S9-P2 06 ABCD3103 Topic 2 ABCD3103

S9-P2 06 ABCD3103 Topic 2 ABCD3103
Creativity and Advertising. 

LEARNING OUTCOMES      
By the end of the topic, you should be able to:        1.    Define creativity in terms of advertising;        2.    Explain the effects of advertising and the effects models;        3.    Discuss some of the basic creative guidelines; and        4.    Identify the creative team and determine the role it plays.    ?  INTRODUCTION     Creative   without   strategy  is  called  „art‰.  Creative with  strategy  is  called    „advertising‰.                                                                   (Ries & Trout, 1986)   Advertising   agency   professionals   have   long   promoted   creativity   as   one   of   the  most important elements in advertising. It is also considered a core business trait  where the objective is not to generate solutions, but to fulfil the customerÊs needs  and expectations. Some practitioners view creativity as necessary for advertising  effectiveness   or  even  that  creativity is  effectiveness.  Media  planners,  market  researchers,   copywriters   and  art  directors  are  all  looking  for  new  ideas  and  creativity is a way of thinking to generate new ideas with the focus on originality,  uniqueness and relevance. Some advertising experts believe that creativity is the  heart   and   soul  of  advertising  services,  and  others  consider  that  the  word  „creative‰   is   the   currency   with   which   advertising   agencies   operate;   without   it  there are no agencies.                                         Copyright © Open University Malaysia (OUM)
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                                         TOPIC 2     CREATIVITY AND ADVERTISING           ? 29             ACTIVITY 2.1           The    creative   concept    forms    the  core   foundation     of an    advertising          campaign.   It   is   essentially   the   story   behind   the   messages   presented   in          an advertisement. It ties together the elements in advertisements to help          convey a memorable and effective message that will create the desired          behavioural response from the target market. Based on a few samples of          advertisements,      identify   each   of  their  creative   concepts    and   discuss          their probable objectives and effectiveness.     2.1        ADVERTISING CREATIVITY   Advertising   agency   professionals   see   creativity   as   the   best   tool   for   achieving  advertising      success.   They    believe    that  creativity    is  what    really   works    in  advertising.     Famous     advertising    professionals    such   as  Ogilvy    (1983)  and   Bill  Bernbach      (Dane,    1965;   Andrus,    1968)  support     the   notion   that   what    makes  advertising      effective  is  creative   excellence.    Creative    excellence    and   creative  thought   is   so   significant   that   in   advertising   agencies,   entire   business   structures  are sometimes designed around the talents of one „creative genius‰ (as cited by  Cummings, 1984).   According      to  Marra    (1990)   in  Advertising     Creativity,   the   term   creativity   in  advertising is referred to as „being new and relevant with your ideas‰. Smith and  Yang (2004) believe that creative advertisements are those that are perceived to  be divergent and relevant. Leo Burnett defined advertising creativity as „the art  of establishing new and meaningful relationships between previously unrelated  things in a manner that is relevant, believable, and in good taste, but somehow  presents the product in a fresh new light‰ (El-Murad and West, 2004).   Many      advertising    professionals     believe  that    nothing    is  more    efficient  than  creative advertising. According to them, creative advertising is more memorable,  longer    lasting   and   works    with  less  media    expenses.    Numerous      research    and  studies have found that creative messages get more attention and lead to positive  attitudes about the products being marketed.                                       Copyright © Open University Malaysia (OUM)
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30     ? TOPIC 2         CREATIVITY AND ADVERTISING   Creative advertising allows advertisers to communicate a salient message about  the products or services to a large group of consumers faster than any other form  of   communication.        It  allows   them    to connect     with   their   consumer.     Creative  advertising       gives   the   advertisers     an  opportunity        to  develop     an    ongoing  relationship       between       the    consumer       and     a    brand.     Creativity      makes  advertisements popular and attractive among the consumers and this motivates  them     to  use   the  advertised     product     or  services.   The   advertising     message     is  received well by the target audience for follow-up action.   Creativity increases the brand value. There is enough evidence that value for a  brand will be formed through creativity. A successful and great creative idea can  give    brands    the   required    thrust   to  explore    new    heights.    This   suggests    that  creative advertising should be able to create demand for the product especially  when it is introduced for the first time.   Creativity is considered an important tool in achieving advertising effectiveness.  Research      indicates   that   a  higher   level   of  creativity   has  a  positive    impact    on  advertising effectiveness (Smith, Chen & Yang, 2008; Dahlen, Rosengren & Törn,  2008). Both industry reports and academic articles clearly tell us that creativity is  beneficial   for   the   success   of   advertisements   (Gunn   et   al.,   2010;   Smith,   Chen   &  Yang, 2008).   Research   findings   indicate   that   advertising   creativity  has   a   positive        effect   on  purchase   intentions   and   has   a   direct   impact      on   the   financial   performance   of  firms.   Research   also   shows   that   advertising   creativity   has   a   positive   impact   on  brand attitude and interest which indirectly affects firm performance.   It   has   also  been    shown     that  consumers       are  able   and   willing    to  assess   the  creativity     of  an   advertisement      and    that   those   assessments      have   impact     on  advertising effectiveness. It shows that consumers value humour, craftsmanship  and relevance to a higher degree in their assessment of creativity. This gives the  advertising industry directions for the planning of creative advertisements.   Some researchers and professionals argue that creativity is only there when there  is   originality,   novelty   and   appropriateness   (Ang   &   Low   2000).   El-Murad   and  West     (2004)   stated    that creativity     must    have    an impact,     quality,    style  and  relevance. To be useful as solutions to marketing problems, ideas must be new,  unique and relevant to the product and to the target audience. In order to have  impact,     advertising     creativity    should   embrace      three   qualifications:     newness,  uniqueness, relevance. Thus, creativity is present only when an advertisement is  new, unique and relevant.                                               Copyright © Open University Malaysia (OUM)
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                                           TOPIC 2     CREATIVITY AND ADVERTISING             ? 31   Some practitioners view advertising creativity as   advertising which is awarded  as creative   by specialists in the advertising industry. West, Kover   and Caruana  (2008) conducted a research by comparing practitioner and consumerÊs definition  of   creativity.   They    found    out   that  the   definitions    given   by   practitioners    are  related   to   relevance,   appropriateness       and   originality.   On   the   other   hand,   the  same   study   pointed   out   that   public   viewerÊs   definition   of   creativity   does   not  respond to criteria of appropriateness and originality but rather they are looking  for relevance.   It   has   been   found   out   that   consumers   perceive   advertising   according   to   their  needs. They can evaluate an advertisement as creative when creative people do  not see it to be so. From these two views, it is clear that both practitioners and  public   viewers   adopt   a   pragmatic   approach.   Practitioners   view  creativity   when  clients can reach their objectives; while the public consider advertising as creative  only if it responds to their own needs.   According to West, Kover and Caruana (2008), there are two types of creativity;  „Little c‰ creativity and „Big C‰ Creativity. „Little c‰ refers to the public view of  creativity when they consider creativity as a solution to everyday problems. But,  „big C‰ Creativity relates to how practitioners view creativity which has a strong  impact   on   customers   and   how   they   think  and   feel.   Based   on   this   idea,   what   is  creative for consumers is not creative for practitioners and vice versa.   It has been discussed that advertising experts may disagree in their definition of  creativity. To summarise the different definitions and arguments, here are some  of the main factors that lie behind the concept of creativity in advertising.   (a)    Novelty          According   to   some   researchers,   novelty   should   be   the   primary   criterion         considered      when     deciding    a  productÊs    creativeness.     Within    the   field  of         advertising,   most   definitions   of   creativity   involve   an   aspect   of   newness,         unexpectedness   or   originality.   Novelty   corresponds   to   unexpectedness   in         the sense that advertisements inconsistent with other advertisements of the         same product category are considered as novel. An original advertisement         comprises elements that are rare or surprising, or that move away from the         obvious   and   commonplace.   The   focus   is   on   the   uniqueness   of   the   ideas,         features or attributes contained in the advertisement.                                        Copyright © Open University Malaysia (OUM)
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32     ? TOPIC 2         CREATIVITY AND ADVERTISING   (b)    Meaningfulness          Novelty is generally regarded a necessary but not a sufficient criterion for         an    advertisement       to  be   considered      creative.   Consumers       have    certain         expectations for advertisements within a particular category, for example,         what visuals a detergent or an automobile advertisement should have. The         more   an   advertisement   deviates   from   expectations,   the   more   consumers         will   evaluate    the   advertisement      as  novel.   At   the  same    time,   unless   the         creative     element    conveys     some    meaning     about    the   advertised    product,         unexpectedness   does   not   necessarily   mean   creativity.   According   to   many         researchers      of   advertising     creativity,   the   novel   element     must    also   be         meaningful for the advertisement to qualify as creative.   (c)    Relevance          The    combination       of   novelty     and    meaningfulness        is  referred     to  as         „relevance‰, „appropriateness‰ and „usefulness‰. The creativity needed in         advertising   is   a   problem-solving   creativity,   based   on   the   factors   such   as         marketing        objectives,    competition      and      the   organisational       approval         hierarchy.      Some    researchers     introduce     „connectedness‰        as  a  creativity         variable in that not only must the advertising information be relevant to the         product (meaningfulness), it must also be relevant to its target audience. In         line with this reasoning, they also separate relevance from appropriateness.         Relevance to the target audience is important, but it must also be regarded         as    part    of  meaningfulness.        Connectedness        also   involves     empathetic         qualities   of   an   advertisement,   that   is,  to   what   extent   it   is   able   to   connect         with     its  audience,    for  example,    in  terms    of  comprehension        or  feelings         aroused.   (d)    Value-added          Meaningfulness        should     be   central   for    advertisements       to  add    value.         Divergent   thinking,   according   to   some   experts,   yields   a   kind   of   highly-         valued   product   or   idea.   This   suggests   that   creativity   must   provide   value-         added features.   (e)    Craftmanship          A    number      of  studies    find   that    craftsmanship,      craftiness    or   artistry         contributes       to    advertising      creativity.    The     reason     could     be    that         craftsmanship,   craftiness   and   artistry  might   be   connected   to   creativity   as         artists    are  associated     with    creative   ability.   Thus,   a   more    well-crafted         advertisement        is  more     Iikely   to  be  associated      with   higher    levels    of         creativity.                                               Copyright © Open University Malaysia (OUM)
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                                           TOPIC 2     CREATIVITY AND ADVERTISING             ? 33   (f)    Humour          There is some support for the inclusion of humour as a factor of advertising         creativity.    Research     suggests     that  humour      can   raise   the   evaluation     of         advertisements. However, the connection between humour and creativity is         relatively    new    and    unconventional       in  the  field  of  advertising     probably         because      of  the  focus    on   the  assessments      by   advertising     professionals.         Consumers,        on  the   other   hand,    have   no   personal     interest   in  watching         advertising   and   thus   humour   might   be   considered   as   a   way   of   offering         value or meaning to the audience. This is how it connects with creativity.   (g)    Positiveness          As several researchers suggest, novelty should be a core factor of creativity.         But to what extent will consumers accept novel advertisements? Therefore,         positiveness      should    play   a  role   in the   acceptance     of  novel    advertising         execution. In this sense, positiveness is not conceptualised as a measure of         effectiveness, but rather as a factor complementary to novelty.   (h)    Flexibility          An advertisement scoring high on flexibility links the product to a range of         different    uses   or   ideas.  For   example,     a  commercial      for  a  certain   brand         shows a man facing various domestic challenges (such as washing dishes,         sewing   a   button   on   a   jacket,   dicing   an   onion   and   making   a   bed)   while   a         group of women are seen enjoying a cup of coffee together.   It   is  clear  that  there    must    be  an   element    of   creativity   in  advertising.     This  creativity    involves    creating    something     unique,     original   and   appealing     to  the  consumers.       At  the   same    time,   it  must   be  relevant,    meaningful,     well-crafted,  provides   value-added   features,   positive   and   flexible.   In   fact,   advertising   itself,  especially advertising production, is a creative process. It is the outcome of long-  term planning and hard work of the creative team who prepares and shapes the  final product of advertising.                                        Copyright © Open University Malaysia (OUM)
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34     ? TOPIC 2         CREATIVITY AND ADVERTISING              ACTIVITY 2.2           1.     Discuss      the   concept     of   advertising      creativity    and    creative                 advertising.                  (a)     Define each concept.                  (b)     Identify   the   similarities    and   differences   between   the   two                         ideas.           2.     Is   creative    advertising     more    effective    in  inspiring    people    to                 buy    products     than   advertising     that  simply    catalogues     product                 attributes or benefits? How?           3.     It has been found that consumers perceive advertising according                 to   their   needs.   They   can   evaluate   an   advertisement   as   creative                 even when a creative person does not see it to be so. From these                 two   views,   it   is   clear   that   both   practitioners   and   public   viewers                 adopt   a   pragmatic   approach.   Practitioners   view   creativity   when                 clients    can   reach    their   objectives;    while    the  public    consider                 advertising as creative only if it responds to their own needs.           4.     According to West, Kover and Caruana (2008), there are two types                 of creativity: „Little c‰ creativity and „Big C‰ Creativity. „Little c‰                 refers to the public view of creativity when they consider creativity                 as a solution to every day problems. But, „big C‰ Creativity relates                 to how practitioners view creativity which has a strong impact on                 customers and how they think and feel. Based on this idea:                  (a)    Give your own idea of creativity.                  (b)    What     is  creative   to   consumers      which    is  not   creative   to                        practitioners and     vice versa?           5.     Numerous   studies   have   found   that   creative   messages   get   more                 attention and lead to positive attitudes about   the products being                 marketed.   However,   there   is   no   firm   evidence   that   shows   how                 those   messages   influence   purchase   behaviour.   Similarly,   there   is                 little empirical research that ties creative messaging to actual sales                 revenues. Discuss your ideas on this issue.           6.     Some      people     view     creativity   as    necessary      for   advertising                 effectiveness     or   even    that  creativity    is  effectiveness.    To   what                 extent can creativity be equated to creativeness? Discuss.                                               Copyright © Open University Malaysia (OUM)
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                                  TOPIC 2    CREATIVITY AND ADVERTISING            ? 35      ACTIVITY 2.3   Industry     awards     such   as  the   Clio  (www.clioawards.com)          and   One  Show      (www.oneclub.org)         support     the    notion    that   what     makes  advertising effective is creative excellence. Go to the website of any of  the two Advertising Awards Organisers and then answer the following  questions   (You   may   need   to   register  with   the   website   in   order   to   get  access to the documents):   1.     Choose two latest winning advertisements featured in the website         and   study   the   visual   design   and   contents.   Explain   the   graphic         elements and content used.   2.     From      the   archive     in   the   website     of   Clio,   compare      two         advertisements, one from the current years and the other from five         decades ago. Compare the two on their design and content.   3.     The    Gunn     Report    and   the   lPA   Effectiveness     Report    in   2010         mentioned      that   advertising    campaigns     which    are   awarded     for         creativity    are  on  average    11   times   more   efficient  compared      to         nonawarded   campaigns.   Make   a   comparison   between   an   award-         winning print advertisement (from Clio website) and a nonaward-         winning   print   advertisement   (from   any   magazine)   by   looking   at         the creativity of the advertisement design and content.   4.     Some   experts   believe   that   the   only   relevant   way   to   measure   an         advertisement as creative or not is to focus on audience reaction.         Thus, the expert opinion is excluded since it is not from the target         audience. On the other hand, certain people used advertising that         had   been   judged   creative   by   the   conventional   standards   of   the         industry;   creative   advertising   was   the   advertising   that   had   won         creative awards.          Discuss your position on this issue.   5.     The Gunn Report and the lPA Effectiveness Report mention that         the advertising campaigns awarded for creativity are on average         eleven times more efficient compared to nonawarded campaigns         (Gunn & Durkin 2010). Analyse.                               Copyright © Open University Malaysia (OUM)
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36     ? TOPIC 2       CREATIVITY AND ADVERTISING                SELF-CHECK 2.1          Explain   the   following   factors   in   relationship   to   advertising   creativity.         You may refer to the text for your answers.              Concept            Original            Meaningful            Connected            Positive            Flexible            Valued            Crafty     2.2         EFFECTS OF ADVERTISING   Advertising is a form of promotion which is one of the four pillars of marketing  along    with   product,    place   and   price. Promotion      encompasses      the  variety   of  techniques      an   advertiser   uses   to  communicate       with    current   and   potential  consumers.      Advertisers    create   advertisements     with   a  variety   of  objectives   in  mind. Here are the main categories of advertising purposes as restated by Glowa  (2002):   (a)    To Prompt Action          Direct response or direct action advertising is designed to motivate people         to take action. It involves advertisements that try to persuade people to visit         a   store,   make   a   purchase,   call   a   phone   number   and   mail   or   fax   an   order         form. These include many of the common advertisements consumers see in         the mass media as well as through in-store and package advertising.   (b)    To Relate Product To Needs          In   a  less   direct   form    of  advertising,     this  category    includes     those         advertisements       that  draw   a  link  in  the  consumersÊ     minds    between    the         product and their needs as a consumer.                                             Copyright © Open University Malaysia (OUM)
