In the 21st century, cities are not only developing on a physical scale, but also in the seriousness of the challenges faced, from people moving to cities very rapidly to dynamic social and economic changes (Anwar, 2017) . The creative economy is a new model or pattern in development that is oriented towards innovation and creativity in cultural values as a resource in providing added value. According to (Howkins, 2013) The creative economy is an economy that comes from ideas, imagination, and individual creativity to produce works that provide economic, cultural and social value. In line with these dynamics and phenomena, Cirebon City has great potential to be developed as one of the creative economies in Indonesia.

In the urban context, this plays an important role in shaping the city's identity and increasing the competitiveness of the region through a city branding strategy (Kavaratzis, 2015) . City branding itself is a strategic process in building an authentic and attractive city image, based on local identity, cultural values, and rich historical heritage (Vuignier, 2017) . The different conditions in each region make their readiness to face competition in the era of globalization cannot be equated. In the midst of the swift flow of economic globalization, each region needs to have an active promotion strategy in order to attract the attention of investors, business people, tourists, and provide better services for its people (Lestari, 2016) .

Alan C Middleton in (Lestari, 2016) A city with a strong identity and recognized by the world will more easily open doors of opportunity. The design and provision of infrastructure in the space needs to be adjusted to the identity of the city to create a sense of ownership and improve the function of infrastructure (Gumelar, 2020) . Investments come more smoothly, tourists are attracted to visit, and trust from various parties including investors, international institutions, and educational institutions is growing. Cirebon is known as a cultural city with typical Sundanese, Javanese, Chinese, Arabic, and European acculturation (Dienaputra et al., 2021) . This diversity provides the potential for creative products such as batik, traditional culinary, and various crafts. However, according to (BPS, 2022) the contribution of the creative economy is relatively small compared to other sectors.

This is why city branding is not just about image, but about how a city builds relationships, attracts attention, and shows its potential. In this case, city branding and creative economy are two things that are related to being rooted in the city's identity in the form of cultural values, history, and characteristics (Caputo et al., 2019) . This study aims to identify the potential of the creative economy used as the basis for the formation of city branding of Cirebon City with orientation based on local cultural values.

Overall, it illustrates that Cirebon City has a cultural node with a wealth of traditions, arts and culinary, but has not been matched by optimal utilization by several sectors. In addition, the city branding strategy by raising the potential of the local creative economy has not been integrated, so that it can result in a shift in culture and local wisdom in the midst of modernization.

(Howkins, 2013) The concept of the creative economy arises from the need to see ideas and human creativity as a major resource in economic growth. This theory also states that the core of the creative economy lies in how humans process ideas and imagination into something of value, both economically and culturally. Unlike the traditional economic approach that relies on capital and natural resources, the creative economy places creativity as the main force. In this way, works of art, design, music, and digital media become part of the economic system that develops in the modern era. This concept provides space for individuals and communities to contribute to development through their capacity to think and innovate.

(Vuignier, 2017) City branding is a strategic process in building a strong and distinctive image and identity of the city. Furthermore, (Vuignier, 2017) emphasizes the importance of citizen involvement in shaping the city's narrative so that the branding that is built is not artificial, but authentic and rooted in people's daily lives.

(Caputo et al., 2019) Creative economy and City Branding support each other. Local creative products that are born from the culture of the community become a reflection of the city's unique identity. This theory states that effective city branding is often rooted in the strength of local culture and the innovation of its citizens. In this context, the creative economy not only strengthens the economic sector, but also enriches the city's narrative in building a competitive image.

(Larasati & Nazaruddin, 2016) A number of studies support the close relationship between the creative economy and city branding. This research shows that the involvement of local communities in creative activities has an impact on the formation of a stronger city image.

Based on the background and literature review discussed earlier, this research requires a framework to clarify the relationship between the potential of the creative economy and city branding efforts in Cirebon City. This framework is designed to conceptually describe the direction of the analysis conducted in this study.

This research employed qualitative methods, as they were deemed highly relevant for exploring and in-depth understanding the growing creative economic potential in Cirebon City and its relationship to city branding efforts. The focus of this method was to build an understanding of social realities and the meanings they convey.

