By
Nasya Aiskha Safira
Africa-Press – Lesotho. In this 21st century, the field of creative economies or industries is gaining popularity in contributing to economic development and growth. It fosters not only economy but also multiple aspects such as social and cultural associations with technology, tourism objectives, and intellectual properties. There have been numerous understandings of the creative economy, which sometimes overlay one another. Thus, there is no fixed definition of it, which means the interpretation of creative economy is self-defined based on what we believe. Yet, the creative economy has a common characteristic of a wide range of scope that contributes to the development of economy, culture, and social aspects, and its movement flows towards achieving the sustainable development goals (Henderson et al., 2020).
The realization of the creative economy can be projected through inter-ministerial action and innovative multidisciplinary policy responses (Henderson et al., 2020). Creative industries are within the sphere of creative economies that function to create, produce, and distribute goods and services along with creativity and intellectual capital as the main process. The UNDP, UNCTAD, UNESCO, ITC, and WIPO are among the United Nations bodies and SA that work in this field. The UN defines the following as the creative economies: design, arts and crafts, advertising, publishing, fashion, architecture, film and photography, video, performing arts, music, computer games, software, research and development, TV and radio, and other electronic publishing.
The Organization for Security and Co-operation in Europe (OSCE) is an intergovernmental organization that focuses on security. It is known as the largest regional security organization in the world, covering 57 participating states across North America, Europe, and the partners from Asia and MENA. The OSCE has recently held its annual Alliance Conference, in which the International Institute IFIMES participated with its own panel (31st March to 1 April 2025).
On the invitation of IFIMES, Mdm. Edna dos Santos-Duisenberg was a keynote speaker. In the panel conceptualized and moderated by Prof. Anis H. Bajrektarevic, dos Santos elaborated on her previous works with the UNCTAD, where she served as the Creative Economy Programme Chief. Her intervention was centered on challenges of how the creative economies may help vulnerable populations from exploitation and trafficking. Dos Santos served 30 years at the United Nations in Geneva and was the founder of the Creative Economy Programme at the United Nations Conference on Trade and Development (UNCTAD) and its first chief. Her famous work is the consecutive UN Creative Economy Reports, where she was the concept originator and the main author.
The Creative Economy Reports contain the analysis on the role and definition of the creative economy. The UNCTAD concept of “creative economy” that was posited by dos Santos is that it has an expanding definition based on creative assets that are potentially initiating economic growth and development. It may potentially stimulate the increase of income, job creation, and export earnings while at the same time strengthening social inclusion, cultural diversity, and human development. Creative economy is enhanced through development dimension and cross-cutting linkages at macro and micro levels to the general economy. Furthermore, the creative industries are the soul of the creative economy that has a role to produce material goods and artistic or intellectual services with economic value, creative content, and market objectives (United Nations Conference for Trade and Development, 2008).
At the OSCE conference, dos Santos stated how the creative economy, through creative industries, contributes to protecting vulnerable populations, especially women, minors, and indigenous people in rural and relegated areas. The main discussion in her presentation is the power of the creative economy in promoting job opportunities, social inclusion, diversity, and sustainable alternatives to prevent exploitation of minorities and combat trafficking of exposed people. Dos Santos is the co-founder and vice president of the World Creativity Organization, a global community that empowers creatives to drive creativity, entrepreneurship, inclusion, and innovation by fostering collaborative actions and creative thinking, and also the Culture for Peace Board Chair.
Dos Santos then shares the reflections on a possible strategy to support vulnerable populations based on five elements. First, using creativity for empowerment and protection. She argues that the creative economy is not just an economic driver but should also be used as a platform for advocacy, awareness, and empowerment. Second, civil society and private sector collaboration. The private sector and civil society should collaborate in providing economic opportunities to prevent trafficking and uncontrolled migrations. By investing in local crafts, art, music, gaming, culinary arts, and digital content creation, they can help to create sustainable livelihoods and job opportunities that prevent minors and children from being attracted into trafficking networks. Third, success stories and ethical engagement. There are several success stories of ethical engagement, and many creative industries, including fashion and handcrafts, utilize materials and labor from vulnerable communities. Fourth, strategy and interventions. Through education, innovation, ethical engagement, and collaboration, we can design solutions that disrupt trafficking networks and empower communities. Lastly, commitment and action. We must commit and work on our creativity as a force for good. Mentorship, campaigns, and jobs should integrate to ensure that no one is left vulnerable to exploitation.
Dos Santos also adds that brands working with artisans in rural areas under fair trade practices provide safe work environments so that ethical production can prevent exploitation. Leaders from business, technology, and law enforcement must collaborate to promote strategic interventions and innovative solutions. For instance, with the rise of online exploitation, social media and game companies must integrate AI-driven monitoring and reporting tools to prevent child trafficking and abuse. Using AI and digital platforms, they can offer training in real-time interventions to support victims, in particular women and individuals at risk. Providing education, mentorship, and employment in the creative fields may help survivors rebuild their lives and avoid trafficking. There are inspiring examples of how creative industries combat trafficking. Those are done by interactive storytelling and games that educate minors about the risks of trafficking and empower them to make informative choices, film and music advocacy through documentaries, and awareness campaigns that can provoke policy changes and community action. As stakeholders in business technology and advocacy, we must harness the power of creative industries to combat trafficking and support vulnerable populations.
The creative economy, or industries that are prominent right now, is an occurrence that surrounds our lives. Those industries indeed had a major impact on promoting one’s country’s economic growth. Apparently, the creative economy can not only influence the economic scope but also intercept exploitation and trafficking of minors through diversity, social inclusion, and job opportunities. It is an interesting thing to look at how our hobbies and passions have the chance that could decrease the activity of trafficking and exploitation of humans, especially women, minors, and indigenous people. If these creative industries keep on going, we may completely eliminate illegal activities and actualize a more peaceful world. Let us, together, hand in hand, encourage the rise of the creative economy and promote its sustainability to create a better life for us all.
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