The creative employment in the context of structural transformations
Abstract: - The article is devoted to the study of creative employment in the context of digital technology
development. The study aims to identify the problems of creative employment and develop the prospects for
stimulating the growth of creative employment in the context of digitization. The study conducted a critical
literary analysis of the concept of creative employment and its components to achieve this purpose. The research
concluded that creative employment includes work in the cultural sector and the whole range of innovative
activities. The application of statistical analysis methods made it possible to estimate global creative employment,
dynamics, and structure today. IT and media are nowadays the core sectors in the formation of creative
employment, and they form the many job vacancies of the big companies. At the same time, creative employment
can be realized independently. The analysis results showed that the digital sphere of creativity is the most
promising today and in the future. Virtual reality, piece intelligence, and Blockchain are recognized as the future
technologies as essential components of the IT sector. The combination of e-commerce together with traditional
ones allows bringing the whole cultural creative potential to a new level, providing an increase in employment.
At the same time, an essential aspect of getting a job is the creative potential of an individual and digital
competencies. With this purpose, the suggestions on increasing employment levels by stimulating small
businesses and entrepreneurship in the creative industry are developed.
Key-Words: - creative potential, creative employment, digital technologies, e-commerce.
Received: April 25, 2022. Revised: March 9, 2023. Accepted: April 11, 2023. Published: June 1, 2023.
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
21
Volume 2, 2023
NATALIYA KUZNETSOVA
Department of Economic, Entrepreneurship and Marketing
Cherkasy State Business College
CHERKASY, UKRAINE
OLGA SOKOLOVA
Department of Economics of the Enterprise
University of the State Fiscal Service of Ukraine
IRPIN, KYIV REGION, UKRAINE
OLENA ALEINIKOVA
Kyiv National University of Technologies and Design
KYIV, UKRAINE
OLENA IVASHCHENKO
Department of Information Technology
Kyiv National University of Culture and Arts
KYIV, UKRAINE
VIKTORIIA PODHAIETSKA
Faculty of Event Management and Show Business Department of Event Management and Leisure
Industry
Kyiv National University of Culture and Arts
KYIV, UKRAINE
IHOR BAIDA
Faculty of Film and Television Department of Film and Television Arts
Kyiv National University of Culture and Arts
KYIV, UKRAINE
1 Introduction
The leading developer of modern business is
innovativeness. Thus, business success and its
survival in a competitive environment under market
uncertainty conditions directly depend on the full
realization of the creative potential of the workforce.
That is why business administrations are interested in
attracting and developing the skills and creative
potential of the team. For example, the IPA Databank
conducted research and found that efficiency
increased 12-fold over seven years when it
encouraged creative activities. There was also an
increase in net profit and sales (Yva.ai, 2021).
The correlation between creativity and increased
income is recognized by the owners of all large
successful businesses. They understand that no
modern production process is without innovation,
and innovation must be embodied in all stages of
production, from logistics to production technology.
That is why big business is interested in such
employees, who can bring new relevant ideas, to be
creative and critical to their business.
If we talk about creative employment in a general
context, it includes not only the application of
creative potential in large companies. Creative
potential can be realized independently by creating
your own micro business. A striking example of the
realization of creative potential can be many
companies that emerged in the '60s and '70s of the
last century in the United States. At the same time,
entrepreneurs do not have enough financial resources
to buy ready-made ideas, have several advantages for
the implementation of creativity, which includes:
-low initial investment,
-the ability to change priorities and improve the
product during the initial development,
-the ability to be more responsive to changing
market conditions,
-numerous state, municipal, as well as grant
programs to support small businesses.
It should be noted that the development of small
and microbusinesses today can be significantly
accelerated by integrating them with new methods of
commerce. If we talk about large companies,
digitalization, particularly digital sales technology,
allows an additional sales field and a global reach.
Small companies can start selling their products
without investing in a traditional service store.
Today e-commerce allows to significantly reduces
the start-up costs for the organization of
entrepreneurial activity. It also allows expanding the
coverage of the target audience, which helps the
creative industry to appear in the regional market and
reach the scale of large companies selling their
products and services to all corners of the world. The
potential of the creative industry in the context of
digital transformation is almost unlimited. Still,
several threats could negatively affect the dynamics
and structure of the global labor market.