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                                          TOPIC 2     CREATIVITY AND ADVERTISING            ? 37   (c)    To Encourage Information Search          Sometimes   it   cannot   be   assumed      that  a  consumer   is    ready   to   make   an         immediate purchase based solely on advertising. In these cases, consumers         need    more    information,     proof   or  justification   such   as  a  test  drive   or  a         product demonstration before making up their minds.   (d)    To Prompt a Repurchase          Ads of this nature are designed to conjure memories of past satisfaction and         get customers to purchase a product again.   (e)    To Reinforce Attitudes          The final category of advertising objectives seeks to reinforce attitudes that         customers already have towards a product. Market leaders (such as Coke or         McDonaldÊs) often use this to maintain their market share and volume.   (f)    To Modify Attitudes          One    of  the  more    challenging    objectives    facing   advertisers    is  to  modify         attitudes    towards     a  product.     This   is  often  appropriate     when     a  firmÊs         product has received a bad reputation for one reason or another or if a firm         is attempting to recapture customers they lost to a competitor.   Based   on   these   purposes,   the   effects   of   advertising   on   consumers   range   from  creating     an  awareness     of  the   product   or   service   to  modifying     attitudes    and  influencing      a  buying    decision.   Advertising      can  create   a  shift  in  consumersÊ  thinking   and   this   may   take   different   forms.   For   example,   after   looking   at   an  advertisement,   a   consumer   may   decide   that   the   usual   product   he   or   she   uses  either   seems   better   or   worse   than   the  one   being   advertised,   without   knowing  exactly   why.   A   strong   informational   aspect   of   an   advertisement   may   create   a  more conscious shift in consumersÊ thought processes.   Advertising that provides facts may be able to convince a consumer to change his  or   her   mind    to  switch   brands.    For  example,     if  the  manufacturers      of  a  food  product that most children love announce that the food now has a full serving of  fresh    or  healthy    ingredients     in  each   portion,   this  can   affect   many    parentsÊ  decisions     to   switch   brands.     These   brand     awareness     effects   will   not  likely  influence consumers to buy the product immediately. However, the product may  be on the parentsÊ minds to purchase.                                       Copyright © Open University Malaysia (OUM)
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38     ? TOPIC 2        CREATIVITY AND ADVERTISING   Some advertisements are designed to achieve an objective of creating a sense of  urgency       such    as   to  order    the    advertised     products     immediately.       These  advertisements are presented with convincing and compelling effects such as by  using     demonstrations      with   an   enthusiastic-sounding       announcer      pointing    out  unique   product   benefits   and   adding   incentives   for   acting   immediately.   Some  common ordering incentives include receiving free products or even two sets of  products for the price of one.   Persuasive   effects   of   advertising   are   especially   effective   on   children.   Although  parents     ultimately     are  the   ones   who   make      the  buying     decisions,    children  watching such advertisements will push products that grab their interest. They  will typically ask a parent to buy the items.   Most of the mentioned advertising objectives seek the raising of sale of particular  goods   or   services.   According   to   Yeshin    (2006),   the   reason   advertising   always  seems as an aid to sales are presented as follows:   (a)    Creates awareness;   (b)    Provides essential information;   (c)    Helps to build a relevant brand image; and   (d)    Acts as a regular reminder to try, buy or use the brand.   While   there   are   many   challenges   in   producing   good   and   effective   promotional  campaigns,       and   advertisers    continue    to   find  out  how   advertising    works,    the  potential and the promise of advertising itself is considered to be great.   2.2.1          Advertising Effects Models   Advertisers   are   constantly   trying   to   define   and   model   how   advertising   works,  and     from    these    models     or   theories,   they    often   try   to  pick    meaningful  communication         objectives.    Various    researchers    and    advertising    practitioners  have     found    that  understanding       consumer      behaviour     is  the  most    important  prerequisite for setting advertisement objectives. Studies in  understanding their  attitude, involvement, responses and hence persuasion have been done resulting  in   various   models   explaining   each   of   them.   None   of   the   models   are,   however,  foolproof.   All   of   them,   to   a   large   extent,   makes   consumer   understanding   and  analysis     easy   and   thus   facilitates  communication       and   sales   objective   setting.  Some of these models are as follows:                                              Copyright © Open University Malaysia (OUM)
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                                          TOPIC 2     CREATIVITY AND ADVERTISING             ? 39   (a)    Hierarchy of Effects Model          Hierarchy of Effects is the model which studies the response mechanisms of         the audience and the factors on which their response depend. It is a model         that   has   different   names  such   as   the  sales   funnel,   the   demand   funnel,   the         purchase   process   or   AIDA   Model.   The   Hierarchy   of   Effects   is   the   natural         process of marketing and promotion where marketers begin with the total,         unaware      potential    market    for  their  brand,    progress    through    a  series   of         stages, including awareness, preference and purchase and ideally end up in         a state of loyalty.           The   Hierarchy     of  Effects   Model     was   created    in  1961   by   Patti,  Blasko,         Lavidge   and   Steiner.   This   model   suggests   that   there   are   six   steps   from         viewing     a  product     advertisement      to product      purchase.     The   job  of  the         advertiser   is   to   encourage   the   customer   to   go   through   the   six   steps   and         purchase   the   product.   This   model   is   known   as   a   „hierarchy‰   because   the         number   of   consumers   moving   from   one stage   to   the   next   reduces   as   they         move   through   the   model.   There   may   be   a   lot   of   consumers   that   see   the         product advertisement but not everyone will make a purchase. It takes a lot         of work to take a consumer from awareness to the final stage of purchase,         so companies or businesses need to ensure that they try their utmost to get         customers from conviction to complete the final stage of purchase.           The six steps are as follows:          (i)    Awareness  The   customer   becomes   aware   of   the   product   through                advertising. This is a challenging step as there is no guarantee that the                customer      will  be  aware    of  the   product    brand    after  they   view   the                advert. Customers see many adverts each day but will only remember                the brand of a tiny fraction of products.          (ii)   Knowledge        The      customer     begins    to  gain   knowledge       about   the                product for example through the Internet, retail advisors and product                packaging.      In   todayÊs   digital   world,    this   step   has   become     more                important   as   consumers   expect   to  gather   product   knowledge   at   the                click of a button. Consumers will quickly move to competitor brands                if they do not get the information they want. The advertiserÊs job is to                ensure product information is easily available.          (iii)  Liking     As      the  title  states,  this  step   is  about   ensuring     that  the                customer likes your product. As an advertiser what features can you                promote to encourage the customer to like your product?                                        Copyright © Open University Malaysia (OUM)
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40     ? TOPIC 2         CREATIVITY AND ADVERTISING           (iv)   Preference Consumers may like more than one product brand and                 could end up buying any one of them. At this stage, advertisers will                 want   the   consumer   to   disconnect  from   rival   products   and   focus   on                 their    particular    product.     Advertisers     will   want    to  highlight     their                 brandÊs   benefits   and   unique   selling  points   so   that   the   consumer   can                 differentiate it from competitor brands.           (v)    Conviction   This   stage   is   about         creating   the   customerÊs   desire   to                 purchase      the   product.     Advertisers      may    encourage      conviction      by                 allowing   consumers   to   test   or   sample   the   product.   Examples   of   this                 are    inviting   consumers       to  take   a car   for   a  test  drive   or   offering                 consumers a free sample of a food product. This reassures consumers                 that the purchase will be a safe one.           (vi)   Purchase       Having          proceeded       through     the    above     stages,    the                 advertiser   wants   the   customer   to   purchase   their   product.   This   stage                 needs to be simple and easy. Otherwise the customer will get fed up                 and     walk    away     without     a  purchase.     For    example,     a  variety    of                 payment options encourages purchase whilst a complicated and slow                 website discourages purchases.    (b)    The AIDA Model          Models   of   effects   help   advertisers   to   set   marketing   or   advertising   goals,          structure objectives and analyse message impact in a series of steps called          the   Hierarchy   of   Effects.   One   classic   approach   is   the   AIDA   model.   This          model   describes   the   impact   on   consumers   as   beginning   with   attention   or          awareness,   then   moving   to   interest,   desire   and   finally   action   as   shown   in          Figure   2.1.   AIDA   is   an   acronym   for  attention,   interest,   desire   and   action.          These are the four phases of the psychological process people pass through          as   they   decide   whether   or   not   to   buy   something.   In   later   versions   of   this          model,   which   has   been   around   since  the   late   the   1800s,   a   fifth   element,          „permanent satisfaction‰ was sometimes added to the list, as it looks to the          importance of repeating sales with prior customers.                                                 Copyright © Open University Malaysia (OUM)
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                                  TOPIC 2     CREATIVITY AND ADVERTISING           ? 41                                 Figure 2.1: The AIDA Model   The   AIDA   model   stresses   that   advertisers   or   advertising   agencies   should  know how to draw the attention of a buyer to get the customer interested  by exhibiting its advantages, benefits and features. Interest is followed by  desire. It is advertising agencyÊs duty to create a desire in a buyer to buy a  specific product. All steps of the AIDA policy will help you to stimulate the  action towards the purchase of a product.    Based    on  AIDA,     numerous     models     have   been   developed.     All  of  these  models   consider   Action   (Purchase)   to be   the   singular   goal   of   advertising.  This    similarity   is  a  key  issue  in understanding       the   development     of   the  Hierarchy of Effects theory. The fundamental focus on sales is indicative of  a   general    consensus    about    the  role of   advertising     within   a  marketing  framework.                                Copyright © Open University Malaysia (OUM)
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42     ? TOPIC 2        CREATIVITY AND ADVERTISING          Variants of AIDA model are mentioned in Table 2.1:                                     Table 2.1: Variants of AIDA Model           Acronym                                      AIDA Model           ICAA           Interest, Conviction, Attention, Action           AIDAS          Attention, Interest, Desire, Action, Satisfaction           AICCA         Attention, Interest, Confidence, Conviction, Action           AIDCA         Attention, Interest, Desire, Conviction, Action           AIDMA         Attention, Interest, Desire, Memory, Action           AISAS         Attention, Interest, Search, Action, Sharing    (c)   DAGMAR Model          DAGMAR         is  a  descendant     of   the AIDA      advertising     formula    and    is         considered to be more popular and comprehensive than AIDA. DAGMAR         is   an   acronym   for   defining   advertising   goals   and   measuring   advertising         results.    Each   of  these   words    stands    for  goals   that  are   of  the  utmost         importance to a business attempting to reach and make an impression on         their target audience.           The   model   specifies   five   phases   that   potential   customers   pass   through   as         they     are  made     aware     of  the   advertised     product;    Unaware,      Aware,         Comprehension,   Conviction   and   Action  (refer   to   Table   2.2).   Ideally,   when         the   theory    of  the  model    is  used,   the  target   audience    moves     smoothly         through     the   five  phases,   which    are  based    in  psychology     and   common         decision-making patterns when deciding whether or not to buy something.                                     Table 2.2: DAGMAR Model                  Stage                     Consumer                           Promotion           Unaware                Does not know us                   Use the media to inform           Aware                 Knows something of us                Build the media presence           Comprehension          Recognises us                      Introduce product                                                                    information           Conviction             Prefers us                         Reinforce via advertising           Action                 Purchases                           Personal selling                                              Copyright © Open University Malaysia (OUM)
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                                      TOPIC 2      CREATIVITY AND ADVERTISING                ? 43   Table 2.3 elaborates the DAGMAR Model in detail.                      Table 2.3: Application of the DAGMAR Model     DAGMAR Model                                             Description    Awareness                   To test for awareness, you might ask: Have you heard of our                              product? If your target market is in a state of „unawareness‰                              of your product or service, then the first order of marketing                              priority is to achieve awareness within your target market.    Knowledge                   To test for knowledge, you might ask: „Do you know what                              our    product    does    for  you?‰    Awareness      can   answer     the                              question     of  whether     or   not   a  prospect     knows     of  your                              product. They may not know the context in which they heard                              your product name and thus cannot accurately describe what                              you do or what you sell, nor can they determine whether or                              not they would ever do business with you.    Liking                     To   test  for  liking,  you    might    ask:  „What    is  your   overall                              perception   of   our   product?‰   When   a   prospect   knows   what                              your   product   does   they   begin   to   form   opinions   about   your                              product. Perhaps, due to their awareness, they now seem to                              see   you    in  the  media.    They    are   forming    an   opinion    of                              whether or not they like you.    Preference                  To test for preference, you might ask: „What criteria will you                              use   to  make     your   decision    about    XYZ?‰     Marketers     also                              gauge   interest   through   trials,   surveys   and   other   means   to                             better   understand   the   customer   at   this   stage   of   the   buying                              cycle. The preference stage is where we begin to see the real                              value of the Hierarchy of Effects displaying its power. When                              in   the   preference   stage,   a   prospect   has   a   clear   definition   of                              why they would want to do business with your firm, if they                              were   to   purchase   a   product   or   service   in   the   category   you                              serve.    Conviction                  Testing for conviction is a matter of moving the conversation                              to   purchase.    However,      in  long    sales  cycles,   maintaining                              conviction   is   also   important.  Any   lead   nurturing   activities                              that you have in progress should not cease once you believe                              you    have    reached    the   conviction    stage.   At   the  stage   of                              conviction,     the   prospect    is  already    in   a  state   of  being                              convinced that you are the right choice for whatever problem                              that   they   need   you   to  solve.   They    believe,   through    your                              credible demonstration of capability, that you are the right fit                              and you have done everything right to this point.                                   Copyright © Open University Malaysia (OUM)
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44     ? TOPIC 2        CREATIVITY AND ADVERTISING           Action                  The   work   to   move   the   prospect   through   the   hierarchy   will                                  result in their purchasing your offering. However, beware of                                  the   purchase   or  signaling  to  purchase  from   the  customer                                  who has not exhibited going through the various stages. Nor                                  should    you   try  to  induce  a  customer    purchase   without                                  recognising the aforementioned stages. A customer purchase                                  without the rigour of having them traverse the Hierarchy of                                  Effects can lead to post-purchase dissonance.                 Source: Heuve, D. VanDen. (2009). Hierarchy of effects . Retrieved from                                        www.marketingsavant.com    2.2.2         The FCB Grid Model   The   FCB   grid   was   developed   by   Richard Vaughn,   the   Senior   Vice   President   of  Foote,    Cone    and   Belding    Advertising.     This  model     helps   direct  advertisingÊs  creative strategy as it clarifies how consumers approach the buying process for  different products.   The process is driven by the type of product. Products in Quadrant One of the  FCB Grid are products that are of high importance to the buyer. These products  are   generally   more   expensive   and   are   decided   on   rationally.   Before   making   a  buying decision, the buyer will normally research competing products and will  want a lot of information.                                       Table 2.4: The FCB Grid        FCB Grid Model                                      Description     High Involvement                      Quadrant 1                          Quadrant 2                                ? High Importance                      ? High Importance                                ? Expensive                            ? Expensive                                ? Rational Decision                    ? Emotional Decision                                ? Example: New House                   ? Example: Designer                                                                         Clothes     Low Involvement                       Quadrant 3                          Quadrant 4                                ? Low Importance                       ? Low Importance                                ? Less Expensive                       ? Less Expensive                                ? Rational Decision                    ? Emotional Decision                                ? Example: Detergent                   ? Example: Chocolate                                                                         bar                                              Copyright © Open University Malaysia (OUM)
