creative District. This district represents a successful model of creative economy development.

The Purin Foundation's film fund initiative has quietly become one of Southeast Asia's most influential cultural institutions. Through Purin Pictures, established in 2017, the foundation addresses a critical gap that government support rarely fills - funding for independent, artistic cinema that might never see the light of day otherwise.

This Inter-American Development Bank publication by Felipe Buitrago Restrepo and Iván Duque Márquez introduces the "Orange Economy" as their term for the creative economy. They define it as "the group of linked activities through which ideas are transformed into cultural goods and services whose value is determined by intellectual property." The authors chose "orange" because the color has historically been associated with creativity, culture, and transformation across variou

The Singapore International Festival of Arts 2024, held from 17 May to 2 June, presented an ambitious exploration of multiplicity under the thematic banner "The Anatomy of Performance – They Declare." Organized by Arts House Limited and commissioned by the National Arts Council, this edition marked the third year under Festival Director Natalie Hennedige's leadership, establishing itself as a significant platform for both local and international artistic expression while addr