The study aims to identify the main challenges for
the implementation of creative employment in the
context of digital transformation and to show the
prospects for stimulating the development of creative
jobs in digitalization.
2. Literature Review
Creative employment has been extensively
researched in both academia and business literature.
It is worth noting the study of Lee, K. et al. (2015),
who showed the essence of creative employment and
developed its classification scheme. These authors
determine the relevance of the study based on the fact
that creative work ensures the formation of new jobs
and creates the concept of the so-called creative
economy.
First of all, it should be noted that the term
"creative industries" has many variations of
interpretation and translation. There is a translation in
which "industry" appears as "branch of industry in
the literature. And such a variant has a right to exist
in this context as well. Furthermore, creative
industries have many other names, such as creative
economy, creative and cultural industries, orange
economy (Luzardo & Gasca, 2018), cultural
industries (industries related to the field of culture).
What these variations of names have in common,
however, is that they denote the same essence
regardless of their application.
The issue of creative industries s also regulated at
the legislative level by each country. At the same
time, each country has its perception of the concept.
For example, in Ukraine under the creative
industries, they mean types of economic activities,
the purpose of which is the creation of added value
and jobs through cultural (artistic) and creative
expression" (2010). Experts at UNESCO (2020) are
aware that creative industries' policies vary from
country to country. They note that the definitions of
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
22
Volume 2, 2023
creative or cultural industries, adopted at the national
level, largely depend on the needs and opportunities
dictated by the local policy assessment and
development initiatives. For its part, the United
Nations Conference on Trade and Development
(UNCTAD) believes that creative industries form
those activities that use intellectual capital. Such
organizations as the Economic Commission for Latin
America and the Caribbean (ECLAC), World
Intellectual Property Organization (WIPO),
Department of Culture, Media and Sports of the
United Kingdom (DCMS) also agree with this
opinion. So, by the example of Ukraine, we can
conclude that the amount of creative employment in
the country is underestimated. The situation is similar
in many countries, including developed ones. Thus,
in their study, Correa-Quezada R. et al. (2018)
confirm the importance of creative industries for
regional and economic development at the
macroeconomic level, with the notion that creative
industries only include creative activities, which is
based on the local regulatory framework. Lazeretti
L. et al. (2017) point to a significant increase in
interest in cultural and creative industries from a
research perspective in Italy. At the same time, given
that the creative business is related, there are close
intrinsic links between the different types of creative
employment. Accordingly, if there is no market
regulation of the creative industry, it will not
significantly impact the economy. The
underestimation of the creative industry in his study
is confirmed by Klark D. (2015). The researcher
concludes that given that the creative industries in the
UK and Europe are considered economically
significant, it is necessary to revise the current
methodologies for their identification and introduce a
more transparent procedure for calculating the results
of the integration of creative industries into industrial
ones. The problem of evaluating creative industries
as part of the industry is also highlighted by
Cunningham & Higgs (2009). In their study, the
authors point out the lack of clarity of definitions and
information, which significantly affects the analysis
of the creative industry. In their research, Cruz &
Teixeira (2014) engage in a review of existing
methodological approaches to measuring creative
employment in industrial composition. The study
found that the size of creative employment varies
significantly depending on which approach is used.
The reason is that there is no strict definition of what
is called creative employment and what industries
and occupations should be included in the study.
Two years earlier, Cruz & Teixeira (2012) provided
an overview and mapped the main accounting
methods for creative classes and industries by doing
an empirical study on companies in Portugal. The
study concluded that more than half of the creative
sector employees do not include industry statistics
because they work in non-core creative industries.
In general, the author's team of this study adheres
to the policy of broader use of the definition and
refers to creative professions as any innovative
activity in any field. However, a study by Lee K. et
al. (2015) also confirms that creative potential is
essential at the microeconomic level in forming
productive innovation potential. At the same time,
the indicators of innovative employment and the
value of intangible assets correlate with each other
(Scheffel &Thomas, 2011). That is, these authors
consider the creative industry in the context of the
production of innovative products.
