In a world that is rapidly changing, driven by factors such as digitalisation and creative innovation, a breakfast meeting in Tokyo on March 26 may well mark a new beginning for a paradigm of economic development. As Nobel Laureate Professor Muhammad Yunus has so rightly said, “Business should not just be about making money. It should be about solving problems.” At the core of this breakfast meeting was a vision shared by Yunus, a pioneer of the concept of social business that has already revolutionised the global debate on poverty alleviation and economic development. What was, however, unique this time was a vision for a new frontier in terms of integrating creativity, technology, and social business.
What was shared at this breakfast meeting was not merely a pleasant exchange of views, but a vision held by two individuals who may well be marking a new beginning in a visionary partnership that brings together Japan’s powerful creative industry and Bangladesh’s vast pool of youth.
Creativity, social business, and a new frontier
Key to this vision has been the team led by Hiroshi Osaki, a long-time associate of Professor Yunus and the previous Chairman of Yoshimoto Kogyo Holdings, one of the most powerful entertainment conglomerates in Japan. Osaki’s continued association with the Yunus-Yoshimoto Social Action project points to a unique vision of integrating creativity and social purpose, especially in spreading happiness and well-being through Japanese comedy.
In his company was a group of distinguished innovators whose achievements span the breadth of Japan’s creative economy. Naoya Shiraishi presented valuable ideas from the cutting-edge world of digital education as the Secretary General of a pioneering online high school, and Yoshiaki Nakamichi presented ideas on modern manga culture as a leading figure at WICK, a major online platform in the field. The group was further complemented by the presence of Oji Hiroi, a legendary figure in game design, and Masahiro Nakayama, whose artistic work has become synonymous with anime’s global popularity.
The group of innovators was a unique synergy of art, technology, and innovation that characterised Japan’s creative economy. Their meeting with Professor Yunus reflected a common understanding that creativity, combined with a social purpose, could be a powerful tool for development.
Social business in the creative economy
Underlying the discussion was a highly insightful and forward-thinking question: how could the ideas of social business be effectively integrated into the creative economy to create new opportunities for young people? This question opened the door to a highly imaginative discussion that reimagined the world of the creative economy.
The participants considered how social business models could be integrated into animation studios, gaming environments, and digital education platforms that focus not on making money but on solving the most critical social problems. In this regard, creativity was not seen as an idea for business, but rather as an idea for empowerment. In this context, training programmes would provide young individuals with the skills needed to succeed in industry, whereas cross-border collaborations would allow them to participate in global creative environments. Digital education platforms could democratise knowledge, allowing talent to shine despite geographical barriers.
Such an approach is a paradigm shift in terms of thinking. This is because it does not look only at creativity in economic terms; rather, it is a social bridge that can help address inequalities and create opportunities for innovation and dignified living.
One aspect of the conversation that sparked immense interest in me was Bangladesh’s demographic advantage. This is because the country has a young population that is increasingly tech-savvy. Moreover, the delegation strongly believes that with proper investment in this arena, Bangladesh could potentially become a major contributor to the global animation and gaming industry.
The acknowledgment of this potential was also accompanied by genuine enthusiasm to create opportunities for young Bangladeshi talent, both male and female, to enter and succeed in the global creative industry. This is because the conversation also acknowledged that talent is not bound by geographical limitations. Rather, it is bound by resource availability. Therefore, with appropriate initiatives in this regard, young Bangladeshi talent could potentially become part of a growing industry.
The presence of prominent individuals in Bangladesh’s social business sector was a significant factor that gave depth to the dialogue. Md. Ashraful Hassan, a prominent figure in Grameen Telecom Trust as its Managing Director and CEO, has considerable experience in executing socially driven initiatives. Similarly, Lamiya Morshed, a representative from Yunus Centre, provided valuable insights regarding the global advancement of ideas related to social business. Another representative, Shazeeb M. Khairul Islam, provided a perspective regarding how startups can drive innovation. These individuals show that this is a well-supported initiative and a movement. This is a broader movement focused on integrating social business concepts across a range of industries, including the ever-evolving creative sector. This is a significant factor indicating a high degree of success for this initiative, well-aligned with vision and execution.
A new horizon: Where imagination meets inclusion
The Tokyo meeting is a reminder that the future of development is all about adopting new paradigms. For a long time, conventional economic approaches have concentrated on industries like manufacturing and agriculture, yet they have not considered the prospect of a new paradigm that encompasses a creative industry. However, in the digital age, it is apparent that creativity, across animation, gaming, storytelling, and design, has emerged as a significant driver of global economic development.
This is a significant initiative that has created a bridge between Japan’s creative prowess and Bangladesh’s youthfulness. This is a possible framework for inclusive innovation that can eventually create a world in which a young animator from Bangladesh has a chance to contribute to a global community, in which the digital classroom is a global classroom, and in which creativity is the driver of economic empowerment. This is not a partnership; this is a redefinition of what development could look like in the 21st century, one which is based on the potential of the human spirit and the expression of creativity.
The promise of creative social business
In relation to issues of inequality, unemployment, and rapid technological change, it is worth reiterating the importance of such initiatives. They offer a vision of hope, a vision that is forward-looking, a vision that brings together innovation and inclusion, economic growth, and purpose.
The relevance of Professor Yunus’s philosophy was reaffirmed in Tokyo, a reminder that business, in the right context, can rise above conventional barriers and bring about change.
To quote Alvin Toffler, a world-renowned futurist: “The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn.”
In Tokyo, a new chapter has begun. One that calls for a new generation of people to learn, to learn how to unlearn, and to learn how to relearn.
(The views expressed in this article are solely those of the author)
The writer is a Professor and former Chair, Department of Journalism and Mass Communications, Savanah State University, USA. E-mail: [email protected]
