Latest news with #culturalinnovation
Zawya
09-07-2025
- Business
- Zawya
New Murabba and Hanam City explore global urban development cooperation
Riyadh, Saudi Arabia – As part of its global collaboration and learning strategy, New Murabba, PIF company, visited Hanam City in South Korea to explore synergies in sustainable city building and cultural innovation. Michael Dyke, CEO of New Murabba, met with Hanam Mayor, Lee Hyun-jae, and Ambassador at the World Travel & Tourism Council, Dho Young-shim, to discuss shared priorities between the New Murabba development in Riyadh – a flagship initiative under Saudi Arabia's Vision 2030 – and Hanam's globally positioned K-Star World project. The visit included a project briefing at the mayor's office, a tour of the Union Tower observation deck overlooking Misa Island – future site of K-Star World – and a walkthrough of Starfield Hanam, one of South Korea's premier mixed-use cultural and retail destinations. New Murabba is envisioned as a next-generation urban district where innovation, livability, and culture converge. Anchored by immersive architecture and human-centric planning, the development is redefining how global cities are designed, experienced, and sustained. K-Star World, currently in development by Hanam City, is a landmark cultural tourism complex. Spanning entertainment, hospitality, retail, and creative experiences, it aims to become a leading international destination that celebrates South Korean creativity while integrating smart-city infrastructure and public realm design. 'Hanam City has a compelling vision that blends local culture with global ambition,' said Michael Dyke, CEO of New Murabba. 'Our visit highlighted just how aligned our goals are – to build places where people thrive, where innovation is integrated, and where culture shapes the everyday experience.' During the visit, Michael Dyke expressed strong interest in Hanam's high-quality residential environment, livability, and the city's holistic approach to urban development – particularly its efforts to create integrated communities that enhance residents' well-being. This exchange reflects New Murabba's commitment to shaping the future of urban living through global partnerships, learning, and innovation – advancing a shared vision where life, work, and culture thrive in harmony.
Arab News
06-07-2025
- Entertainment
- Arab News
Arab youth and the promise of the creative economy
For decades, the Arab world's economic narrative was dominated by hydrocarbons, with oil and gas shaping everything from cultural vision to foreign relations. More recently, the promise of artificial intelligence and digital transformation has captured the imagination of policymakers. But there is a quieter revolution underway that could prove just as pivotal for the region's future: the rise of the creative economy, driven by the energy and imagination of the Arab youth. The creative economy — encompassing art, music, dance, photography, film and entertainment — has emerged as one of the fastest-growing sectors globally, generating annual revenues of $2.25 trillion and employing 30 million people, according to UNESCO. For a region where nearly two-thirds of the population is under the age of 30, the creative industries potentially offer not just jobs but a sense of purpose and identity. They can nurture talent, spur innovation and provide a promising path to economic diversification as the world accelerates its transition to a low-carbon future. At the heart of this potential transformation are the Arab world's young people — tech-savvy, globally connected and eager for change. They are not content to be mere consumers of culture, they want to be its creators and curators. The explosion of local music scenes in Egypt, Lebanon and the Gulf, the rise of Arab rappers and DJs blending traditional sounds with global genres, and the growing popularity of regional film and photography festivals all point to an emerging creative renaissance. Initiatives like the Arab Fund for Arts and Culture, which provides grants to musicians, producers and cultural organizations across the Arab world, demonstrate the appetite for creative expression and the potential for regional collaboration. Since its inception, the fund has supported a wide range of projects, from music and cinema to visual and performing arts, helping to break down barriers and amplify Arab voices on the global stage. However, realizing the full potential of this youth dividend requires more than just funding. It calls for a mindset that values creativity as much as technical skills and that sees culture as a driver of innovation and economic growth. Policymakers must prioritize arts education, protect intellectual property rights and create platforms for young talent to showcase their work. They must also address challenges ranging from weak infrastructure to limited access to