The creative employment market is significantly
influenced by the dynamics and structure of the
creative industry. Based on Scheffel &Thomas
(2011), it can be concluded that the creative
industries are growing faster than other sectors of the
economy. At the same time, advertising and software
development were the fastest growing sectors in
2011. Therefore, ten years ago, there were a large
number of marketers in the global marketplace.
Today, the IT and media production industries are
considered the most promising in 2021 (Deloitte,
2021). Thus, the choice of future professions will be
considered with this factor. Given the total
automation of many production processes,
companies will value those employees who have
creativity, digital competencies, and teamwork skills.
Olivera & Vasconsellos (2021) made an interesting
study in this area; they analyzed the relationship
between self-perception of creativity, shyness, and
the ability to work. They found that shyness is
inversely related to self-perception of creative
potential, and creativity is not guaranteed to get a
well-paying job. However, the relationship between
employment, creativity, and shyness has not been
empirically proven.
Thus, the following conclusions can be drawn
from the reviewed literature in the context of creative
employment:
1.Creative industry is a debatable concept. It
includes a narrow and a broad meaning. The narrow
one implies that creative and cultural professions
form creative employment. The overall sense of a
creative job means any innovative, creative activity
in all industries.
2.A creative industry is shaped by creative
potential. But the creative potential is not a guarantee
of employment or creation of own business. Other
factors are crucial for employment, among which the
most relevant today are digital literacy and the
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
23
Volume 2, 2023
presence of leadership qualities that contribute to the
organization of activities.
The issue of manifestation of creative employment in
the context of digital technology application is the
object of research and its novelty.
3. Research Methodology
To investigate the issue of creative employment in
the context of digitalization, a critical analysis of
modern scientific research and normative documents
of international organizations UNCTAD, UNESCO,
ECLAC, WIPO, DCMS was conducted. In addition,
the study of legislative papers of different countries
showed different approaches to defining the essence
of the definition of creative employment.
The article contains statistical research on the
development and structure of creative employment.
A number of documents that have an evaluation and
statistical information on the global development of
creative industries in the context of employment were
analyzed to obtain data for the empirical study. This
statistical information is based on nine countries,
including Australia, France, Germany, Italy, Japan,
Korea, Spain, Turkey, and the UK. Trend analysis
showed a high coefficient of determination value at
0.99, which allows reliable forecasts for the
following periods to obtain indicators for the year
2020. Calculations are made using Microsoft Excel.
Using the methods of statistical averages, horizontal
and vertical analysis, the study resulted in the
indicators of the creative industry market volume in
the context of employment and its structure.
Furthermore, the correlation analysis showed quite
close correlations between the indicators of
innovativeness and digital competence of the active
population, which shows the importance of digital
skills in implementing creative potential. The work
also applies general scientific research methods,
which summarize information, highlighting research
problems, unresolved issues, and policy implications
of the current creative development.
For the presentation of scientific research, graphic
methods are used.
4. Research findings
Until the end of 2019, the creative economy had the
fastest growth rate in the world compared to other
industries. As a result, the global creative industry
employment market is estimated at 30 million people
in 2020. For example, the creative economy of
member countries of the Organization for Economic
Development (OECD) showed 100% growth
compared to the service sector. It was four times
faster than the manufacturing sector and created
additional jobs and opportunities for innovation
(Deloitte, 2021).
Today it is customary to evaluate the creative
economy not in monetary terms but in terms of the
number of employed people, since the monetary
expression, according to many scientists, is
complicated by the close relationship between
creative employment and production processes.
Thus, for example, Deloitte (2021) estimates that in
2018 the number of people employed in the creative
industry was 18 million; given the trends in this
sector and the high coefficient of determination at
R2=0.99, we can make a reasonable prediction that in
2020 the figure will be above 20 million employed
people. At the same time, this statistic considers the
countries where the creative industry is developing
the most dynamically (Fig. 1).