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                                         TOPIC 2    CREATIVITY AND ADVERTISING            ? 45   The   grid   divides   advertising   strategy   into   two   dimensions   based   on   thinking  versus     feeling,  and   low    involvement     versus    high   involvement.      The   model  accommodates        different   versions    of  the  learn-feel-do    sequence    and   suggests  different advertising strategies for each of the four quadrants.   The grid suggests a different advertising strategy based on the level of thinking,  feeling   and   involvement   associated   with  each   of   the   four   quadrants.   The   line  separating the quadrants is just a guideline. It is not to be considered as a black  and white distinction between thinking and feeling or high involvement and low  involvement.   Table 2.5 explains the characteristics of low and high involvement.                     Table 2.5: Characteristics of Low and High Involvement                    Low-Involvement                                High Involvement    ? No thinking about or conscious                  ? Conscious processing of information.       choosing of products.                         ? Emotional „reflection‰ before    ? Purchase occurs on habit.                          purchase.    ? Effectiveness of communication                  ? Traditional hierarchy of effects still       message depends on the frequency of              applies.       exposure not actual content.                  ? It is assumed that the consumer is    ? Conditioning of consumers needed.                  seeking and processing information.    ? Through repetition that the message             ? Attitude precedes behaviour.       will be absorbed into long-term               ? More information and longer messages       memory.                                          are appropriate.   (a)    Quadrant One: High involvement or Thinking (Informative)          This  quadrant     implies   that  a  large amount      of  information     is  necessary         because   of   the   importance   of   the   product.   Many   major  purchases   qualify         (cars, homes, electronic equipment) and these are   likely to include   almost         any    product    which   needs    to  convey   what    it  is,  its  function,  price  and         availability. The basic strategy model is to adopt the learn-feel-do sequence         where     information      is  designed     to build     attitudinal    acceptance     and         subsequent      purchase.    Vaughn     (1980)   suggests,    „/   consumers      may    be         thought of as thinkers. Creatively, specific information and demonstration         are possibilities. Long copy format and reflective, involving media may be         necessary to get through with key points of consumer interest‰.                                      Copyright © Open University Malaysia (OUM)
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46     ? TOPIC 2         CREATIVITY AND ADVERTISING    (b)   Quadrant Two: High involvement or Feeling (Affective)          This   product     decision    has   high   involvement       but  requires    less   specific         information, therefore and attitude or feeling towards the product is more         important.   This   is   a   psychological   model,   because   the   importance   of   the         product   is   connected   to   the   consumersÊ   self-esteem.   Perfume,   expensive         watches      and   sports   cars   are  product   examples      that   might    fall  into  this         quadrant.           The advertising strategy requires emotional involvement on the part of the         consumers        so   that   they    become    connected       with    the   product     being         advertised      and   subsequently      become    „feelers‰.    Therefore,     the  proposed         model   is   feel-   learn-do.   Vaughn   (1980)   suggests   „Creatively,   executional         impact     is  a  possible   goal,   while   media    considerations      suggest    dramatic         print exposure or ÂimageÊ broadcast specials‰.    (c)   Quadrant Three: Low involvement or Thinking (Doer)          Products in this category (including many common household items such         as   razors,   insect   repellant   and   household   cleaners)   involve   little   thought         and a tendency to form buying habits for convenience. The hierarchy model         is   a   do   -learn-feel   pattern   suggesting   that   simply   inducing   trial   (through         coupons       or  samples)      can   often   generate     subsequent      purchases     more         efficiently   than   „undifferenting   copy   points‰,   leading   in   turn   to   increased         brand     loyalty.   According      to  Vaughn     (1980),   the   most   effective   creative         strategy is to stimulate a reminder for the product.    (d)   Quadrant 4  Low involvement or Feeling (Self-satisfaction)          This   product   decision   is   emotional   but   requires   little   involvement,   and   is         reserved      for   those   products     that   satisfy   personal    taste   (for   example,         cigarettes, candy, beer or snack food). This is a do-feel-learn model where         imagery and quick satisfaction are involved and the consumer is considered         a reactor whose interest will be hard to hold. Vaughn (1980) argues that the         creative   objective   is   to   get   attention   with   some   sort   of   consistency,   and         suitable     methods      may    include     billboards,    point-of-sale     or  newspaper         advertising.                                               Copyright © Open University Malaysia (OUM)
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                                 TOPIC 2     CREATIVITY AND ADVERTISING            ? 47      ACTIVITY 2.4   1.     The AIDA model, presented in 1898 by St. Elmo Lewis attempted         to explain how personal selling works. It laid out a set of stair-step         stages    which   described    the   process   a  salesperson    must    lead  a         potential customer through in order to achieve a sale.          (a)   Identify the process and explain each stage.          (b)   Identify   the   variants   of   AIDA   and   discuss   similarities   and               differences.          (c)   Among   the   variants,   which   one  do   you   think   is   the   best   to               explain how advertising works?   2.      What   do   you   understand   by   FCB   Grid   Model?   How   does   this         framework help direct advertisingÊs creative strategy?        SELF-CHECK 2.2                       Basic Advertising Strategy as     Concept                                                 Examples of Products                          suggested by Vaughn    Quadrant 1:    Quadrant 2:    Quadrant 3:    Quadrant 4:                               Copyright © Open University Malaysia (OUM)
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48     ? TOPIC 2         CREATIVITY AND ADVERTISING     2.3         CREATIVE GUIDELINES   Research       indicates    that   the  rewards      for  adopting      a  creative    approach     in  advertising   are   substantial   and   longer   lasting.   Once   it   takes   effect,   creativity   is  believed      to  be  a  significant    factor   in  advertising     effectiveness.    Unlike    non-  creative   advertising,   results   increase   rather   than   diminish   over  time   and   it   is   a  platform to build on, rather than to continually reinvent. However, creativity in  advertising is not confined to the creative ideas of a specific area or element of  advertising. It extends across the whole advertising process as explained next:    (a)   Planning and Strategy Development          Planning   is   taking   the   knowledge   and  foresight   that   we   have   gathered   in         the creative stage and using it to figure out our best response to each of the         likely scenarios created. Planning becomes more effective when we include         our brand and our strategy. This is a creative process because we are taking         several   diverse   pieces   of   information   and   using   them   to   decide   the   best         course of action. What makes a creative idea and how it is created is even         harder.    (b)   Message Decisions          A message is considered to be the foundation of advertising. It needs to be         strong or our campaign efforts will fall apart. A message strategy consists         of   a   positioning   statement   and   support   points.   The   positioning   statement         addresses the target marketÊs most pressing problem by stating a benefit. It         needs creativity to keep advertising message focused, singular and clear.    (c)   Media Decisions          Customers      are   exposed    to  advertising     messages     throughout      the  day   in         many   different   ways.   How   can   we   ensure   that   our   campaign   will   be   a         memorable   part   of   their   media   experience?   It   is   important   that   media   be         selected   and   used   effectively.   The   creative   use   of   media   may   be   able   to         enhance message appeal. When we employ a central message in all media         and     sales   channels,    every    contact   a   prospect    has   with    our   campaign         reinforces that message and drives it home. Exposure in multiple forms of         media is important but a successful campaign capitalises on the strengths of         individual media so we need to select a mix of the best forms.                                               Copyright © Open University Malaysia (OUM)
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                                           TOPIC 2     CREATIVITY AND ADVERTISING              ? 49   (d)    Target Audience Decisions          Choosing      the  right   target   audience     is  a  critical  part  of  the   advertising         strategy. The target audience should be the best match for the advertising         message,   thus   helping   to   maximise   the   efficiency   and   effectiveness   of   its         marketing       efforts.  We    have    to  be   creative   to  define    the  target   market         customers   and   consumers   and   to   look beyond   them   to   identify   audiences         who   influence   the   market.   Whether  market   segments   and   target   markets         are selected on the basis of intuition, marketing research or a combination         of the two, they are the basis for creating an effective marketing mix.    Defining creativity is difficult and working out what makes a creative idea and  how it is created is even harder. It is suggested that nobody can tell you how to  create   an   advertisement.   As   Bert   Manning,   CEO   of   J.   Walter   Thompson   says  (cited in Pickton, 2005):     How do creative people create? Nobody really knows. Nobody really knows    where ideas are born; where an unforgettable bar of music comes from; why a    felicitous phrase pops into someoneÊs head. No one really knows how some    people   can   put   words   and   pictures   and   sounds   and   ideas   together   in   ways    that can move millions of other people to think and feel and act.   A copywriter, Hank Sneidden (cited in Pickton & Broderick, 2005) comments:     Rules   ...   stifle   creativity,   inspiration,  initiatives   and   progress.   The   only   hard    and fast rule that I know of ... is that there are no rules. No formulas. No right    way. Given a same problem, a dozen creative talents would solve it a dozen    different ways.   If rules should not be applied to creativity, the best that can be offered is perhaps  some   form   of   guideline   to   be   considered   during   the   creative   process.   Pickton  (2005) suggested a creative guideline for advertising although it can also be used  broadly   where   appropriate.   There   are,   in   fact,   many   such   guidelines   and   when  looking   at   them,   it   is   easy   to   see   why  some   creative   people   are   so   opposed   to  rules. While there is some logical advice, for every suggestion there are examples  of where the basic guideline is broken with good effect. Some considered that the  fact that rules are broken is a creative trait itself. Sometimes this is acceptable, but  sometimes   it   is   the  opposite.   The   use   of  unusual   and   shocking   images   in   some  advertisements   is   an   example   of   rule   breaking   which   creates   memorable   and  effective advertising.                                         Copyright © Open University Malaysia (OUM)
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50    ? TOPIC 2       CREATIVITY AND ADVERTISING   Steve Henry, creative director of the agency HHCL (cited in Pickton & Broderick,  2005) has offered a simple piece of advice: If you want to make a difference, make  it different. Find out what everybody else is doing in your marketplace. Then do  something different.   Table 2.6 explains some of the guidelines for advertising creatively.                           Table 2.6: Creative Advertising Guidelines        Guidelines                                     Description    General               ? Every ad should embody a clear, straightforward proposition   guidelines            ? Say what you have to say in as few words as possible                          ? Use humour with caution                          ? Give the target audience credit for some intelligence                          ? Be original    Guidelines for        ? Music is critical   film                         ? Quick cuts are readily understood                          ? Get the brand name in early and often                          ? The consumer likes to identify with the commercial                          ? Television is ideal for demonstration                          ? Television is extremely expensive                          ? Cinema commercial must entertain    Guidelines for        ? Put „key‰ words in headlines   print                 ? Put the promise in the headline                          ? Keep the headline short                          ? Lay the advertisement logically                          ? Reversed copy looks good but beware of its use                          ? Double-page spreads look good but beware of its use                          ? Only a single page will do sometimes                          ? Photographs are better than illustration: pictures are better than                            words    Guidelines for        ? Remember it is not television   radio                         ? Radio means repetition       Source: Pickton, D., & Broderick, A. (2005). Integrated marketing communications .                                   Harlow, London: Prentice Hall.                                           Copyright © Open University Malaysia (OUM)
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                                        TOPIC 2    CREATIVITY AND ADVERTISING           ? 51                SELF-CHECK 2.3          1.   In what ways might creative thinking be applied to:                 (a)   Media planning;                 (b)   Message decisions; and                 (c)   Target market decisions.          2.   Some      people   consider    that  the  fact  that  rules  are   broken   is  a              creative     trait  itself.  But  some  disagree.     Discuss    the  opposing               statement and offer your own ideas.    2.4         CHARACTERISTICS OF GREAT               ADVERTISING   Many     people    have   their  own    opinion  on    advertising    and  many     advertising  experts     have     suggested     various     criteria   of   great    advertising.     Several  organisations,   especially   advertising   professional   bodies,   have   formulated   their  criteria and give awards to advertising they consider as successful and excellent  based on that criteria.   According   to   Werner   and   Peter   (2013),   great   advertising   must   be   able   to   grab  attention,    be   memorable,      entertaining   and    be   able  to  target   the   audience  effectively.   (a)    Grabbing Attention         No matter how good an advertisement may be, it will have no effect if no         one   sees   it.  A  great  advertisement     needs   to  engage   the   interest  of  the         audience with an attention-grabbing design. Getting the attention of those         potential customers is essential, so it pays to test several different designs         and choose the one that is the most eye-catching.                                      Copyright © Open University Malaysia (OUM)
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52     ? TOPIC 2         CREATIVITY AND ADVERTISING   (b)    Memorable         A   great   advertisement   has   to   be   memorable   for   the   viewer.   If   the   viewer         does     not   remember       the   advertisement      after   viewing     it,  the  company         sponsoring       the   advertisement       is  wasting     resources.    With    an   effective         advertisement,   the   viewer   should   be  able   to   clearly   recall   what   happened         during      the  course    of  the   advertisement,      and    more    importantly,     which         product      is  being   advertised.    That    recall  is  the  hallmark     of  an  effective         advertisement.   (c)    Entertaining         A great advertisement informs the consumer about the product or service         offered, but that advertisement also needs to entertain the potential buyer.         Capturing       the   attention    of  the   consumer      is  essential    for  an   effective         advertisement and the more entertaining we can make that advertisement,         the   more   effective   it   can   be.   Many   advertisements   try   to   incorporate   an         element of humour since humour helps to capture and hold the attention of         the audience.   (d)    Effective Targeting         A   big   part   of   developing   an   effective   advertising   campaign   is   to   know         exactly   who   the   target   audience   is.   In  many   cases,   the   product   or   service         offered     will  not   appeal    to  everyone,    so   it  is  important     to  identify   the         segment      of  the   population     that   is  most   likely  to  need    what    is  offered.         Identifying the target audience effectively helps us in deciding which media         venues are likely to be the most effective.   Ellis Paul Torrance, an American psychologist, developed the Torrance Tests of  Creative Thinking (TTCT). This   is a measure to assess individualsÊ capacity   for  divergent   thinking   in   the   business   world   and   in   education.   In   the   early   2000s  TorranceÊs       measures      were    adapted     for   advertising      by   Indiana     University  communications researcher Robert Smith and his colleagues. They adjusted the  definition of creativity to refer to „the extent to which an advertisement contains  brand or executional elements that are different, novel, unusual, original, unique,  etc. Their goal was to measure creativity using only those factors most relevant  to   an   advertising   context.   They   came   up   with   five   dimensions   of   advertising  creativity:                                                Copyright © Open University Malaysia (OUM)
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                                        TOPIC 2     CREATIVITY AND ADVERTISING           ? 53   (a)   Originality         An   original   advertisement   comprises  elements   that   move   away   from   the         obvious and commonplace. The focus is on the uniqueness of the ideas or         features contained in the advertisement.   (b)   Flexibility         An ad scoring high on flexibility smoothly links the product to a range of         different   uses   or  ideas.  For  example,     a  commercial     for  the  Kraft  Foods         coffee   brand    Jacobs   Krönung,     showed     a  man    facing   various   domestic         challenges while a group of women enjoyed a cup of coffee together.   (c)   Elaboration         Many advertisements contain unexpected details or extend simple ideas so         that they become more intricate and complicated. One example is an ad for         a fruit yogurt in which a woman eating yogurt licks her lips to reveal that        her tongue looks just like a strawberry, considerably deepening the idea of         fruitiness in yogurt.   (d)   Synthesis         This   dimension     of  creativity   is  about   blending    or  connecting    normally         unrelated   objects   or   ideas.   In   synthesis,   a   commercial   combines   unrelated         objects to create a divergent story line.   (e)   Artistic value         Advertisements with a high level of artistic creativity will be viewed by the         audience as a piece of art, rather than a sales pitch. With an artistic value,         an   advertisement      may   contain    aesthetically   appealing    verbal,   visual   or         sound elements with a high production of quality, clever dialogue, original         colour palette or memorable music.                                      Copyright © Open University Malaysia (OUM)
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54    ? TOPIC 2       CREATIVITY AND ADVERTISING   Table 2.7 lists some examples of the test for advertising creativity.                            Table 2.7: Test for Advertising Creativity          Test                                 Example of Questions    Originality       ? Is the advertisement out of the ordinary?                      ? Does it depart from stereotypical thinking?                      ? Is it unique?    Flexibility       ? Does the ad contain ideas that move from one subject to another?                      ? Does it contain different ideas?                      ? Does it shift from one idea to another?    Elaboration       ? Does the advertisement contain numerous details?                      ? Does it extend basic ideas and make them more intricate?                      ? Does it contain more details than expected?    Synthesis         ? Does the advertisement connect objects that are usually unrelated?                      ? Does it contain unusual connections?                      ? Does it bring unusual items together?    Artistic value    ? Are verbal, visual, or sound elements aesthetically appealing?                      ? Is production quality high?                      ? Is dialogue clever?                      ? Is colour palette original?                      ? Is music memorable?                                           Copyright © Open University Malaysia (OUM)