funding that hold back the sector's growth. Some Arab countries have already begun to recognize the strategic importance of the creative sector. Nowhere is this more evident than in the Gulf states, whose governments have spent billions of dollars on developing cultural infrastructure in the form of museums, opera houses, exhibition spaces and music venues, hosting international festivals, and supporting homegrown artists. The Arab youth are not content to be mere consumers of culture, they want to be its creators and curators. Arnab Neil Sengupta Saudi Arabia has pulled out all the stops to position itself as a global entertainment hub, opening its doors to both international and local talent. The Kingdom's support for music, film and live events has created a vibrant cultural scene, attracting global players who are now investing in discovering and promoting Arab artists. This influx of capital and expertise is not only creating jobs but also elevating the region's cultural output to international standards. The UAE has committed more than 30 billion dirhams ($8.1 billion) to a decade-long strategy to boost its creative industries. The establishment of the Creative Media Authority is just one part of this vision, aiming to unify various creative sectors into a vibrant ecosystem and nurture emerging fields like gaming and e-sports. Meanwhile, Qatar has established itself as a regional leader in the creative economy, with its cultural and creative industries contributing 20 billion riyals ($5.4 billion) in 2021 — about 2 percent of its gross domestic product — and more than a third of university graduates specializing in creative fields. These three Gulf governments are using a mix of world-class infrastructure, robust policy support and targeted incentives to build an environment where young talent in art, music and entertainment can thrive and contribute substantially to economic growth. The Gulf region's approach offers valuable lessons for other Arab countries, many of which remain heavily reliant on hydrocarbons or are betting exclusively on AI and tech. While digital transformation is essential, it need not come at the expense of human creativity, a resource as renewable as it is underutilized. By investing in the creative economy, Middle Eastern and North African countries can diversify their revenue streams, promote social cohesion and project a positive image of the region to the world. For the Arab world, the benefits of a thriving creative economy go beyond dollars and jobs. In a region often defined by conflict and crisis, the arts offer a means of healing, dialogue and self-expression. They help societies process trauma, challenge stereotypes and contemplate alternative futures. For young Arab people, in particular, the creative industries provide a chance to tell their own stories on their own terms. To sum up, the time has come for Arab governments, businesses and communities to recognize the creative economy not as an afterthought but as a strategic asset. The Gulf states' investments offer a template for the rest of the Arab world, but the real engine of change will be the region's youth. If given the resources, trust and freedom to create, they could transform not just their own lives, but the future of the Arab world itself.
Times of Oman
27-05-2025
- Business
- Times of Oman
Workshop discusses role of cultural innovations in promoting sustainable development
Muscat: A national workshop titled "Mechanisms of registration to the International Fund for Cultural Diversity' was organised in Muscat on Tuesday to highlight challenges facing societies in achieving the Sustainable Development Goals (SDGs), as well as the role of cultural innovations in driving sustainable development. The workshop was held under the auspices of Habib Mohammed Al Riyami, Chairman of the Sultan Qaboos Higher Centre for Culture and Science. It aimed to enlighten participants about the UNESCO-affiliate 'International Fund for Cultural Diversity', review mechanisms for submitting requests for support from the Fund and develop strategies for managing financial resources for cultural activities. The workshop was organised by the Omani National Commission for Education, Culture and Science, the working team of the International Fund for Cultural Diversity and the "Arab League Educational, Cultural and Scientific Organisation (ALECSO)". The International Fund for Cultural Diversity aims to promote sustainable development, diminish poverty in developing countries and support cultural projects aimed to produce cultural products or activities or focus on cultural outputs like arts, cinema and media arts. The International Fund for Cultural Diversity was established to protect the 'forms of cultural expression' under the auspices of the United Nations Educational, Scientific and Cultural Organisation (UNESCO). Oman joined the Fund in 2007.
