Creative industries policy is often demonstrative of the neoliberal turn in cultural policy or the economisation of cultural policy (Bakhshi & Cunningham 2016, O’Connor 2013, O’Connor 2012, Garnham 2005). One of the key critique has been the inattention within creative industries policy to the precarious, exploitative and inequitable conditions of cultural labour– and the role for policy solutions to address this (Morgan & Nelligan 2018, Hesmondhalgh et al. 2015, Lee HK 2010, Banks and Hesmondhalgh 2009). In recent years, exacerbated by the pandemic, there have been requests and exhortations, oftentimes to policymakers, (within Europe) to address these issues (Maples et al, 2022, Hesmondhalgh et al. 2021, Care Collective 2020). However, government policy is limited due to the dominance of market forces within the global cultural economy (De Beukelaer & Spence 2019, Haapland 2018, Singh 2016, 2010). This paper explores the limits of national cultural policy’s role, utilising Non-West perspectives through a comparison of music industry policies from South Korea and Jamaica (Spence 2020). The comparison suggests that the role for national cultural policy intersects with the country’s place within the international political economy, its proximity to platformisation developments and among others (Poell at al. 2021, Spence 2021, Haampland 2017, Singh 2010). In short, it is political beyond the nation-state. This paper therefore is a contribution to the growing literature on role of cultural policy within the creative industries and its intersection with power, while offering a distinct ex-centric comparative perspective (Serafini and Novosel 2021, Spence 2021, Gallope 2020, Sitas 2020, Lee & Lim 2014).


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