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                                       TOPIC 2    CREATIVITY AND ADVERTISING          ? 55             ACTIVITY 2.5         To     what    extent   do   the   following    features    contribute    to  great        advertising? Explain.                         Criteria                               Explanation           A provocative image           Connects with its audience           Is memorable and easily recalled           Provides information quickly           Calls the viewer to action           Make viewers hunt for pertinent          information           Catchy, snappy tagline           Familiar advertising phrase           Exaggerating the truth           Repetition    2.5         CREATIVE TEAM   Creative advertisements result from the skills of a creative person who normally  works     in  a  team.   These    individuals    primarily    coordinate    and   create   the  advertising copy and the artwork for various media, including television, radio,  Internet, magazine and newspaper advertisements. They also develop direct-mail  campaigns   which   usually   consist   of   sales   letters,   brochures   and   order   forms.   A  creative team includes employees with various job titles. The job descriptions of  these employees vary but they all have the same objectives.                                     Copyright © Open University Malaysia (OUM)
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56     ? TOPIC 2          CREATIVITY AND ADVERTISING   The creative department of an advertising agency is responsible for developing  the   ideas,   images   and   words   that   make   up   commercials   and   advertisements.  While   many   people   in   the   agency   contribute   to   the   process,   the   invention   and  production   of   advertising   is   mainly   the   responsibility   of   copywriters   and   art  directors. In many agencies, the creative team comprises these two people, one  dealing      with   words      (copywriting,      script   writing)    and    the   other   deals    with  images,   visualisation   of   story   boards.   These   two   people   of   creative   team   might  work together or alone.   After     working     on   client   briefs  communicated         by   account     managers,      creative  teams   work   sometimes   for   many   days   on  the   creative   brief.   The   creative   team  plays   a   crucial   role   in   delivering   good  quality   service   to   the   client.   A   creative  team   is   responsible   for   the   quality   of  their   creative   output   which   guarantees  success      and   continuity     of   the   agency.   A    creative    team    should     be   good    in  generating   new   and   original   ideas   to   a  given   deadline   and   should   be   able   to  work under pressure. When a creative team is ready with the brief, they present  it to account manager who presents it to the customer.   A   creative   team   is   made   up   of   several  key   members,   starting   with   a   creative  director, and including copywriters, editors, graphic designers and artists as well  as   web   developers.   In   short,   it   is   the  group   of   people   that   comes   up   with   the  advertising       ideas   and   brings    those   ideas    into  being.    Titles  may     vary   among  different   organisations.   In   some   agencies,   the   account   managers   or   executives,  who   serve   as   a   liaison   between   the   client   companies   and   the   agency,   also   get  involved in the creative act. Smaller agencies often have fewer members on their  creative   teams   than   larger   agencies,   and  the   duties   overlap.   For   example,   an  advertising manager may also be the creative director and a graphic designer.   As a liaison between the client companies and the agency, the account manager is  a   person   who   represents   clients   in   the   agency   and   communicates   the   clientÊs  needs and objectives to the agency. The account manager is supposed to have a  wide   knowledge   about   the   client,   and   he   or   she   will   direct   and   manage   the  creative team during the creative development process. Account managers have  to work on both the client and agency sides. Thus, the selection of an adequate  account manager during the recruitment process is important to an agency. The  account      manager      should     be   keen    in  managing       the   creative    team,   ensuring  effective     communication        and    building    a good      relationship     between     the   team  members. Table 2.8 explains the creative team in detail.                                                 Copyright © Open University Malaysia (OUM)
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                                           TOPIC 2      CREATIVITY AND ADVERTISING              ? 57                                         Table 2.8: Creative Team                          Other Possible       Job Title                Title                              Job Description                                                Overall    responsibility   and   accountability    for  the   Chief Creative                              management   of   the   total   creative   function   of   the                                     Director                                    agency. Establishes the „creative tone‰ and pace of                                               the agency.    Creative              Group Creative        Responsible      for  the  quality  of  all  creative  work   Director              Dir.; Exec.           produced   by   the   agency   for   all   clients.   Maintains                         Creative Dir.         standards of creative excellence.                          Creative   Assoc. Creative       Manager;              Supervises   and   guides   the   total   creative   effort   of   Director              Creative Group        one    or  more    creative   groups.   Ensures    creative                         Head                  compliance with clientsÊ goals.                                                Integrates art, copy, and production functions and   Creative              Art Supervisor;       guiding overall creative effort of assigned general                         Copy   Supervisor                                  advertising     creative    groups    on   one    or  more                         Supervisor                                               accounts.                                                Responsible   for   generating   concepts   or   ideas   and                         Sr. Copywriter;                                               highly    targeted   copy   on  one   or  more   accounts.   Copywriter            Lead                                               May   adapt   to   changes   in   format,   media   and/or                         Copywriter                                               clientsÊ strategies.                                                Responsible      for  the   visual  creation   of   general   Art Director          Creative Artist;      advertising   campaigns   on   one   or   more   accounts.                         Sr. Art Director      Coordinates   the   design   and   reproduction   of   the                                               copy with the art and production staff.                                                Prepares a variety of illustrations for one or more   Illustrator            Sr. Illustrator      accounts.     May    design,   select   layout   materials,                                               prepare interpretive drawings from written plans.                         Source: http://www.aef.com/industry/careers   The creative director coordinates the creative team and liaises with the account  executives. Copywriters do the actual writing. Editors help ensure the accuracy  of   advertisements.   Artists   or   graphic   designers   create   the   artwork,   illustrations  and other visual aspects of the advertisements. Web developers upload creative  pieces to the Internet.                                         Copyright © Open University Malaysia (OUM)
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58     ? TOPIC 2        CREATIVITY AND ADVERTISING   Creative teams usually follow a specific process when completing their work. An  advertising agency usually creates a proposal for a client, outlining the key tasks  and   associated   costs.   Work   commences   when   the   client   approves   the   proposal.  Advertising production usually follows, whether it is conducted by an agency or  company itself. The first step in the production process is creating a concept. This  is a formulation of the general theme or idea of the advertising.   Copywriters then compose the script or wording for the advertisements and the  artists   and   graphic   designers   create   any   necessary   artwork.   Subsequently,   an  editor proofreads the advertisement for errors and submits the final ad copy. An  advertising      manager,     in  turn,  ensures   that    the  message     and   content    of  the  advertising is commensurate with the overall marketing strategy.   Members   of   the   creative   team   often   test  their   advertisements   before   running  them   on   a   wide-scale   basis.   The   tests  help   small   companies   ensure   that   their  advertising      is  effective.   For   example,     a  small   regional    company      may     run  advertisements in two of their 10 markets. They may track the number of leads  and   sales   generated   by   the   advertisements.   The   company   may   also   test   certain  components         of   the   advertisement,       including     advertisement        and    slogan  recall.    Advertisement       recall  determines      whether     consumers       remember      the  advertisements.       Slogan    recall  measures     the   percentage     of  people   who    recall  words or phrases from a particular slogan. The creative team may conduct focus  groups   or   phone   surveys   to   obtain   consumer   feedback   for   its   advertising   test.  Focus groups are often conducted behind one-way mirrors, as managers listen to  feedback from consumers.   The creative department of an agency is where the campaign comes together. It is  where that great idea or stunning visual is formulated. They take the client brief  and work with it to invent ideas to address the brandÊs business problems. From  here, they work with media planners or buyers and the production department  in order to make those ideas, that have been approved by the client, into a reality.                                              Copyright © Open University Malaysia (OUM)
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                                    TOPIC 2     CREATIVITY AND ADVERTISING             ? 59       ACTIVITY 2.6   1.    Read the following statement by an advertising agency describing        itself and discuss the questions at the end of the statement:         We   are   more   than   just   a   typical   advertising   agency.   We   have   so        much more to offer. We have media-buying specialists on staff. We        conduct      primary     and   secondary      research.    We    offer   total  web        development        and   hosting    capabilities.   We    have   complete     audio        and   video   production   studios   in-house.   Our   approach   is   simple.        We monitor consumer trends and the marketplace in great detail to        ensure      the   recommendations          we    make      are   well-researched,        expertly     planned,    economically       feasible   and   perfectly    executed.        And   we   are   not   afraid   to   try   something   new,   but   are   cautious   to        make      sure   it  is  in  the   right   direction.   Our    ultimate     goal   of        everything we do is to help our clients find the right direction.          (a)    List the specific jobs in an agency.          (b)    List the expertise and explain their nature of work.          (c)    What do you think is the right direction for a client?   2.    Read the following description of two top advertising agencies and        discuss   how   they   describe   their  agency,   their   mission   and   their        culture.          (a)    The top advertising agency in the world according to Forbes                (2013) is Wieden+Kennedy. It is a full-service, independently                owned      American      advertising     agency     best   known     for   its                work      for  Nike.     Founded      by   Dan     Wieden      and    David                Kennedy,   and   headquartered   in   Portland,   Oregon,   it   is   one                of   the   largest   independently-owned   advertising   agencies   in                the world. According to its website, it describes itself as „an                independent,        creatively    driven     advertising     agency      that                creates   strong   and   provocative   relationships   between   good                companies   and   their   customers.   We   believe   that   it   doesnÊt                matter where, how or in what medium an idea is expressed,                you     still  have   to   start  with    a   good    one‰    (website,    at                www.wk.com/).                                 Copyright © Open University Malaysia (OUM)
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60     ? TOPIC 2         CREATIVITY AND ADVERTISING                  (b)     Y&R Malaysia (website, at http://www.yr.com) is one of the                        top    Ad   Agencies     in  Malaysia.    Based    on   its  website    they                        describe   themselves   and   their   philosophy   as   follows:   „We                        are passionate about our clients. Passionate about our work.                        We care about each other and the communities in which we                        live.   All   of   which   adds   up   to   a   culture   that   believes   ideas                        should   come   from   everywhere.   That   every   agency   should                        think   of   themselves   as   a   headquarters   charged   with   being                        the    best   in   their   market.    Y&RÊs     culture    embraces      the                        individuality      of   our   local  agencies,     while    enabling     our                        collaborative,     global   community.       We   believe    that  unity   is                        more     powerful      than   integration.    We    find   that   unity   of                        purpose   demands   working   with   a   diversity   of   partners                          anyone and any company who has the ideas, the innovation                        and   the   ability   to   make   an   impact   is   welcome   at   the   table.                        Our    values    define   us.   Our  passion    drives   us.  Our    values                        drive   us,   define   us,   create   our  culture   and   differentiate   us.                        Everything      we    do  comes     out  of  the   intellect,  experience,                        sensibilities, eccentricities and humanity of our people. So it                        is  not   surprising    that  people    come    first  at  Y&R    and   that                        passion is what drives us.           3.      Visit the websites of top Malaysian Ad Agencies and identify how                 they describe themselves and discuss their creative philosophy or                 approach. Some of the agencies you might want to discover are:                  (a)    Advertising.my                  (b)    Leo Burnett Malaysia                  (c)    Y&R Malaysia                  (d)    Mccann-Erickson                  (e)    Naga DDB                  (f)     M&C Saatchi                                               Copyright © Open University Malaysia (OUM)
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                                           TOPIC 2     CREATIVITY AND ADVERTISING             ? 61   ? Advertising agency professionals see creativity as the best tool for achieving       advertising     success.    They    believe   that   creativity   is  what    really  works     in       advertising.   Famous   advertising   professionals   support   the   notion   that   what       makes advertising effective is creative excellence.   ? It   is   clear   that   there   must   be   an   element   of   creativity   in   advertising.   This       creativity    is  to  create   something      unique,     original   and    appealing     to  the       consumers.   At the same time, it must be relevant, meaningful, well-crafted,       provides value-added features, positive and flexible. In fact, advertising itself       is a creative process. It is the outcome of long-term planning and hard work       of   the   creative    team     who    prepares    and     shapes     the   final   product     of       advertising.   ? Advertisers         are   constantly    trying    to  define    and   model     how    advertising       works, and from these models or theories, they often try to pick meaningful       communications   objectives.   Hierarchy   of  Effects   is   the   model   which   studies       the   response   mechanisms   of   the   audience   and   the   factors   on   which   their       response depended. The AIDA model stresses that advertisers should know       how to draw attention of a buyer to get the customer interested by exhibiting       its  advantages,     benefits    and   features.   The   DAGMAR         model    specifies    five       phases that potential customers pass through as they are made aware of the       advertised   product.   The   FCB   grid   model   helps   direct   advertisingÊs   creative       strategy    as   it  clarifies  how    consumers      approach     the   buying     process    for       different products.   ? The creative department of an agency is where the campaign comes together.       It is where that great idea is formulated. They take the client brief and work       with it to invent ideas to address the brandÊs business problems. From here,       they work with media planners or buyers and the production department in       order   to   make   those   ideas,   that   have   been   approved   by   the   client,   into   a       reality.   ? Advertisers create advertisements with a variety of objectives and to produce       impact.    The    impact    of  advertising     on  consumers      range    from    creating   an       awareness of the product or service to modifying attitudes and influencing a      buying   decision.   Most   of   advertising   objectives   seek   the   raising   of   sale   of       particular goods or services.                                        Copyright © Open University Malaysia (OUM)
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62     ? TOPIC 2        CREATIVITY AND ADVERTISING   ? Many   people   have   their   own   opinion  on   advertising   and   many   advertising       experts     have    suggested     various    criteria   of  great    advertising.    Several       organisations      especially   advertising    professional     bodies   have   formulated       their criteria and give awards to advertising they consider as successful and       excellent based on that criteria. According to some experts, great advertising       must   be   able   to   grab   attention,   be   memorable,   entertaining   and   be   able   to       target the audience effectively.     Advertising creativity                            DAGMAR     AIDA                                              Hierarchy of Effects     Creative team                                     The FCB Grid   Cummings,   B.   A.   (1984). The   benevolent   dictators: Interviews   with   advertising           greats . Chicago, IL: Crain Books.   Dahlen, M., Rosengren, S., & Törn, F. (2008). The waste in advertising creativity is           the part that matters.Journal of Advertising Research, 48 (3), 2533   El-Murad, J., & West, D. C. (2004). The definition and measurement of creativity:           What do we know. Journal of Advertising Research, 44 (2), 188201.   Glowa,     T.  (2002).  White    paper:   Advertising     process    models .   Retrieved    from         http://www.glowa.ca/Advertising_Process_Models.pdf.   Gunn, R., & Durkin, C. (2010). Social entrepreneurship: A skills approach . Bristol,           UK: Policy Press.   Heuve,       D.     VanDen.       (2009).   Hierarchy       of    effects .   Retrieved      from         www.marketingsavant.com   Marra,     J.  L.  (1990). Advertising     creativity:   Techniques     for  generating     ideas .         Englewood Cliffs, NJ: Prentice Hall.   Ogilvy, D. (1983). Ogilvy on advertising . New York, NY: Crown.                                              Copyright © Open University Malaysia (OUM)
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                                       TOPIC 2   CREATIVITY AND ADVERTISING          ? 63   Patti, C. H., Blasko, V., Lavidge, R. J., & Steiner, G. A. (1961). Budgeting practices          of big advertisers . Bridgeport, CT: Markus Wiener, Inc.   Pickton,    D.,  &   Broderick,   A.   (2005). Integrated   marketing     communications .        Harlow, London: Prentice Hall.   Ries, A., & Trout, J. (1986). Marketing warfare . New York, NY: McGraw-Hill.   Smith, R. E., Jiemiao Chen., & Xiaojing Yang. (2004). Toward a general theory of          creativity   in   advertising:   Examining   the   role   of   divergence.  Marketing          Theory, 4 (1/2), 3158.   Smith, R. E., Jiemiao Chen., & Xiaojing Yang.   (2008). The   impact of   advertising          creativity on the hierarchy of effects.Journal of Advertising, 37 (4), 4761.   Swee Hoon Ang., & Sharon Y. M. Low. (2000). Exploring the dimensions of ad          creativity.Journal of Psychology and Marketing, 17 (10), 835854.   Yeshin, T. (2006). Advertising . London, England: Thomson Learning.   Vaughn,     R.  (1980).  How     advertising   works:   A   planning    model.  Journal    of          Advertising Research, 20 (5), 2733.   West, D. C., Kover, A. J., & Caruana, A.  (2008). Practitioner and customer views          of   advertising   creativity:  Same   concept,   different  meaning.  Journal     of          Advertising, 37 (4), 3545.   Werner, R., & Peter, S. (June 2013). Creativity in advertising: When it works and        when it doesnÊt. Harvard Business Review.                                     Copyright © Open University Malaysia (OUM)  