Associated Press
25-05-2025
- Business
- Associated Press
Richard Armande Mills Unveils RAM Collective: A Creative Agency Fusing Creativity, Strategy, And Cultural Impact
Richard Armande Mills launches RAM Collective, blending creativity, strategic branding, and cultural innovation to empower individuals and brands. United States, May 25, 2025 -- The Vision Behind RAM Collective: A Bold New Era in Creative Empowerment In a world where influence and authenticity hold unparalleled value, Richard Armande Mills is redefining what it means to build a brand, a career, and a narrative. As the visionary founder of RAM Collective, Mills has crafted a multifaceted creative agency designed to empower brands, bold individuals, and organizations. Born from a moment of radical self-trust, RAM Collective is more than just an agency—it's a cultural movement aimed at infusing strategy, creativity, and a deep understanding of modern cultural trends into every aspect of branding and storytelling. From Executive to Cultural Icon: The Reinvention of Richard Armande Mills Richard Armande Mills' journey to establish RAM Collective is one of reinvention and resilience. After years of leading initiatives and campaigns within mission-driven organizations and the political space, Mills took a bold step away from the high-profile world he had once thrived in. A pivot that could have seemed risky to some, but for Mills, it was a natural progression towards reclaiming his own narrative and voice. 'I realized I could either wait for someone to give me a platform—or build my own,' said Mills, reflecting on the early days of launching RAM Collective. In this new chapter, Mills combined his expertise in leadership, public speaking, and strategic consulting with his innate creative flair, positioning himself not just as a brand consultant, but as a cultural architect helping shape the future of creative expression. The Hybrid Approach of RAM Collective: A One-Stop Creative Powerhouse At the heart of RAM Collective is a unique hybrid model that seamlessly blends creative consulting, brand strategy, event production, and multimedia storytelling. This approach allows RAM Collective to cater to a wide range of clients, from individuals looking to carve out their personal brand to large organizations seeking a cultural and creative overhaul. Whether launching a brand, executing live events, or curating social media strategies, RAM Collective brings a holistic vision to every project. Mills' extensive experience as a creator, host, and influencer ensures that each campaign is not just executed but elevated—making it memorable, impactful, and true to the core values of the client. 'It's not just about pretty visuals. It's about creating a presence that shifts a room—online or in person,' Mills remarked, emphasizing the importance of authenticity in all creative endeavors. Rich Bitch Summer: Where Fashion Meets Empowerment One of RAM Collective's standout initiatives is the debut of the 'Rich Bitch Summer' collection—a limited-edition merch line that is more than just fashion. Combining fashion, satire, and empowerment, this capsule collection has quickly become a cultural statement, resonating with those who embrace boldness, confidence, and the power of self-expression. 'Rich Bitch Summer isn't just merch. It's a mindset,' Mills explained, underscoring the collection's alignment with RAM Collective's mission to empower individuals to live and brand themselves unapologetically. This merch line is just the beginning. As the agency's online store continues to grow, RAM Collective is laying the foundation for a future where every product tells a story and reinforces the brand's overarching narrative of empowerment. Music, Media, and More: The Multi-Hyphenate Legacy of RAM Collective As a rising music artist, Mills' debut single 'Bounce' has captured the attention of fans and critics alike, marking his entrance into the indie-pop scene. The follow-up track, 'Hey Boy,' is set to release on June 13, further cementing Mills as a multi-hyphenate force to be reckoned with. His music captures his signature mix of boldness, cheeky flirtation, and 'main character energy,' giving his audience an authentic glimpse into his creative journey. But music is just one part of the equation. RAM Collective is also making waves in visual content, with upcoming projects that promise to push the boundaries of what it means to connect and engage with an audience. Whether through music, fashion, or media, RAM Collective is steadily building a cultural presence that blends creativity with strategy to deliver results that resonate. Looking Ahead: What's Next for RAM Collective While RAM Collective is still in its early stages, its trajectory is clear: it's set to revolutionize the creative landscape. With a rapidly growing client base, ongoing collaborations, and a cultural ethos that resonates deeply with the next generation of thinkers, creators, and disruptors, RAM Collective is emerging as a cultural force to watch—one built on vision, empowerment, and creative integrity. 'Our mission is simple: to help people live boldly and build beautifully,' Mills shared. Whether through brand consulting, content creation, or event production, RAM Collective aims to be the agency of choice for those who dare to take risks and own their story. About RAM Collective RAM Collective, founded by Richard Armande Mills, is a creative agency designed to empower individuals and brands by fusing creativity, strategy, and cultural impact. Specializing in brand strategy, creative consulting, multimedia storytelling, and event production, RAM Collective helps clients build powerful brands that resonate with authenticity and purpose. Through a combination of bold creativity and high-level strategic insight, RAM Collective delivers unparalleled results, helping clients make their mark at the intersection of culture, creativity, and impact. Media Contact Richard Armande Mills Founder, RAM Collective [email protected] Social Media: Contact Info: Name: Richard Armande Mills Email: Send Email Organization: RAM Collective Website: Release ID: 89160881 In case of encountering any inaccuracies, problems, or queries arising from the content shared in this press release that necessitate action, or if you require assistance with a press release takedown, we urge you to notify us at [email protected] (it is important to note that this email is the authorized channel for such matters, sending multiple emails to multiple addresses does not necessarily help expedite your request). Our responsive team will be readily available to promptly address your concerns within 8 hours, resolving any identified issues diligently or guiding you through the necessary steps for removal. The provision of accurate and dependable information is our primary focus.