Fig.1. Dynamics of Creative Industries in
2011-2020
Source: author's calculations based on Deloitte,
2021
Let's consider the structure of the creative economy
of the year as presented in Deloitte (2021). We can
conclude that at least 5.2 million people in 2020 were
employed in the IT sector of the creative industry.
Table 2 - Structure of the creative industry by employment
Industry
Employment in creative economy,
people
Share, %
Crafts
106973
0,5
Architecture
555531
2,8
Museums
974730
5,0
Design
1054547
5,4
Advertising and Marketing
1376076
7,0
Publishing
1531933
7,8
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
24
Volume 2, 2023
Film, TV, radio
1548216
7,9
Music
2901111
14,9
Creative occupations
4500272
23,1
IT
4973185
25,5
TOTAL
19522574
100
Source: author's calculations based on Deloitte, 2021
At the same time, the IT sector provides for the
development of automation and remote operating
processes for many industrial processes, which
include: online sales of handicrafts, creation of online
museums, creation of digital designs, online
advertising, SMM, online publications on websites,
blogs, online movie halls, sales of online music,
online educational processes in the industry. Thus,
we can conclude that digital technologies make it
possible to bring almost all creative industry areas to
the digital level and ensure their development in
terms of digital sales and communications with
clients.
However, by early 2020, the situation had already
changed dramatically, as soon as the Coronavirus
epidemic turned into a worldwide pandemic and the
global quarantine crisis erupted. But as Nobel
laureate Paul Romer prophetically observed in 2004,
"A crisis is a terror not to be lost." Thus, the
pandemic was a catalyst for reforming systems of
governance, science, economics, consumer
preferences, and, of course, the creative industries,
which in many ways have remained functional thanks
to digitalization. (Madarshahi, 2021)
At the same time, the current situation with the
reduction of some niches due to the Covid-19
pandemic is not a long-term one. According to
experts, as soon as the pandemic is over, the creative
economy will regain its positions and continue to
grow after returning to pre-crisis volumes, mainly
due to creative employment in the IT, music, and
television industries. And in the future, the
connection of these three industries will only deepen
(Deloitte, 2021).
Fig.2. Employment prospects in creative
industries, million people,
Source: Deloitte, 2021
Professor Madarshahi, M. (2021) believes that
creative employment and the economy will develop
in three directions in the future.
1. Artificial intelligence and the internet of things.
The rapid development of artificial intelligence
technology, the Internet of Things, robotics,
biotechnology, nanotechnology, and quantum
computing will dramatically change food, goods, and
services. As a result, the position in the labor market
will shift even more toward professions related to
creative employment.
2. Virtual and Augmented Reality. According to
Madarshahi, M. (2021), the virtual reality market is
currently valued at $30 billion. Therefore, the market
for virtual reality is now estimated at $30 billion (Fig.
2).
Fig.3. New and promising digital creative
industries related to virtual reality
Source: Madarshahi, 2021
At the same time, the technology is mostly applied
in the gaming industry. However, the prospects of
these technologies are enormous, not only in the
gaming industry. According to some experts, virtual
reality can completely replace all computer
technology in the future and be integrated into all
business automation processes. It will be enough just
to put on virtual reality glasses to make the workplace
(VR Journal, 2017). Budding medical professionals
will not have to hone their skills on live people, as
their virtual actions will only lead to virtual
consequences (VR Journal, 2017). Virtual reality
will be necessary for education as well.
3. BlockChain. Distributed registry technology
distributes information between owners, storing it on
multiple computers of multiple independent users.
Thus, even if various computers fail, the data will not
be lost (Financial culture, 2020).
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
25
Volume 2, 2023
Blockchain is now used for identity management,
digital assets, tokenization, international payments,
copyright protection, smart contracts, the Internet of
Things (IoT), electronic voting, anonymous
messaging, DDoS attacks, etc. (DeCenter, 2018).
Thus, the future of the creative economy will be
based on three "whales": virtual reality, artificial
intelligence, blockchain. These technologies can
bring all types of creative and ordinary industries to
a new level, providing a rapid pace of development
and solving employment issues in various creative
industries.