9.1 - T1 Introduction to Creativity ABCD3103

Topic 1 Introduction to Creativity

LEARNING OUTCOMES

By the end of the topic, you should be able to:

    1.    Explain the general concept and the significance of creativity;
    2.    Identify the components and different models of creativity;
    3.    Describe important traits of creative people;
    4.    Discuss the concept and the differences of creative industries; and
    5.    Discuss the approaches that address the categories which make up the creative industries.

INTRODUCTION

Creativity is highly regarded as a valued trait in contemporary society. For many
people,   it   is   among   the   most   important   qualities   that   one   could   possess.   The
possibilities  and   advantages   connected   with  creativity  are  huge  and  almost
immeasurable. But at the same time, people continue to understand the concept
of creativity, the creative process and how it works.

Questions and debates remain on fundamental issues such as what is creativity,
where does creativity come from, what makes creative people creative and how
can   one   be   more   creative.   These   questions   around   creativity   only   point   to   the
importance that creativity plays in our lives. This topic introduces the basic idea
of creativity by looking at its definition and significance as well as components
including   some   of   its   models   and   the   traits   of   creative   people.   This   topic   also
discusses    the  concept  of  creative  industries,  and  how  it  contributes  to  the
national and global economy.


TOPIC 1 INTRODUCTION TO CREATIVITY

ACTIVITY 1.1

Creativity means different things    to   different    people.    List   the
meaning   of   creativity   from   five   different   sources   such   as   dictionaries,
encyclopedias       or  associations.    Analyse    your   findings    and   formulate
your own definition based on the analysis.



1.1  UNDERSTANDING CREATIVITY

There are many definitions of creativity. For some people, creativity means being imaginative   or   inventive.   For   others   it   is   about   original   thinking   or   producing something  that  nobody has produced before. Some people also  believe   that creativity    means     taking   risks  or   challenging convention. Others    believe   that creativity applies only to those who have artistic and creative talents.


Creativity   is   viewed   in   different   ways  within   different   disciplines.   A creative product in different domains is measured against the norms of that domain, its own rules, approaches and conceptions of creativity (Gomez, 2007). For example, in   education,   it   is   called   „innovation‰.  While   creativity   is   conceptualised   as   a system for generating and evaluating novel ideas, innovation is when novel ideas are implemented and result in effective novelty.


