Abstract. We present the MCEI-Local Protocol, a replicable procedure for mapping creative economy initiatives on a municipal scale. We applied the protocol to three Regional Governance Instances in Minas Gerais, based on secondary data (municipal records) and primary data (brief survey and interviews), and proposed eight evaluation axes (local resources, identity and culture, governance, R&D, sustainability, among others). The pilot application reveals systematic gaps in most aspects, with a special emphasis on more formal and institutional aspects, such as intellectual property, partnerships with universities, and territorial branding, which represents an underutilized potential in artisanal and cultural assets. The on-screen protocol provides a comparable and cost-effective method for mapping CE on a local scale. By making anchor bottlenecks visible and connecting them to feasible actions, thus contributing to guide territorial development and management. Limitations include the availability and comprehensiveness of the data, reliance on self-reporting, and the formation of the database. Still, it is a valuable tool, given the scarcity of materials for mapping and structuring these initiatives.

Keywords: Protocol, Mapping of Creative Economy Initiatives (MIEC), Creative Economy

Citation: Pimentel, T. D., Oliveira, M. C. B. de, & Silva Oliveira, G. da. (2025). Elaboration of a Protocol for Mapping Creative Economy Initiatives (MCEI) in Tourist Territories in Minas Gerais (Brazil). Kreativnye industrii [Creative Industries R&D], 1(4), 38–48. doi: 10.7868/S3033671625040026.

Abstract. The Irapé Lake Tourist Circuit is located in the North of Minas Gerais and the Jequitinhonha Valley, encompassing sixteen cities. This study focuses on the cities of Grão Mogol and Botumirim, aiming to develop public policy proposals that support creative economy enterprises, including gastronomy, handicrafts, and tourism. Action research was chosen, in which researchers and the community collaborated in planning, action, and reflection to develop propositions that addressed everyday, practical problems. Thirty-seven entrepreneurs were interviewed using a semi-structured script, focusing on understanding the enterprises’ vulnerabilities and the strategies adopted to overcome them. Subsequently, creative economic entrepreneurs were gathered to conduct a cooperative inquiry, proposing specific public policies to meet local needs and build long-term, sustainable social and economic development. In the cooperative inquiry, five categories of public policies were proposed: training of entrepreneurs (social media management, project development, English, and courses in the areas of gastronomy and tourism); creation of a support center for culture and tourists; promotion of cooperation between entrepreneurs, city residents, and local public institutions; assisted credit; and creation of a local identity that recognizes entrepreneurs as agents of transformation and values culture. Additionally, the proposition of public policies conceived by local entrepreneurs, based on the vulnerabilities faced in daily life, makes these propositions assertive regarding their transformative capacity.

Keywords: public policies, creative economy, creative enterprises, Irapé circuit, North of Minas Gerais

Citation: Paula, P. P. de, Meira, K. C. O., Morais Lima, P., Knupp, M. E. C. G., & Dias, C. A. (2025). Public Policies Supporting Gastronomic, Handicraft, and Tourism Enterprises in the Irapé Circuit. Kreativnye industrii [Creative Industries R&D], 1(4), 50–67. doi: 10.7868/S3033671625040038.

Abstract. From December 31, 2024, to June 7, 2025, the Tikotin Museum of Japanese Art (Haifa, Israel) hosted an exhibition entitled “The Wave Effect: From Japanese Icons to a Global Scale.” Curator Dr. Etty Glass-Gissis focused on creating new connections between the Tikotin Museum of Japanese Art collection and works by local artists, forming an exhibition of 80 works by Israeli and Japanese artists. Inspired by Japanese artist Katsushika Hokusai’s famous work “The Great Wave,” the artists offer creative and diverse interpretations of this iconic piece. The Great Wave is part of the series Thirty-six Views of Mount Fuji (1833–1831), which has long been one of the most famous works of art in the world. Hokusai’s widely known engraving depicts powerful ocean waves near Mount Fuji, one of Japan’s defining symbols. The works presented at the exhibition are dedicated to the three main elements of The Great Wave – the wave, the boats, and Mount Fuji – and reflect the ideas and feelings of their creators. The many interpretations of Hokusai’s historic engraving connect the past with the present and create a collective work of art that conveys Hokusai’s message to different eras and cultures. Over time, Hokusai’s image of the wave has not only remained in engraving, but has also become a theme in fashion, film, advertising, and design. The Great Wave has become a global symbol of creativity and innovation. The exhibition in Haifa was a creative encounter between traditional Japanese artists and contemporary artists, illustrating how a single work of art can successfully transcend cultural boundaries and establish a connection between the past and the present.

Keywords: Tikotin Museum of Japanese Art, exhibition, curator, artist, Haifa, Japan, Israel

Citation: Kenigsberg, E. Y. (2025). Overcoming Cultural Boundaries: The Wave Effect – From Japanese Icons to a Global Scale Exhibition. Kreativnye industrii [Creative Industries R&D], 1(4), 68–80. doi: 10.7868/S303367162504004X (In Russ.).

Abstract. The article explores the biographical method and its place in cultural studies. It presents the opinions of several authors on this issue. The article raises the question of the feasibility of collecting information about the lives and works of artists who are currently not well-known, particularly painters. It suggests that the biographical method should be used to explore the creative connections, environment, and social activities of artists. The article focuses on the life and work of Mikhail Mikhailovich Shcheglov, a prominent Russian and Soviet graphic artist, illustrator, satirist, educator, and writer in the early and mid-20th century. The artist’s biography is divided into stages based on his place of residence. Constant relocations have influenced the style and subject matter of his work. The first period, known as the “Tomsk” period, was characterized by the artist’s exploration of the national characteristics of the local small northern peoples’ lives and art, and the application of this knowledge in his own artwork and applied crafts. During this time, Shcheglov also incorporated elements of Siberian culture into his work.

Keywords: M. M. Shcheglov, art, creativity, biography, artist, Siberia, Rybinsk, Simferopol

Citation: Platonova, N. A. (2025). Artist M. M. Shcheglov. A Biographical Overview. Kreativnye industrii [Creative Industries R&D], 1(4), 81–104. doi: 10.7868/S3033671625040051 (In Russ.).