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Purpose – This paper aims to study the development of animated films in the last decade, which has made Indonesia a target market for products from creative industries abroad. These creative products consist of comics, animated films, and games. Several animated films abroad have been successful and favored by Indonesian children.

Design/Methodology/Approach – This paper is the result of a literature study and using SWOT analysis method.

Findings – This animation study will be able to open opportunities for creative industry growth if it can build the creativity of young people, especially in the field of animation. Considering that the competition of livelihoods in the economic sphere is increasingly tight and the manufacturing industry sector can no longer be relied upon, building creative human resources is one of the solutions of the economic crash of society.

Research limitation/Implication – There are five opportunities to build a creative economy in Indonesia that is demographic of youth potentially become a creative class, digital lifestyle development, increasing middle class, increasing demand of creative population, and potency of natural wealth and culture of Indonesia; hence this research need to be done. This study aims to formulate strategies to build creativity and independence of youth, especially in Padang West Sumatra.

Originality/Value – Building youth creativity can be done by providing free training, motivating youth by providing incentives for success in animation products; motivating to participate in race events, workshops, and seminars; and cooperating with private or government agencies. It will encourage independence and creativity to produce movies, commercials, and games.

The Globally Networked Organization (GNO) is an archetype of the geographically distributed, globally integrated, and organizationally networked information-age multinational enterprise. While its organizational form has been widely discussed, methods for providing strategic direction to all or part of a GNO have been largely overlooked. We propose the concept of strategic animation as an innovative leadership approach to strategic management in the GNO and offer a set of guiding principles for installing such a system in organizations. Strategic animation employs sophisticated incentives to motivate voluntary buy-in, utilizing principles of self-organization to replace the command and control of the unitary firm and the uncertainty and transactional costs of real markets. This makes possible virtual integration of the multiple highly separable businesses that comprise the value-added proposition of the firm and encourages the development of emergent processes for both exploitation and renewal of assets. From a scholarly perspective, this model suggests a new framework for studying the strategic direction of GNOs. For practice, it offers an organizational solution to conditions where process control is preferred, but command of resources is limited. Strategic animation, set in motion through multiple managerial actions, facilitates the timely and flexible responses to chaotic environments that are the sine qua non of today’s global businesses.

This chapter presents a brief overview of education in Brazil and discusses the potential of creating animations, which are an excellent way of storytelling, in learning situations. The work addresses the importance of creative and artistic pedagogies in education and teacher education. The importance of Freire’s philosophy is emphasized and the discussion adds to what is known about working in situations involving material and economic constraints.

This chapter provides insights into country-level case studies on the creative sub-sectors such as the Domestic Tourism Development Strategy in Nigeria and the Year of the Return initiative in Ghana – showcasing architectural feats and innovative cultural artefacts. This chapter also features Burkina Faso (film), Djibouti (Animation and sustainable tourism), Kenya (animation and Arts), Nigeria (photography, film), Ghana, Mozambique, South Africa, Zambia and Zimbabwe.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

This chapter explores the role that coercion plays in the educational process, looking at it both from the point of view of the teacher and from the perspective of the student/learner. The primary focus will be on coercion but inevitably manipulation and seduction enter the picture as well. I have observed that when learners get really motivated, or, as I prefer to call it, animated, they seem to learn more and certainly enjoy it more. What has come to be called experiential education has become very popular as a way of animating learners, which raises the question of whether this form of learning rests on fundamentally different assumptions than traditional teaching formats. This analysis and implications applies primarily to the learning of interpersonal, group, and interorganizational relationships and the “human side of enterprise,” that is, management and leadership. The need to explore the design of alternative experiential learning settings that animate learners and/or invent new modes of learning without the intense face-to-face contact – that animation seems to be depended on – is advocated.

This chapter presents a Dewey-inspired analysis of the role of dissent in the creative process. We extend and complement received knowledge on the role of positive affect on creativity by discussing the tensions between negative and positive affect. Using a netnography of three online communities, which bring together animators and visual special effect artists, we develop a grounded typology of creative conflict practices. By cross-referencing the creative status with creative objectives, we define four distinct types of creative conflict practices: invoke, evoke, poke, and provoke. Our qualitative findings further show how creatives adeptly manage tensions between positive and negative affects.