Telegraph
12-05-2025
- Entertainment
- Telegraph
Are we too obsessed with the Sixties?
J Hoberman's opening sentence in Everything is Now serves as his manifesto: 'Cultural innovation comes from the margins and is essentially collective.' This book, about the New York avant-garde between 1959 and 1971, proceeds from the idea that art is the product of the scene that incubates it, not the individual who creates it. Divided into sections titled 'Subcultures' and 'Countercultures', Everything is Now covers revolutions in jazz, the Beats, minimalist art and experimental film. Andy Warhol, Allen Ginsberg, Yayoi Kusama, Jonas Mekas, Bob Dylan and Amiri Baraka are among the cast, together responsible for what Hoberman, a veteran journalist and critic, calls 'the normalisation of cultural craziness that characterised the 1960s'. Everything is Now attempts to make sense of that craziness. Hoberman's handling of the material, based on interviews and archival research, is cleverly, strictly chronological, giving us a sense of the wider shifts being enacted through an accumulation of minute details. History takes place in the everyday: film screenings, late-night happenings, unlicensed concerts in venues 'so subterranean one expects Jean Valjean to be their waiter,' as it's put in one (negative) contemporary review that Hoberman quotes. He also persistently establishes the closeness of New York's artistic and political organisers in the 1960s, their shared hangouts, aspirations and troubles with the police. As such, Everything is Now often reads like a catalogue of events, meticulously documented and rapidly narrated. Hoberman's prose is taut, jittery, almost psychedelically compressed. Other writers might have lingered on individual artworks or tried to tell the story of '60s New York through lyrical essays on beloved artists. But Hoberman's voice is more of a sub-machine gun, riddling 400 pages with details of the scene and barely stopping to reload. There's a trade-off to this style. The reading experience can be dizzying, and his scene-setting awkward. 'Ten months after the Beatles played The Ed Sullivan Show and certainly by the time LBJ trounced Goldwater,' begins one sentence. A harsh critic would read the many footnotes as a lack of discipline: as a feat of research it's impressive, but Everything Is Now occasionally gives the impression of celebrating a scene without really explaining why. More importantly, it often risks losing sight of its subject's significance. Hoberman is more interested, at least here, in the connections between the principal actors of the '60s than he is in the works of art they produce. We get more than enough on the apartments John Cale lived in when he moved to New York, but little on what The Velvet Underground actually sounded like. Given the depth of Hoberman's knowledge and his clear love of the material, I found myself wishing he would stop for breath more often. When he lets himself, it's great: he can't help himself from digressing on Bringing It All Back Home (who can?) and its 'fusion of Buddy Holly and Arthur Rimbaud'. And I would have liked to read more about his own history with this stuff; a passage recounting a stay with director Alejandro Jodorowsky in Mexico is one of the most entertaining in the book. Obliquely, Everything is Now works best as a book about real estate and how it changed hands. The artistic 'scenes' Hoberman illustrates wouldn't have been possible without their DIY basement cafes, 30-dollar-a-month 'cold-water apartments' and artists' co-operatives in disused factories. From Robert Moses's urban 'renewal' projects to Hans Haacke's censored artwork Shapolsky et al (a collection of photographs documenting corporate slumlordism in Manhattan), one of the book's strongest undercurrents is the transformation of these spaces from artistic incubators to cash machines for developers. But ultimately, reading Everything is Now, it's hard not to ask: who is this for? Does this particular scene need any more canonising? You can buy Kusama mugs at the Tate; James Mangold recently directed the Bob Dylan biopic A Complete Unknown (previous credits: the Indiana Jones and X-Men franchises). Hoberman came of age during the 1960s, alive but too young to have really participated (he considers the book 'a memoir, although not mine'). The resulting image he creates is something part remembered, part invented, part exhumed. This is the status the decade has for all of us, really – mythic in the good and bad senses. But let's not give Dylan up to Hollywood just yet.