Today, all of the technologies above require
significant investments, so they are most actively
used in large companies building their innovation
capabilities to compete. However, if we talk about
entrepreneurs and small businesses, digital
technologies also motivate their businesses. For
example, anyone who creates a product as a result of
their creativity has the opportunity to become self-
employed and even form their own sales team. E-
business provides quite serious tools for these
purposes.
-Online marketplaces for hand-makers. This is a
souvenir store but in a virtual space. The advantage
of this sales channel is that the portal is visited by
people who will look for something. Moreover,
creativity monetization is not tied to the location; a
product from Murmansk can be sold to a buyer from
Acapulco (Voinskaia, 2013). The most popular web
platforms in the world for placing the products of
craft makers are Etsy.com, ArtFire, DaWanda, Craft
Is Art, Zibbet, CafePress.com, ShopHandmade,
MadeitMyself, Rubylane.com, Coriandr.com, etc.
(Markova, 2020).
-Own website. It is possible to create an image
website, with a detailed description of the creative
path of the author, his best works, interviews, etc., as
well as (as an addition) with an interline offer of
products (Voinskaia, 2013). In this case,
entrepreneurs do not need to invest a lot of money in
the site's development. Today, there are many
platform constructors, which can organize the work
of such a site for a conditional amount. The most
popular website builders today are: Wix, Nethouse,
Ukit, Tilda, UMI, InSales, Site123, Mozello, Fo.ru,
LPmotor, uCoz, lp generator (VC, 2021)
-Social networks. The advantage is a vast
audience. The main thing in this business is the right
selection of the group and effective advertising, as
well as frequent updating of information and regular
publications (Voinskaia, 2013).
The prospects for the development of e-commerce
today are enormous. Over the past decade, the
market has been shifting from the Pacific to Asia.
While the U.S. e-commerce market was $343.1
billion in 2019, China's e-commerce market is valued
at $862.6 billion. In addition, by 2024, some experts
predict that China's e-commerce market will almost
double (Grodnoinvest, 2021). In this case, people can
realize their potential in different fields; in particular,
it can be the sale of handicraft goods, creativity,
creation of online museums and exhibitions, creating
applications and programs, writing online texts, etc.
But even though a person may be creative,
imaginative, and out-of-the-box in their thinking, this
is far from saying that they can bring their share of
innovation to the statistics of creative employment.
As Olivera & Vasconsellos (2021) have already
shown, it has not been proven that creativity is the
key to a career and obtaining high-paying jobs. But
digital competence is essential in the production of
innovation. By examining the Global
Competitiveness Report statistics by selected
countries (Schwab, 2019), we can see that there is a
correlation between the level of digital competence
of the population and innovativeness (Fig.4).
The correlation analysis shows a high correlation
(Pearson coefficient = 0.89) between digital
competence and innovativeness in the context of
individual countries.
Thus, assessing creative employment as an
innovative activity of the economically active
population, we can conclude that it directly depends
on the level of digital competence.
Fig. 4. Relationship between digital
competence and innovativeness
Source: compiled by the author based on Schwab,
K. (2019).
Having obtained these results of the study, the
following directions for solving the issue of
employment among the creative population in the
context of digitalization can be proposed. At the state
level, it is important to:
-develop programs to train the population in
digital competence;
-develop programs to train the population in e-
commerce;
-stimulate the opening of small businesses related
to innovation through subsidies, affordable lending
programs, and tax reductions;
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
26
Volume 2, 2023
-launch business incubators that will allow
talented people to realize their business ideas;
-simplify accounting and administrative work
associated with the launch of small businesses related
to innovation.
5. Discussion
To date, the question of the development of creative
employment in the context of digital transformation
is not today quite debatable. At the same time, most
studies conducted in this area can be divided into two
groups. The first group of researchers studies the
positive impact of digitalization on the development
of the creative industry. The second group, on the
contrary, shows the threats of digitalization and the
development of a new generation of workforce,
which will not be able to realize their creative
potential and, consequently, develop the creative
industry.
Let us consider the main points of discussion to
fully disclose the prospects and threats to the
development of creative employment in the context
of digital transformation.