In business, creativity is related to "entrepreneurship". Theorists have recognised that     entrepreneurial       activities    and    creativity      underpin      all    successful entrepreneurship which is characterised by a set of skills that are useful and best developed in an integrative and engaged environment. In mathematics, creativity is sometimes equated with „"roblem-solving" which is a mathematical task that has    the   potential   to  provide     intellectual   challenges    for  enhancing students mathematical understanding and development and it plays a prominent role in

mathematical proficiencies. In arts or music it is understood as "performance or composition". Researchers     within    the  domain     have   conducted      investigations pertaining to methods of enhancing creativity in music composition, particularly towards identifying factors influencing creativity in music education.


Creativity     was    originally   viewed     as  a "mystical     process" with    no  scientific studies to lend credibility to the field. Traditionally, it has been associated with the achievements of extraordinary people such as Einstein, Galileo and Da Vinci, Mozart   and   Beethoven.   In   the   Muslim   civilisation,   great   personalities   such   as Al-Khwarizmi,   Al-Farabi,   Ibn   Sina,   Al-Batani,   and   Omar   Khayyam   were   great scientists    and   inventors    who    were    highly   creative.   They    made    innumerable  discoveries and wrote countless books on medicine, surgery, physics, chemistry, philosophy,  astrology, geometry  and various other fields.   These    creative personalities were probably hundreds of years ahead of their counterparts in the European Middle Ages.

Focusing      on    extraordinary      personalities,     however,     perpetuates the wrong perception that creativity   is  about   special   people    creating    special  inventions. Research shows that there is no specific   personality     type   associated     with creativity. It is possible to be creative in any activity that engages our intelligence because intelligence itself is essentially creative. Creative processes are rooted in the   imagination   and   our   lives   are   shaped   by   the   ideas   we   use   to give   them meaning. We all have creative capacities but, in many instances, we do not know what they are or how to draw on them.

Generally, creativity can be described as the production of useful solutions   to problems, or  new    and    interesting ideas,which create products and impact thinking. This new, interesting and novel idea must have significance and value impacting others at the same time. With no potential value to others, these ideas cannot     be  considered "creative".    The   goal   of  creative   performance  is  to  add knowledge and understanding, to give new perspectives and to solve problems. It is to create innovative ways of thinking or doing things, or to give new insights and knowledge in a certain field.



Franken (1982)   in Human       Motivation,     defines    creativity   as  the   tendency     to generate   or   recognise   ideas,   alternatives  or   possibilities   that   may   be   useful   in solving   problems,   as     well   as  in  communicating   with   others   and   entertaining ourselves   and   others.   Creativity   has   also  been   described   as   the   combination   of divergent   and   convergent   thinking   (Young,   1990).   Divergent   thinking   involves the generation of alternatives and unique ideas in the thinking process, whereas, convergent       thinking     involves     selecting    ideas   based on   their   uniqueness, feasibility and quality (Kirton, 1987).

Creativity has also been referred to as uniqueness or originality. Originality can be associated often with a novel or unique idea (Fearn, 1976). Torrance and Safter (1999)    defined    originality    as  a  trait  which "involves    getting   away     from   the obvious      and   common      place   or   breaking away    from    habit   bound     thinking". Barron (1969) defined original thoughts or ideas as those that are new to others.

Creativity     occurs    when     there   is  some    degree    of   knowing,     perception     and cognitive history. Creative thinking does not occur unless there is recognition of a   problem   and   ommitment to   deal   with   it.   So,   creative   thinking   begins   when there is a problem and there is a commitment to solve that problem. From   the   discourse   on   creativity,   it   is  clear   that   some   definitions   suggest   that creativity     is  the  generation     of   imaginative     new    ideas    that involve    a  radical innovation       or   solution    to  a   problem,     and    also   a  radical   reformulation      of problems. Other definitions propose that a creative solution can be achieved by integrating   existing   knowledge   in   a   different   way.   Another   set   of   definitions proposes   that   a   creative   solution,   either   new   or   recombined,   must   be   valuable. Therefore, a novel idea is not a creative idea unless it is of a certain value.

As a combination of this variety of definitions, we can say that creativity involves the    generation     of   new    ideas   or  the   recombination       of  known      elements     into something new, providing valuable     solutions    to  a  problem.     It  also  involves motivation and emotion. Creativity    is   a "fundamental        feature    of   human intelligence in general. It  is  grounded in everyday capacities such   as   the association of  ideas, reminding, perception, analogical thinking,     searching     a structured problem-space and    reflecting  self-criticism. It involves    not  only    a cognitive dimension (the  generation      of  new    ideas)   but   also  motivation      and emotion, and is closely linked to cultural context and personality factors". (Boden, 1998).


Today, creativity is recognised as a practical skill. It is a way of thinking in which we   look   at   familiar   things   with   a   fresh   eye,   examine   a   problem   with   an   open mind   about   how   it   might   be   solved   and   use   our   imagination   rather   than   our knowledge  to  explore    new     possibilities   instead     of  established      approaches.

Table 1.1 explains some of the definitions of creativity.


Table 1.1: Some Definitions of Creativity

 Source           Description



Boden (1998)        Creativity     involves    not   only   a   cognitive   dimension      but   also motivation and emotion, and is closely linked to cultural context and personality factors.

Franken (1982)       The    tendency     to  generate    or   recognise    ideas,   alternatives,   or               possibilities that may be useful in solving problems, communicating with others as well as entertaining ourselves and others.



  Young (1990);        The   combination   of   divergent   and   convergent   thinking.   Divergent

 Kirton (1987)        thinking involves the generation of alternatives and unique ideas in the thinking process, whereas convergent thinking involves selecting ideas based on their uniqueness, feasibility and quality.



 Torrance and  Safter (1999); Fearn (1976) -
Uniqueness or originality which can be associated often with a novel or unique   idea   or  a  trait  which  involves    getting  away    from   the obvious and commonplace or  breaking away  from   habit bound thinking.



1.2        THE SIGNIFICANCE OF CREATIVITY

Creativity   or   the   ability   to   generate   novel   ideas   and   to   think   creatively   about problems, has long been considered an important skill for individuals. Creative problem   solving   by   an   individual   can  generate   new   products   and   services   for businesses, which, in turn, create jobs for others. With creativity, people are able to solve problems effectively.


Creativity is clearly important not only at an individual level but also at societal, organisational, national and global levels in order for growth and development. At an  individual level, creativity   improves self-esteem, motivation and   the achievement of  a  person. Educational practitioners and    psychologists have observed the contributions of creativity in many areas for an individual such as life success, leadership in  the workplace, psychological functioning and intellectual and emotional growth.


The most creative individuals are often the best problem-solvers and innovators when   it  comes   to  everything   from  interpersonal   issues   to intellectual   or   artistic endeavours. Being able to come up with new ideas and solve everyday problems is important for people on a personal level. It plays a critically important role in learning and personal development, as well as in building self-esteem.

Societies    need    new    inventions,    original   scientific  findings    and   novel   social programmes to advance. Companies need to develop creative solutions strategies to solve problems, to create and sell new products as well as to adapt to changing environments and to succeed in the marketplace. Companies also need to expand their opportunity horizon and competence base.


Creativity is certainly important on a national and global level for social, cultural, educational,      technological     and    economic      progress    and    development.       The importance of creativity for both human progress and adaptation is one reason why     scholars    in  all  disciplines   continue     their  research    and   discussions     in understanding how creative thinking occurs and how it can be fostered. In this case,    many     researchers    have    noted    that   creativity   is  essential   to   human development, as well as mental and emotional health.

Creativity     can  become     a  predictor    of  outstanding     life  accomplishment       than conventional measures of intelligence or school examination grades. In business, the efficient commercialisation of creative ideas by teams of knowledge workers in the form of intellectual property has become the source of value creation. Human   resource   or   human   capital   and,   most   importantly,   its   creativity   is   the new   raw   material   for   businesses   in   the  21st   century.   A   successful   organisation thrives   on   its   diversity   of   ideas,   capabilities   and   perspectives   which   mean   that engaged,   motivated,   diverse   and   creative  talents   need   to   be   attracted,   retained and cultivated. In todayÊs world, the skills  and   qualities that we associate with creativity and ingenuity are required to help us work more effectively together.

ACTIVITY 1.2
1.     By using specific examples, discuss how creativity contributes to the following areas for an individual:

(a)     Life success;
(b)     Leadership in the workplace;
(c)     Psychological functioning;
(d)     Intellectual growth; and
(e)     Emotional growth.


2.     Identify the similarities and differences in the following quotations on the importance of creativity.


Edward De Bono        
Creativity    is  a  great   motivator    because    it  makes people interested in what they are doing. Creativity gives    hope   that  there   can   be  a  worthwhile     idea. Creativity     gives   the   possibility   of  some    sort   of achievement       to   everyone.     Creativity    makes     life  more fun and more interesting.


Sir Ken Robinso        Creativity is the process of developing ideas that are original    and    of  value. Creative   intelligence is  dynamic, diverse and distinct.

Steve Jobs             Creativity   is   just   connecting   things.   When   you   ask  creative  people  how  they  did  something,  they  feel  a little guilty because they did not really do it, they just
saw   something.   It   seemed  obvious   to   them  after a while. That  is  because    they   were   able  to  connect experiences they have had and synthesise new things.

A. P. J. Abdul Kalam
Creativity is the key to   success in the future, and primary education is where teachers can bring creativity in children at that level.

               
SELF-CHECK 1.1



 Indicate     whether     the   given    definition    of   the  concept     is  correct   or incorrect.


Concept                               Definition                          (?) or (X)

Convergent thinking - Selecting ideas based on their uniqueness.

Artistic  competence = Fundamental   feature   of   human   intelligence   in general.

Divergent thinking - Generation of alternatives and unique ideas in the thinking process.
Creativity - Generation of imaginative new ideas involving a radical innovation   or   solution to a problem, and a radical reformulation of problems.

Originality - Associated   with   a   novel   idea   or   a   trait   which involves    getting   away    from   the  obvious   and commonplace.

 Lateral thinking - Combination of  divergent and convergent thinking.

Motivation - Predictor   of  outstanding life  accomplishment than conventional measures of intelligence.

Analogical thinking - An essential element to human development, mental health and self-actualisation.



1.3         COMPONENTS OF CREATIVITY

Several     researchers     have    attempted     to better    understand the  components or sources      of   creativity    and     innovation     in    individuals.     There is,  however, disagreement   between   researchers   and   many   assumptions   remain   to   be   fully justified   and   substantiated.   The   challenge   lies   in   the   nature   and   definition   of creativity itself. Broad and multifaceted, creativity can take many forms and can be found within a variety of contexts.

Psychological research   on creativity has developed significantly since the 1950s and     much     of  the   research    has    focused    on   the   cognitive  processes behind creativity, the   characteristics   of   creative   people,   the  development   of   creativity and the social environments most conducive to creativity.

Amabile   (2005),   Head   of   the   Entrepreneurial   Management   Unit   at   the   Harvard Business      School,   stated   that   creativity   arises   through    the   convergence  of  the following three components, as shown in Figure 1.1.



Figure 1.1: Components of creativity



Figure     1.1  shows     that  the   three   components       of  creativity   are   knowledge      or
expertise, creativity skills or creative thinking and task motivation. Knowledge or expertise   refers   to   the   technical,   procedural   and   intellectual   knowledge   while creativity skills or creative thinking means approaching problems imaginatively and flexibly. Motivation is an internal process that makes a person move towards a   goal.   It  initiates,  guides and maintains  goal-oriented     behaviours. Intrinsic motivation  is  conducive  and essential to creativity. The creative person is intrinsically motivated and is moved by the work itself and not by some external recognition or reward.

Knowledge is all the relevant information that an individual brings to bear on a problem.   Some   researchers   explain   that  there   are   two   types   of   knowledge   that may be required for creativity. In-depth experience and long-term focus in one specific   area   allow   people   to   build   the  technical   expertise   that   can   serve   as   a foundation for creativity within a domain. Creativity also rests on the ability to combine previously disparate elements in new ways, which implies a need for a broader focus and varied interests.


Another key aspect of creativity skills is creative thinking. Creative thinking is a strong     ability   to  generate    novel    ideas    by   combining      previously     disparate elements.     This    synergistic    thinking    must    be   combined      with   analytical    and practical thinking.


Adams (2005) describes the skills of creative thinking as:
(a)    Comfort   in   disagreeing   with   others   and   trying   solutions   that   depart   from the status quo;
(b)    Combining knowledge from previously disparate fields;
(c)    Ability to persevere through difficult problems and dry spells; and
(d)    Ability    to   step   away     from    an   effort  and    return    later  with    a  fresh perspective.



The   central   component   of   creative   thinking   is   the   ability   to   combine   existing creativity.   "Motivational        attributes   such    as  curiosity,   intrinsic   interest    and perseverance   bordering   on   obsession   seem   to   set   individuals   who   change   the culture    apart   from    the  rest  of  humankind"        (Nakamura       &  Csikszentmihalyi, 2002).  People   will   be   most   creative   when   they   feel   motivated   primarily   by   the interest,   satisfaction,   and    challenge    of  the  work    itself    and   not   by  external pressures   [that   is,   extrinsic   motivation]‰   (Amabile,   1998).   Personal   motivation therefore refers to the appropriate levels of intrinsic motivation and passion for one's     work     combined      with    appropriate      synergistic     motivators     and    self-confidence.

