CCI: Many inventions, but little innovation

Riksteatern Crea's technical know-how offers many possibilities for the avatar to be projected anywhere on the stage, approaching from the side or appearing behind the actor's shoulder.

Innovation Without an Innovation System in CCIs

A sign-language-speaking ghost in the form of a hologram in a theatre production, and a circus tent that can be set up in record time. These are just a few examples of how those working in the cultural and creative industries (CCIs) are crafting groundbreaking solutions and compelling content by inventing entirely new things.

But why is it that so few of these innovative elements are further developed and incorporated into an innovation system?

When medical researchers make new discoveries or when new technological solutions are developed, an innovation system with working models, incubators, accelerators, and funding is ready to capitalise on these inventions, enabling scaling and commercialisation. But the same structure doesn’t exist within CCIs.

“In the creative sector, exciting new content is constantly being created not just on stage but also in areas such as lighting, special effects, digital solutions, and construction techniques,” says Katarina Scott, project developer at Future by Lund. “However, the sector often lacks structured innovation efforts where resources and models, such as funding and incubators, are used to turn good ideas into scalable innovations.”

Why Innovation by Production Matters

Today, there is little funding for innovation within the cultural sector, with most investments focused on production and operations. At the same time, creative productions inevitably lead to potential innovations, so from that perspective, there isn’t a lack of ideas.

“But to truly capitalise on what’s created, we need an entirely new structure,” says Katarina Scott.

This marks the beginning of a new approach called innovation by production – where innovations that emerge during creative productions are scaled as seriously as the content creation itself.

“At present, there is no structured system where funding is allocated to extract innovations from what was initially an invention within a production,” says Charlotte Lorentz Hjorth, who has extensive experience developing innovation support systems.

From Creative Production to Scalable Innovation

“If we actively viewed our creative productions as innovation labs, we could get much more out of them,” says Charlotte Lorentz Hjorth.

To innovate together across intersecting areas in a structured way, resources need to be consolidated. While many essential functions already exist  such as labs, specialised expertise, and tech companies the building blocks are not yet all in place.

If the industry were better at developing scalable inventions, filing patents, and building businesses around them, more money could flow back into the sector, and the ideas could benefit a broader audience.

Innovation Building Blocks for the Creative Sector

Within the ekip project, efforts are underway to define critical components for an innovation ecosystem for CCIs components referred to as innovation building blocks.

These include the necessary infrastructure, working models, expertise, and financing required to move from invention to innovation. Open innovation and partnership constellations are central elements in this framework.

“It’s important to be able to co-create solutions,” continues Katarina Scott. “This is where the creative sector can contribute both spectacular and radical new solutions.”

Open Innovation and Trust-Based Collaboration

Trust is a crucial foundation for open innovation. It enables collaboration and makes it possible to uncover opportunities and solutions in complex areas that are impossible to tackle alone.

“There are many examples within our networks where fantastic solutions could be scaled and utilised by more people,” says Charlotte Lorentz Hjorth.

One such example is Riksteatern Crea in Sweden, which produces performing arts in Swedish Sign Language. Together with Humlab at Lund University, they have created an interactive hologram capable of conveying nuanced finger movements and facial expressions critical elements in sign language.

The production The Canterville Ghost has now premiered, but the underlying technology represents an innovation ready to be developed further.

Case Examples: From Theatre to Circus Innovation

In the circus world, many solutions could also be scaled beyond performance contexts.

For example, a circus act that uses technology to transform drones into a bird or a dragon capable of interaction could inspire multiple business ideas beyond the show itself.

Innovation also emerges in operational practices. Cirkus Brazil Jack has developed a tent that can be erected and dismantled quickly, prioritising sustainability and mobility. They also use a mobile power generator to reduce environmental impact.

“Many could benefit from these solutions,” explains Katarina Scott, “whether for temporary business setups or in disaster areas.”

Aligning Cultural Production and Innovation Funding

Future by Lund is also testing a digital platform called Be Here Then, which tells the stories behind innovations from the Lund Innovation District. The goal is for this production to lead to new solutions in collaboration with the platform’s founder.

In recent years, the EU has significantly increased funding for innovation within the creative sector, with the ekip policy project serving as a flagship initiative to support the development of Europe’s innovation ecosystems for CCIs.

“Through innovation by production, we can enhance the way we work with innovation in CCIs,” concludes Katarina Scott.

By aligning cultural production funding with innovation financing, new synergies can be created enabling scaling, investment, and broader societal impact.

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