Many scholars believe that digitalization and
creativity can become a single-engine of economic
progress in the world (Think creative, 2016). In their
study, Anantrasirichai & Bull (2021) reveal the
potential for the creative industry to evolve in
integration with advanced technology. By bringing
artificial intelligence technologies together with
creativity, humanity can gain a whole new kind of
interaction that can create content, analyze
information, improve workflows, improve
information, and compress data.
The digital shift has created new business models
in production, distribution, and consumption, a
symbiosis of high-quality content with technology.
The most successful example of the benefits of using
creativity and digital technology together is the
museum business (Think creative, 2016). Many
museums worldwide have managed to integrate into
the digital age, successfully adopting useful
technologies - from displays to interactive devices -
that help maximize the value of collections and the
visitor experience. The British Museum, for example,
has a digital learning center that introduces children
and teens to its collection. Augmented reality
technology, image recognition, and 3D printing can
be used. In the first five years, more than 50,000
visitors have gone through the training program.
The digital industry has become a growth driver
for the creative economy, steadily increasing annual
revenues. According to experts, this trend has
significant growth potential in the future. This is
supported by increasing the supply of mobile gadgets
year by year and their development and integration
with all spheres of life (Think creative, 2016).
Thanks to the new challenges, it is clear that it will
be possible to include professions that did not
previously belong to them in creative employment
soon. For example, a surgeon will need to be
proficient in information technology to perform
surgical interventions remotely. A teacher, in order to
conduct distance learning, will need to use Internet
technologies. An engineer can remotely print a
prototype or modify part on a 3D printer
(Madarshahi, 2021).
On the other hand, researchers show the problems
of digital transformation in the context of workforce
training. To date, it is believed that the problem of
most modern people is that the boundary between the
virtual and real-world is very blurred in them
(Shpitsberg, 2014). This problem is particularly acute
concerning the digitalization of children and
adolescents with fragile psyches. Some scholars
believe that excessive digitalization has a destructive
effect on the mental and physical health of the current
generation (Bagaeva & Myltasova, 2016). Over time,
favorite computer games, apps, and cartoons become
the basis of the future person's worldview.
Even though, under the influence of electronic
games, a child can learn to read, count, develop
memory, attention, logic, in many cases, their
individual creative development is stunted
(Tkhostov, 2005). According to the mark of many
parents, children avoid live communication with
peers, which does not allow them to develop essential
communication skills for employment. Teenagers
stop reading books, do not go to exhibitions, theaters,
or museums, preferring to watch movies, which is
detrimental to health and physical development.
Thus, the new generation will not be able to
physically be at work for a normalized time, which
also negatively affects the possibility of future
employment. That said, health is not the only
negative side of digitalization. In childhood and
adolescence, the formation of imaginative thinking
takes place. This is why it is essential to engage all
channels of perception. Unfortunately, electronic
devices do not actively engage tactile, tactile, and
olfactory perceptions. As a result, children undergo
one-sided development, in which sensory
information is entirely absent. This naturally deprives
the child of being creative since they cannot go
beyond the limits provided by the program options.
Consequently, improper use of information
technology can contribute to the deterioration of
children's health and physical condition. Moreover, if
we do not already practice restrictions on the
influence of digitalization on the young generation,
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
27
Volume 2, 2023
very soon, only a few will be able to engage in
creative activities.
6. Conclusions
Analysis of the literature, regulatory documents, and
provisions of international organizations allows us to
draw a number of conclusions:
-creative employment is a concept formed in
different states at their discretion;
-creative employment can have a narrow meaning
and express jobs in the cultural sector;
-in a broader sense, creative employment involves
the creation of intellectual capital;
-there is no unified normative methodology for
evaluating creative employment today;
-integration of digital technologies in all spheres
of activity allows to increase significantly the level of
development of economies and accordingly
employment;
-at the same time, there is a problem of excessive
digitalization of young people and adults, which can
negatively impact the formation of imaginative,
critical, and innovative thinking.
