Momentum for Building Indonesia's Creative Economy Platform

Jakarta will host the World Conference on Creative Economy in 2026. This moment is important. However, what is more crucial is how we interpret it. Will this be merely a forum for discussion that concludes after three days, or will it serve as the starting point for forming a creative economy platform that delivers tangible impacts?

So far, many creative economy forums have stopped at the exchange of ideas. Yet, in global practice, the value of the creative economy is not determined by the abundance of ideas, but by the ability to distribute and monetise works. This is where Indonesia’s main challenge lies. We have talent, we have works, but we have not fully mastered distribution channels and value creation.

This role is currently played by global platforms such as Netflix, TikTok, and YouTube. They are not merely technology companies. They determine what content the world consumes, who is recognised as a global creator, and how economic value is shared. Without connection to these platforms, works will remain confined to limited scopes.

This is where WCCE 2026 should take a different role. The forum should not be positioned merely as a conference. WCCE needs to be directed as a platform that brings together government, business actors, investors, and global platforms within a framework that produces concrete decisions and partnerships. With this approach, the expected outcomes are not just joint statements, but also investment commitments, distribution collaborations, and ecosystem strengthening.

The platform approach also becomes key to attracting participation from the private sector and regional governments. For business actors, the main value does not lie in exposure, but in access to markets and collaboration opportunities.

For the DKI Jakarta Provincial Government, WCCE will be more relevant if it can drive city economic activities, increase visits, and strengthen Jakarta’s image as a creative and open city. In this way, Jakarta does not only serve as the event location, but as a host that gains direct benefits. Activation of urban spaces, strengthening of the services sector, and networking with other creative cities become part of the impacts that can be felt.

Indonesia has strong capital to go further. A large population, rapid digital economic growth, and cultural richness and creativity are advantages not possessed by many countries. However, without the right connectors, this potential will remain scattered and difficult to achieve global scale.

WCCE 2026 provides an opportunity to build such connectors in the form of a structured creative economy platform. If utilised properly, Indonesia can strengthen its position not only as a producer of works, but also as an important part of the global value chain. The choice faced is actually simple. Organising an event that runs well technically is not difficult.

What is more determining is whether the event can produce sustainable economic impacts and strategic positions. This is where the courage to shift the approach is important, from merely organising a forum to building a platform that gives new direction to Indonesia’s creative economy.