The    components       of  creativity   are   sometimes      generalised    into   the  following ("Nurturing Community to Promote Effective Use of Technology", 2015):



(a)    Cognitive

       The   cognitive   aspects   of   creativity  include   basic   knowledge   (both   general

       and    field-specific),    perceptiveness,     originality,    attraction   to   complexity

       (such   as   combining,   analysing   and   applying   different,   disparate   ideas   or

       concepts) and open-mindedness (like resistance to closure and awareness of

       creativity).



(b)    Affective.

       Affective elements include curiosity, humour, independence  and   risk-taking.



(c)    Personal and Motivational

Your internal sense of self and ability to manage cutting-edge thinking are        important     components        of  creativity.   As    a  creative    person,    you    are        intrinsically    motivated     by   the  work     itself  and   not   by   some    external        recognition or reward. You are moved with a passion for your field.


(d)    Social or Environmental.
The social and environmental component can stimulate creativity through offering a sense of positive challenge in the work such as work teams that are   collaborative,   diversely   skilled   and   idea-focused.   Other elements are freedom in carrying out the work as well as supervisors who encourage the development of new ideas. Environment factors, therefore, refer to a non-threatening,     non-controlling climate conducive to  idea  combination and recombination.

The   best   profile   for   creativity   is   said   to   be   the   T-shaped   mind   (see   Figure   1.2), with a breadth of understanding across multiple disciplines and one or two areas of in-depth expertise.


T-shaped employeesÊ are described as people:


(a)    Who   are   so   inquisitive   about   the   world  that   they   are   willing   to   try   to   do  what others are doing.


(b)    Who have a principal skill that describes the vertical leg of the T  they are mechanical engineers or industrial designers.

(c)    Who are so empathetic that they can branch out into other skills, and they do as well.

(d)    Who   are   able   to   explore   insights   from   many   different   perspectives and recognise patterns of behaviour that point to a universal human need.



Figure 1.2: A T-Shape mind



ACTIVITY 1.3


Creativity is widely regarded as a vital component of economic growth. Official   statistics  published    in 2014    reveal   that  the  UKÊs    creative industries, which include the film, television and music industries, are worth    £71.4   billion  per  year  to  the  UK   economy.    During    1988,  the financial    contribution    generated    by  creative   industries    in  the  UK amounted       to  £6  billion.  By  1998   this  figure   grew   to  £60   billion. Employment in these industries grew 34 per cent over the same period against a background of almost no growth in the economy as a whole.

Using the information on the Internet, find out the current situation of the creative industries in Malaysia and compare its development with Singapore, Indonesia or Thailand.


1.4    MODELS OF CREATIVITY

Some experts dismiss the idea that creativity can be described as a sequence of steps in a model. For example, some people argue that creative thinking in the arts does not follow a   model. Gestalt philosophers, for example, assert that the process   of   creative   thinking   is   an   integrated   line   of   thought   that   does   not   lend itself to the segmentation implied by the steps of a model. But while such views are strongly held, they are in the minority.

In order to understand the creative process, we need to look into the models of creativity. In his book Creativity: The Magical Synthesis, the author, Arieti (1976) described      eight   models    of  the   creative  thinking     process    that  were    proposed during   the   period   before   1964.   Many   more   models   have   been   proposed   since then. Next, you will find four general models as described by Gerlovina (2011):

(a)    Psychodynamic Model

       Psychodynamic models of creativity are founded on the idea that creativity is   an   unconscious   process.   In   other  words,   creativity   involves   processes occurring of  which     the   individual    is   unaware.     For   a  long    time,   the unconscious  appeared     to  be   the   perfect   place   for   creativity   to  occur, especially because it helped to explain those moments when it seemed like a solution or creative idea sprung into the conscious mind out of nowhere.

(b)    Problem-solving Model

       The problem-solving models of  creativity are rooted in the dea that creativity involves finding novel solutions to problems. Problem solving in  general is an essential skill that involves iscovering, analysing and solving  problems. The ultimate goal of problem solving is to overcome obstacles and  to   solve   problems. Here creativity involves three main stages; considering the  problem, thinking of  possible  solutions and testing  or  evaluating those solutions to determine whether they are   useful  or  not. For many   of   us, the most  difficult   part   of   this   process   is coming   up   with possible solutions that  may be appropriate. Divergent thinking, which  again is non-rational free association thinking, will allow an individual to find a creative solution to the problem he or she is facing.

(c)    Psychometric Model

       The psychometric model of creativity is based on the idea that creativity is something   that   can   be   taught.   This   model   of   creativity   promotes   the   idea that   creativity   is  a   matter   of   divergent,  non-rational   and   free   association thinking which can be facilitated by brainstorming followed by convergent thinking   to   produce   creative   solutions   or   ideas.  Divergent   thinking   is a thought process used to generate creative ideas by exploring many possible solutions.     It  is   often   used    in   conjunction      with   convergent       thinking, which   is   a   process   that   follows   a   particular   set   of   logical   steps   to   arrive at   one    solution.    Examples      of  divergent     thinking     include    free   writing and brainstorming. Convergent thinking is a problem-solving technique in which      ideas   from    different   fields   or  participants     are   brought     together        (synthesised)   to   find   a   single,   well-established,   best   or   most   often   correct answer to a question.



(d)    Personality Model

       The   personality   model   places   more   emphasis   on   the   role   the   individual plays     throughout      the   creative    process.    Some     researchers     believe    that  differences   in   individual   brains   account   for   differences   in   an   individual's  ability   to   process   information.   They  assume   that   there   exists   a   universal "artistic   personality"   which   always   proves   to   be   creative   and   which   will

       support      the  idea   that   different   personalities     will  be   successful    in  their

       creative endeavours across different times and places.



The predominant models of creativity lean more towards the theory that novel

ideas emerge from the conscious effort to balance analysis and imagination.



1.5         TRAITS OF CREATIVE PEOPLE

According   to   Torrance   and   Safter   (1999),  creativity   models   with   a   high   level   of reative achievement  can   be   reached    only from those who    have    creative motivations,   for   example,creative   motivation   and   the skills   necessary   to   allow for creative abilities. People who have a high level of creative abilities and skills may   become   creative   achievers   if   their creative   motivations   can   be   enhanced. Also, people who have creative abilities and motivation can become achievers if they have the required creative skills.

Some of those creative abilities that Torrance and Safter (1999) identified to be the most important are:
(a)    Problem awareness;
(b)    Ability to produce and consider many alternatives;
(c)    Flexibility;
(d)    Originality;
(e)    Ability to highlight the essence;
(f)    Ability to elaborate;
(g)    Openness;
(h)    Being aware of emotions;
(i)    Ability to put ideas into context;
(j)    Combination and synthesis;
(k)    Ability to visualise richly and colourfully;
(l)    Ability to enjoy work and use fantasy;
(m)    Kinesthetic responsiveness;
(n)    Ability to look at things in different visual perspectives;
(o)    Internal visualisation;
(p)    Ability to break though and extend the boundaries; and
(q)    Ability to let humour flow and use it.

In   his   book  Fundamentals of Creative Thinking, Dacey (1985) provided a complete list of traits which characterise creative people. According to Dacey, not every highly creative individual will be seen to possess all of these listed traits. However, the more a person possesses or tries to achieve these characteristics, the more she or he improves her or his creativity.

The characteristics of creative people according to Dacey (1985) are as listed next:
(a)    Are more sensitive to the existence of problems;
(b)    Have a somewhat greater tendency toward emotional disturbance, but also have more self-control in dealing with this tendency;
c)    Are able to think both convergently, solving problems that have only one correct answer and divergently, solving problems that have many possible answers;
(d)    Demonstrate greater determination and perseverance;
(e)    Have   higher   than   average   intelligence   but   do   not   often   measure   in   the "geniu" range;
(f)    Are more open to experience and less defensive about accepting new information;
(g)    See themselves as responsible for most of what happens to them;
(h)    Enjoy     being    playful   and    childlike,   have    the  ability   to  "toy" with   the    environment;
(i)    Engage more frequently in solitary activities, especially as children;
(j)    Are more likely to question the status quo;
(k)    Are more independent of the judgment of others;
(l)    Are less afraid of their own impulses and hidden emotions;
(m)    Like to do their own planning, make their own decisions as well as need the least training and experience in self-guidance;

(n)    Do   not   like   to   work   with   others,   and   prefer   their   own   judgment   of   their work   to   the   judgment   of   others.   They   seldom   ask   other   students   or   their teachers for opinions;
(o)    Take a positive outlook when presented with complex and difficult tasks;

(p)    Have     the   most    ideas   when     a  chance   to   express    individual     opinion    is presented. These ideas frequently evoke the ridicule of others;

(q)    Are most likely to stand their ground in the face of criticism;

(r)    Are the most resourceful when unusual circumstances arise;

(s)    Are not necessarily the "best" students;

(t)    Show an imaginative use of many different words; and

(u)    Are   more   original.   Their   ideas   are   qualitatively   different   from   everyone else's.

According to Csikszentmihalyi (1996), creative individuals are remarkable in their ability to adapt to almost any situation and to make do with whatever is at hand to reach their goals. Their personalities are different from others in terms of complexity. They show tendencies of thought and action that in most people are segregated. They contain contradictory extremes; instead of being an "individual", each of them is a "multitude". Csikszentmihalyi listed the characteristics as follows:

(a)    Creative people have a great deal of physical energy, but they are also often quiet   and   at   rest. They work long hours, with great concentration, while projecting an aura of freshness and enthusiasm;

(b)    Creative   people   tend   to   be   smart   yet   naive   at   the   same   time.   How   smart they   actually   are   is   open   to   question   but   a   core   of   general   intelligence   is high among people who make important creative contributions;



(c)    Creative people combine playfulness and discipline, or responsibility and irresponsibility. This playfulness does not go very far without its antithesis, a quality of doggedness, endurance and perseverance;

(d)    Creative   people   alternate   between   imagination   and   fantasy   as   well   as   a rooted     sense    of  reality.  Great    art and     great   science   involve    a   leap  of imagination into a world that is different from the present;

(e)    Creative people tend to be both extroverted and introverted. In psychological research,   extroversion  and   introversion   are   considered   the most stable personality traits that differentiate people from each other and that can be reliably measured. Creative  individuals seem to exhibit   both traits simultaneously;

(f)    Creative people are humble and proud at the same time. Their respect for the area in which they work makes them aware of the long line of previous contributions to it, putting their own in perspective. At the same time, they know that in comparison with others, they have accomplished a great deal. This knowledge provides a sense of security, even pride;



(g)    Creative people, to an extent, escape rigid gender role stereotyping. When
       tests of masculinity or femininity are given to young people, over and over
       one   finds   that   creative   and   talented   girls   are   more   dominant   and   tough
       than   other   girls,   and   creative   boys  are   more   sensitive   and   less   aggressive
       than their male peers;

(h)    Creative people are both rebellious and conservative. It is impossible to be
       creative without having first internalised an area of culture. So it is difficult
       to   see   how   a   person   can   be   creative   without   being   both   traditional   and
       conservative and at the same time rebellious and iconoclastic;

(i)    Most creative people are very passionate about their work, yet they can be extremely   objective   about   it   as   well.   Without   the   passion,   we   soon   lose interest in a difficult task. Yet without being objective about it, our work is not very good and lacks credibility; and

(j)    Creative people's openness and sensitivity often expose them to suffering and pain, yet also to a great deal of enjoyment. Being alone at the forefront of a discipline also leaves you exposed and vulnerable.

Some researchers have conducted historiometric studies using a large sample size of successfully creative individuals. Historiometric studies quantify the otherwise qualitative characteristics of test cases, looking at their developmental, differential and social backgrounds, for example. This research supports the idea that individuals must develop in-depth  domain expertise to be creative. The esearch concludes that creative output is linked to the amount of time a person is actively engaged in a creative domain (Adams, 2005).


ACTIVITY 1.4

        1.     Torrance      and   Safter   (1999)    have  identified     some     of  the   most
               important   creative   abilities.   Explain   those   abilities   and   compare
               them     with   the   characteristics     of  creative   people     identified    by
               Dacey (1985).

        2.     Rank   in   order   each   of   the   following   characteristics   of   creativity
               from 1 to 7 (1= most important, 7= least important). Then:

              (a)    Compare your rank and your friendÊs rank.
              (b)    Explain the similarities or differences.
              (c)    Creativity tends to be subjective, and breaking it down into
                      categories     may    help   you    understand      why    people    do   not
                      always agree about the meaning of creativity. What is your
                      interpretation of creativity? Your Rank Your Friend's Rank


         Unusual or dramatic: Bizarre or out-of-the-box.

         Attention-getting: Get audiences to literally stop and take notice.

         Interesting: Can you succeed if you get the audienceÊs attention but they
         do not care to read on?

         Unique or original: Some people insist that creativity be original.
         After all, it is "creative".

         Attractive: Traits such as beauty or high-quality production standards.

         On-brand: Importance of staying loyal to a company or product
         brand.

         Understandable: Without understanding, everything else is
         wasted.

       3.     Fast Company (www.fastcompany.com) has released their yearly
              list   of  the 100    Most    Creative    People    in  Business.   The    list  is
              composed        of  successful    people    who     have    proved    to   create
              "massive value in the business world through their creativity and
              influence".    Study the latest list and:


              (a)    Identify the top five people in the list.

              (b)    Identify your own choice of five most creative people from the list.

             (c)    Identify some of their fields or areas of specialisation.

             (d)    Discuss some of the creative ideas, inspirations, lessons and tips worth sharing.



1.6         THE CREATIVE INDUSTRY

All   around   the   world,   the   creative   and   cultural   economy   is   talked   about   as   an
important and growing part of the global economy. The term refers to the socio-
economic       potential   of  activities   that  trade    with   creativity,   knowledge      and
information. Governments and creative sectors across the world are increasingly
recognising       its  importance      as  a   generator     of  jobs,   wealth     and   cultural
engagement.