The results of the empirical study lead to several
conclusions:
-The creative industry employment market value
is 30 million people, with 20 million jobs forming
nine countries. The Asian market is currently the
most developed in the creative industry.
-The main components of the labor market in the
creative industries are IT (25%) and the media sector
(23%).
-Digital competencies are fundamental for the
realization of the country's innovation potential.
Recommendations for improving the level of
employment in the creative industry are related to
government programs for training in digital
competencies, including e-commerce, financial
incentives for the launch of innovative businesses,
the formation of a business environment to develop
creative and innovative entrepreneurship.
References:
[1] About culture: Law of Ukraine of 14.12.2010 No.
2778-VI. Date of update: 16.07.2020. URL:
https://zakon.rada.gov.ua/
[2] Anantrasirichai, N., Bull. D. (2021). Artificial
intelligence in the creative industries: a review.
Artificial Intelligence Review. URL:
https://link.springer.com/article/10.1007%2Fs10
462-021-10039-7. DOI:
https://doi.org/10.1007/s10462-021-10039-7
[3] Bagaeva, E., Myltasova, O. (2016). Internet in
the life of modern youth: problems and prospects.
Materials of the XIX International Conference
“Culture, Personality, Society in the Modern
World: Methodology, Experience of Empirical
Research”. Yekaterinburg, UrFU.
[4] Blockchain application, or what DLT use cases
are being implemented today (2018). DeCenter.
URL: https://decenter.org/ru/primenenie-
blokcheina
[5] Blockchain: what it is and how it is used in
finance (2020). Financial culture. URL:
https://fincult.info/article/blokcheyn-chto-eto-
takoe-i-kak-ego-ispolzuyut-v-finansakh/
[6] Clark, D. (2009). Crunching creativity: an
attempt to measure creative employment.
Creative Industries Journal, 2(3). pp. 217-230.
DOI: https://doi.org/10.1386/cij.2.3.217_1
[7] Correa-Quezada, R., García, J., Rama, D.,
Maldonado-Erazo, C. (2018). Role of Creative
Industries as a Regional Growth Factor.
Sustainability, 10(5). P. 1649. DOI:
https://doi.org/10.3390/su10051649
[8] Creativity: Why Develop Employee Creativity?
(2021). Yva.ai. URL:
https://www.yva.ai/ru/blog/motivaciya-
tvorcheskoi-aktivnosti
[9] Cruz, S., Teixeira, A. (2012). Methodological
approaches for measuring the creative
employment: a critical appraisal with an
application to Portugal. FEP Working Papers,
455. URL:
https://www.researchgate.net/publication/25444
2385_Methodological_approaches_for_measuri
ng_the_creative_employment_a_critical_apprais
al_with_an_application_to_Portugal
[10] Cruz, S., Teixeira, A. (2014). Assessing the
Magnitude of Creative Employment: A
Comprehensive Mapping and Estimation of
Existing Methodologies. European Planning
Studies, 22(10). pp. 2172-2209. DOI:
https://doi.org/10.1080/09654313.2013.822475
[11] Cunningham, S., Higgs, P. (2009). Measuring
creative employment: Implications for
innovation policy. Innovation: Organization &
Management, 11(2). pp.190-200. DOI:
https://doi.org/10.5172/impp.11.2.190
[12] Lazzeretti, L., Innocenti, N., Capone, F. (2017).
The impact of related variety on the creative
employment growth. The Annals of Regional
Science, 58(3). pp. 491–512 DOI:
https://doi.org/10.1007/s00168-016-0805-2
[13] Lee, K., Park, T., Chung, K. (2015). Classifying
and Analyzing the Creative Employment in
Korea. Korean Management Science Review,
32(4). pp. 237-254. DOI:
https://doi.org/10.7737/KMSR.2015.32.4.237
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
28
Volume 2, 2023
[14] Luzardo, A., Gasca, L. (2018). Launching an
Orange Future: Fifteen Questions for Getting to
Know the Creative Entrepreneurs of Latin
America and the Caribbean. Inter-American
Development Bank.
[15] Madarshahi, M. (2021). The role of digital
economy in advancing creative industries.