Data were collected using purposive sampling techniques involving four key informants selected based on their involvement in the creative economy sector and branding efforts, including government agencies, creative entrepreneurs, arts community managers, and the private sector. In-depth interviews were used to explore the data collection process. The data collection process was also supplemented by field observations and visual documentation. The power analysis was conducted using content analysis and stakeholder analysis approaches to identify patterns, themes, and relationships between actors within the Cirebon City ecosystem. This approach helps formulate a comprehensive picture of the creative economy's contribution to building a city

brand based on local culture.

This study successfully identified stakeholders who played a role in supporting the development of creative economy programs as part of the city branding strategy of Cirebon City. Cirebon City has great potential in the creative economy sector which has a close relationship with local culture in people's lives. such as Bapelitbangda has a role as a drafter of RPJMD documents, the Department of culture and tourism through empowering studios and comparative studies, and DKUKMPP Cirebon City which has a role as providing infrastructure and education that supports branding and marketing efforts. Traditional culinary cultural products such as nasi jamblang managed by WCM, performing arts studio sekar pandan managed by EHK, craft art with mask products managed by TTN and synthetic wicker managed by IT, and BC private sector that raises culture that forms a characteristic that not only has historical value, but also economic potential that can be optimized.

Figure 2. Cirebon mask dance creative sector

The observations conducted in this study revealed that the local government of Cirebon has demonstrated a notable commitment to the advancement of the creative economy through a range of programmatic initiatives. Among these, the implementation of micro-business training during the Bangga Buatan Cirebon (Proudly Made in Cirebon) event stands out as a strategic effort to increase the entrepreneurial capacity of local actors. This initiative has contributed to strengthening product innovation and improving

the competitiveness of micro-enterprises, particularly in the creative sector. Additionally, the UMKM Mall program, coordinated by the Office of Cooperatives, Small and Medium Enterprises, Trade, and Industry (DKUKMPP), serves as a dedicated platform for the display and promotion of local products. By providing accessible marketplaces, this program helps bridge the gap between local producers and broader consumer segments, thus fostering increased visibility and market integration of Cirebon’s creative outputs.

The role of the Department of Culture and Tourism (Disbudpar) in organizing cultural events has also played a critical part in reinforcing cultural identity and encouraging creative expression. These events not only serve as stages for traditional and contemporary artistic performances but also function as spaces for community engagement and cultural preservation. Moreover, private sector participation has further enriched the creative ecosystem, particularly through initiatives such as the Amphitheater program, which offers a venue for cultural artists to showcase their work to the public. This collaboration between government, private entities, and creative communities illustrates a multi-stakeholder approach to creative development, highlighting the synergy necessary for sustainable cultural and economic growth. The spirit of local business actors in continuously innovating their products reflects a dynamic and resilient creative sector that benefits from structural support and collaborative engagement.

The findings of this study underscore the intrinsic connection between the creative economy and the cultural identity of Cirebon City. The manifestation of cultural heritage in local products such as traditional culinary arts, mask dance performances, and artisanal handicrafts demonstrates the embeddedness of cultural values within economic practices. These expressions not only serve as commodities but also as carriers of identity, offering a strategic foundation for the city’s branding efforts. This is in alignment with the conceptual framework proposed by Howkins (2013), who argued that the creative economy thrives on the interplay of ideas, imagination, and cultural values, highlighting how cities with strong cultural assets can utilize them as branding tools (Howkins, 2013, p. 88).

Nevertheless, despite the richness of local culture, creative economy actors in Cirebon face notable barriers in accessing contemporary marketing strategies and digital promotional tools. This situation limits their ability to amplify their narratives and engage broader audiences beyond regional boundaries. As Caputo

et al. (2019) assert, city branding must not rely solely on cultural resources; it also requires strategic marketing, digital literacy, and narrative coherence to effectively convey a city's unique identity to both domestic and international audiences (Caputo et al., 2019, p. 152).