At the heart of the creative economy are the cultural and creative industries that
lie at the crossroads of arts, culture, business and technology. What unifies these
activities    is  the  fact  that  they   all  trade   with   creative   assets   in  the  form    of
intellectual property (IP); the framework through which creativity translates into
economic value.


The term creative industries" encompasses an array of commercial and economic   activities   and   their   derivatives.   Since   creative   industries   may   include
such a wide range of activities, there has been much discussion on the appropriate reach of their boundaries.


There are currently five different approaches that address the classification and
organisation of the categories which make up the creative industries
(Hendrickson, Lugay, Caldentey, Mulder & Alvarez, 2012). These approaches are
based on five different creative industry models designed by the United Nations
Educational, Scientific and Cultural Organization (UNESCO), the United
Kingdom Department of Culture and Media Sport (UKDCMS), the symbolic
texts, concentric circles and the World Intellectual Property Organization
(WIPO).


The UNESCO approach regards the cultural industries as the main segment of
the creative industries. It defines cultural industries as those that   combine
creation, production and commercialisation of contents, which are intangible and
cultural in nature and are generally protected by copyright. It takes the form of a
good or service.These industries include the audio visual sector, printing   and
publishing, film, crafts and design and multimedia among others. The creative
industries are a broader set of activities that include cultural activities and others
that    are   based    on   artistic  and    creative    content,   such    as   advertising    and
architecture.


The UNESCO approach is a more comprehensive approach which is also similiar
to that of the United Nations Conference on Trade and Development (UNCTAD)
(2010).   In   the   UNCTAD   definition,   creative   industries   are   those   related   to   the
creation,   production   and   distribution   of  goods   and   services   that   use   creativity
and intellectual capital as main inputs.


The second approach is that of DCMS, which defines creative industries as those
which     have    their  origin   in  individual   creativity,    skill  and   talent.  It  has  the
potential for wealth and job creation through the generation and exploitation of
intellectual   property.   This   model   does   not   include   the   word   „cultural‰   in   the
definition of creative industries.


The third approach is the concentric model. This model focuses on the place of
creative  ideas    which     comprises      three  layers.    The    first  or   the   core    layer
encompasses   film,   museums,   performing   arts,   libraries,   literature,   visual   arts,
craft   and   contemporary   art.   The   second   layer   covers   newspapers,   publishing,
book   and   magazine,   heritage   services,       television   and   radio,   sound   recording,
video and computer games. The third layer comprises advertising, architectural
and   design   services   and   fashion.   The   concentric   model   considers   that   cultural
goods and services represent economic and cultural elements. This assertion can
be used to define cultural goods and services as a distinct commodity.



The first three approaches emphasise the intellectual property aspect of creative
industries,      creative     or    cultural    origin    of    goods     or    services    and     the
commercialisation   or   wealth   and   job   creation   in   the   creative   industries.   In   this
regard, they are related to the WIPO model. The fourth approach is the Symbolic
Texts.    This   is  based    on  industries    concerned      with   industrial   production      and
dissemination of symbolic texts.

The fifth approach is the WIPO copyright model (WIPO,  2003) which  defines creative   industries   from an intellectual property rights approach. WIPO places the focus on copyright which is a concept that can be defined and measured and which encompasses issues associated with that of creativity   such as a set of economic rights as well as the balance between individual and public interest.

Table 1.2 summarises the creativity industry approaches.



Table 1.2: Creativity Industry Approaches



  Approach                        Description

United Nations Educational, Scientific and Cultural  Organisation (UNESCO)

Those  that combine creation, production and commercialisation of contents, which are intangible   and cultural in nature and are generally protected by copyright.


  United Kingdom                  Those which have their origin in individual creativity, skill
  Department of Culture        and talent. It has the potential for wealth and job creation
  and Media Sport                 through     the   generation    and   exploitation   of  intellectual

  (UKDCMS)                        property.

  Concentric Model -
Focusing     on  the   place   of  origin   of  creative   ideas.  It comprises several layers.


  Symbolic Texts                
Based   on   industries   concerned   with   industrial   production and dissemination of symbolic texts.


World Intellectual Property Organisation (WIPO).
Focusing on copyright which is a set of economic rights, the balance between individual and public interest, a financial mechanism to reward creators and an economic concept.

The creative industries constitute a set of knowledge-based activities, focused on but not limited to arts, and it has the potential of generating revenues from trade as well as from intellectual property rights. Creative industries comprise tangible products   and   intangible   intellectual   or   artistic   services.   It   has   creative   content, economic      value   and   market    objectives.   They    range   from    traditional   arts  and crafts,   publishing,     music    and    visual   as   well   as  performing      arts   to  more technology-intensive   and   service-oriented   activities   such   as   film,   television   and radio broadcasting, new media and design.

Creative industries are  considered     at the   crossroads    of  artisan,   services   and industrial   sectors. It  is  now   seen   to  constitute   a   dynamic   new   sector   in   world trade.  UNCTAD calls  the  creative   economy     "an   evolving    concept    based   on creative assets" and that it can foster "income generation, job creation and export earnings" (UNCTAD, 2008).


Table    1.3  lists  the  industries considered  "creative" in  WIPO and UNCTAD models.


Table 1.3: WIPO and UNCTAD Models of Creative Industries

     WIPO Models                                     UNCTAD Models

  ? Core copyright industries                       ? Heritage and Traditional cultural
     Advertising                                       expressions
     Collecting societies                              Arts and crafts
     Film and video                                   Festivals and

     Music                                             Celebrations
     Performing arts
     Publishing                                     ? Cultural sites
     Software                                          Archaeological sites
     Television and radio                              Museums
     Visual and graphic arts                           Art Galleries
                                                       Libraries

  ? Interdependent copyright industries                Exhibitions
     Blank recording material
     Consumer electronics                           ? Visual arts
     Musical instruments                               Paintings
     Paper                                             Sculpture
     Photocopiers, photographic equipment              Photography
                                                       Antiques

  ? Partial copyright industries

     Architecture                                   ? Performing arts
                                                       Live music
                                                       Theatre
                                                       Dance

In the world economy, creative industries have become a new engine of growth
and   development.   This   dynamic   sector,   which   ranges   from   traditional   arts   to
multimedia,        has   been    an  important      driver    of  innovation     and    productivity
growth.

In the European Union, the UK has the largest creative sector. In terms of GDP it
has   been   the   largest   in   the   world   and   the   most   successful   exporter   of   cultural
goods   and   services   in   the   world,   ahead  of   even   the   US.   The   UK   government
has   taken   a   major   role   in   developing   the   creative   economy   agenda,   as   well   as
further      policy    strategies     and    interventions       (British    Council     website     at
www.creativeconomy.britishcouncil.org).

In   Malaysia,   much   focus   is   given   to   the  development   of   its   creative   industries.
With   innovation   being   the   key   national  agenda   to   transform   the   nation   into   a
high     income     economy,      the   creative   industry     has   been    identified    as  a  key
component instrumental to boost gross national income.

The data from the Malaysian Department of Statistics from 2000 to 2005 revealed
that    the  creative    industries    recorded    an   annual     growth    rate   of  11  per   cent,
surpassing       the  national    growth     rate  of  almost    seven    per   cent.  Employment
expansion   in   the   creative   industries   registered   a   growth   of   about   11   per   cent
which   exceeds   the   national   employment   growth   of   three   per   cent.   During   that
period, creative industries contributed almost six per cent of the gross domestic
product (GDP). This is about one per cent of national exports and seven per cent
of employment nationwide (www.bernama.com).

These figures demonstrate that creative industries are the drivers of the economy
and are more dynamic than many of the other sectors in Malaysia. Deputy Prime
Minister   Tan   Sri   Muhyiddin   Yassin   in   November   2013 said   that   the   creative
industry was on a strong footing when it garnered an income of RM7 billion in
2012 and this contributed an amount of RM1.9 billion to national GDP. He also
said that the government continued to emphasise the development of the creative
industry which was expected to generate RM16.1 billion in income by the end of
2013 (www.business.malaysia.my).


        ACTIVITY 1.5

        Indonesia   promotes   its   creativity   through   the   Presidential   Instruction
        No. 6/2009 and formed the Tourism and Creative Economy Ministry in
        2011. The country has enormous cultural potential that is spread across
        more     than   1,300  ethnicities.   In  2007,  the   Yokohama      meeting     picked
        Bandung       as  one   of  its  creative  city  pilot   projects   in  East  Asia.   In
        Indonesia, creative city pilot projects were also designed for Yogyakarta
        and   Surakarta.   Through   these   projects  the   ministry   helps   the   cities   to
        highlight and promote their creative economy potential.

        Using   the   Internet,   conduct   a   brief   research   on   at   least   two   creative
        cities in Southeast Asia. For each city, write not more than 1000-word
        report comprising the following points:
        (a)    Profile of the city; and
        (b)    Creative economy agenda.

The    Economic      Transformation       Programme       (ETP)   forecasts    that  the   creative
industry   will   bring   about   a   RM35.7   billion   incremental   increase   to   reach   RM58
billion   by   2020.   The   Malaysian   Communications   and   Multimedia   Commission
(MCMC/SKMM)             in  April   2014   approved     the   establishment      of  the  Creative
Industry   Development   Fund   (CIDF-MCMC)   with   the   budget   of   RM100   million
for the next three years.

The    fund    aims   "to  facilitate  and   encourage  Malaysians" in  the  involvement
of   the  creation,   production  and   distribution  of  highly creative, original   and
marketable  multimedia  content for domestic and international markets
(www.skmm.gov.my).

The specific objectives of the fund are to fulfil the following intents; to develop
Malaysia   as   a   major   global   centre   and   a   hub   for   multimedia   information   and
content services; to develop creative digital multimedia content as a new source
of growth for Malaysia in achieving the high income economy status; to populate
the   deployed     networks     with   quality,   value-based     and   meaningful      content   in
the   achievement      of  national    agenda;   to   assist  the  development       of  television
content     since  there   is  no   specific  body    responsible     for  the  development       of
television content; and in cognisance with the introduction of Digital Terrestrial
Television     Broadcasting      (DTTB)     and   the   increase   in  broadband      penetration
(www.skmm.gov.my).



ACTIVITY 1.6

1.     According     to  UNESCO,     the  UK    has  been   the  most   successful
              exporter of cultural goods and services in the world, ahead of the
              US. The UK government has taken a major role in developing the
              creative economy agenda as well as further policy strategies and
              interventions.    Find   out   more    detailed   information    from    the
              Internet to justify the claim.



       2.    The Malaysian Communications  and Multimedia Commission in April   2014   has   approved the establishment of  the Creative Industry Development Fund to facilitate and encourage Malaysians involvement in the creation, production and distribution  of  highly creative,   original  and  marketable multimedia content for domestic and international markets. From its website, find out more about the fund in terms of its category, application process and criteria. Also discuss how the fund will be able to achieve its  objectives. Ahead of  the US, the UK government has  taken a major role in  developing the creative economy agenda  as well   as  further  policy strategies and interventions. Find  out  more  detailed information from the Internet to justify the claim.

? Creativity can be described as the production of useful solutions to problems or new and interesting ideas, which create products and impact thinking. The goal of creative performance is to add knowledge and understanding as well as to give new perspectives and to solve problems.

? Creativity arises  through the convergence     of  three  components     namely knowledge or expertise, creative thinking and motivation. Expertise refers to technical,   procedural    and   intellectual knowledge      while   creative  thinking means   approaching   problems   imaginatively   and   flexibly.   Motivation   is   an internal process that initiates, guides and maintains goal-oriented behaviours.

? Various   models   of   the creative   thinking   process   have   been   proposed which
     include the Psychodynamic Model, the Personality Model, the Psychometric
     Model, the Problem Solving Model and the Constraints Model.

? A   high   level   of   creative   achievement  can   be   reached   from   those   who   have
     creative motivation and skills necessary to allow for creative abilities. People
    who     have    a  high  level   of  creative  ability   and   skill  may   become     creative
     achievers, if the creative motivations can be enhanced, and people who have
    creative    abilities  and   motivations     can  become     achievers    if  they  have   the
    required creative skills.

? All      around    the   world,   the  creative   and    cultural   economy      has  become     a
     growing part of the global economy. Governments and creative sectors across
     the world are increasingly recognising the importance of cultural industries
     as   a   generator   of   jobs,   wealth   and   cultural   engagement.   The   term   „creative
     industries‰ encompasses an array of commercial and economic activities and
     their derivatives.

 Creativity                                       Motivation
 Creative industries                         Originality
 Innovation                                      Problem solving


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Majikannya mencurigai memampuannya

Selama dua tahun di situ

Kerna asyik ditipu

Berangkatlah ia tidak jaun dari situ,

Batu Pahat barangkali tempat itu.

Perkara lama berulang kembali

Berangkat kembali ke Tambak Jawa

Tetapi hati tidak merestui

Berpindah lagi sehingga ke Assam Jawa

Kemahiran lain tiada

Berbakti kepada tanah

Bercucuk tanam dan berniaga

Sesuap nasi penyambung jiwa

Sampai juga ke Bukit Cherakah

Tumpahan keringat seusai usia.

Bermula dengan tiga dimensi

Kegemilanganmu tetap utuh abadi

Ibunda Mutiah bt Toimon b Rono Sengojo b Josiño b Singo Senggolo dan nenda Supiah bt Hj Nor b Munawi telah kembali ke rahmahtullah pada tahun 1967 dan 1992. 

Semoga semua kenangan TOISU sehingga ke hari ini akan terus bersinar di seluruh dunia. 

Dari nukilan rasa Nor Isna @ Isnu Hj Sururi