Creativity 2030 seminar. URL:
http://city.cri.cn/20210507/633e86e4-7cc0-
92c5-a18c-439c6dec1d4b.html
[16] Markova, O. (2020). Where can I sell handmade
works. Foreign sites. Freelance Today. URL:
https://freelance.today/birgi/gde-mozhno-
prodat-raboty-sdelannye-svoimi-rukami-
zarubezhnye-ploschadki.html
[17] Olivera, J., Vasconcellos, S. (2021). Creativity,
shyness and employability. Revista Alcance,
28(3). pp. 355-373. DOI:
https://doi.org/10.14210/alcance.v28n3(set/dez).
355-373
[18] Parrish, D. (2021). Creative Industries
definitions. David Parris.
URL:https://www.davidparrish.com/creative-
industries-definitions/
[19] Prospects for the development of virtual reality
(2021). VR Joutnal. URL: https://vr-j.ru/stati-i-
obzory/perspektivy-razvitiya-virtualnoj-
realnosti/
[20] Scheffel, E., Thomas, A. (2011). Employment
and intangible spending in the UK's creative
industries - A view from the micro data.
Economic & Labour Market Review, 5(1). pp.
79-104. DOI:
https://doi.org/10.1057/elmr.2011.8
[21] Schwab, K. (2019). The Global Competitiveness
Report 2019. WEF. URL:
https://www3.weforum.org/docs/WEF_TheGlob
alCompetitivenessReport2019.pdf
[22] Shpitsberg, A. (2014). The influence of
information technology on the activities of
modern society. Young scientist, 2. pp. 81-83.
[23] The creative industry and the role of printing in
the modern market for creative ideas. (2016).
Think creative. URL:
https://canon.a.bigcontent.io/v1/static/63689960
3128963291MK_think_guides_03_en
[24] The future of Creative Economy (2021).
Deloitte. URL:
https://www2.deloitte.com/content/dam/Deloitte
/uk/Documents/technology-media-
telecommunications/deloitte-uk-future-creative-
economy-report-final.pdf
[25] Tkhostov, A., Surnov, K. (2005). The influence
of modern technologies on personality
development and the formation of pathological
forms of adaptation: the reverse side of
socialization. Psychological journal, 6. pp.16-24
[26] Top 12 Website Builders - Ranked 2021 (2021).
VC. URL: https://vc.ru/u/724093-seo-b/217315-
top-12-konstruktorov-saytov-reyting-2021-goda
[27] Trends: Top 6 Global Internet Commerce
Trends (2021). Grodnoinvest. URL:
https://grodnoinvest.by/press-center/trendy-top-
6-tendencij-razvitiya-globalnoj-internet-
torgovli/
[28] Voinskaia, S. (2013). Handmade: customers and
points of sale. Encyclopedia of Marketing. URL:
https://www.marketing.spb.ru/lib-
special/branch/handmade.htm
[29] What do we Mean by the Cultural and Creative
Industries? (2020). UNESCO. URL:
https://en.unesco.org/creativity/sites/creativity/fi
les/digital-
library/What%20Do%20We%20Mean%20by%
20CCI.PDF.
Contribution of Individual Authors to the
Creation of a Scientific Article (Ghostwriting
Policy)
The authors equally contributed in the present
research, at all stages from the formulation of the
problem to the final findings and solution.
Sources of Funding for Research Presented in a
Scientific Article or Scientific Article Itself
No funding was received for conducting this study.
Conflicts of Interest
The authors have no conflicts of interest to declare
that are relevant to the content of this article.
Creative Commons Attribution License 4.0
(Attribution 4.0 International, CC BY 4.0)
This article is published under the terms of the
Creative Commons Attribution License 4.0
https://creativecommons.org/licenses/by/4.0/deed.en
_US
International Journal of Applied Sciences & Development
DOI: 10.37394/232029.2023.2.3
Nataliya Kuznetsova, Olga Sokolova,
Olena Aleinikova, Olena Ivashchenko,
Viktoriia Podhaietska, Ihor Baida
E-ISSN: 2945-0454
29
Volume 2, 2023