Moreover, the current involvement of local government in supporting the creative economy remains segmented and programmatic. While several initiatives have been implemented to foster the sector, the lack of cross-sector integration hampers the formation of a unified city brand. Government policies often operate in silos, resulting in fragmented efforts that do not align under a consistent narrative. The research indicates that effective city branding necessitates comprehensive governance that bridges culture, economy, urban planning, and communication sectors in a synergistic manner.

Stakeholder collaboration emerges as a critical element in shaping the direction and sustainability of creative-based city branding. The role of creative communities, business actors, public institutions, and media must be interconnected to form a multi-actor ecosystem that co-produces the city’s image. Without active participation from these diverse agents, branding initiatives may fail to capture the city’s complexity and distinctiveness. A participatory governance model, therefore, could enhance legitimacy and resonance in the branding process.

In a broader view, the creative economy in Cirebon should be recognized not only as a catalyst for local economic development but also as a strategic vehicle for identity construction and place-making. When properly managed, cultural expressions embedded in creative industries can influence how cities are perceived, both by their inhabitants and by external stakeholders. This positioning enables the city to compete in a globalized urban network where identity and symbolic capital are increasingly vital assets.

To achieve this vision, future policy directions must prioritize long-term cooperation between public and private sectors. Building a coherent and sustainable branding strategy requires institutional mechanisms that facilitate dialogue, resource sharing, and innovation across boundaries. Integrating cultural heritage with digital technology, strengthening entrepreneurial capacity, and fostering inter-sectoral collaboration can transform the creative economy into a cornerstone of inclusive urban development and competitive city identity.

Based on the findings and discussion of this study, it can be concluded that the local economic potential of Cirebon City exhibits a robust and multidimensional character. This is evident in the diversity of its economic actors, ranging from small-scale creative businesses to medium enterprises across various sectors, which show adaptability to shifting market trends and consumer preferences. Such vitality serves as a strong capital for urban development that is rooted in the dynamics of local creativity and entrepreneurship. Nevertheless, this potential does not evolve in isolation it is significantly influenced by public policy frameworks, the availability of facilities, and government-driven empowerment initiatives targeting community-based economies.

However, the study also highlights a critical disconnection between the branding efforts conducted by individual economic actors and the broader city branding initiatives led by the local government. While creative entrepreneurs tend to focus on product-level marketing, municipal branding remains institutional and sometimes lacks cultural and market-driven granularity. This gap limits the effectiveness of Cirebon’s collective image in external perception and calls for stronger interlinkages between the grassroots economic creativity and top-down city narratives. Establishing coherence between these two layers would not only harmonize messaging but also amplify the distinctiveness of Cirebon’s identity on national and international stages.

Therefore, synergistic collaboration among stakeholders government, businesses, creative communities, and civil society is paramount. Such collaboration can generate more inclusive promotional strategies and foster innovations that are contextually grounded yet globally competitive. In addition, involving the public in the city branding process enhances the sense of belonging and ownership among residents, which is essential for sustaining the city's identity. Building confidence in Cirebon as a unique cultural and economic destination will require a coordinated effort that positions local values at the heart of development.

A strategic component in strengthening the city's image lies in infrastructure development that reflects and communicates the identity of Cirebon. This includes not only improvements in physical infrastructure such as roads, transport terminals, and public amenities, but also the thoughtful integration of cultural elements into the urban landscape. For instance, architectural designs inspired by traditional palace motifs, signage incorporating the local language, and public spaces adorned with batik mega mendung patterns can serve as everyday reminders of the city's rich cultural heritage. These design elements help create a cohesive spatial narrative that visually affirms, "this is the city of Cirebon.".

From the perspective of tourist experience, presenting an authentic and immersive urban atmosphere becomes a differentiating factor. Tourists are increasingly drawn to destinations that offer not only attractions but also unique cultural experiences. By embedding the identity of Cirebon into the very fabric of the city from its street art to its culinary landscapes visitors are offered a distinctive sensory and emotional experience. This experiential approach encourages longer stays, positive word-of-mouth, and return visits, while reinforcing Cirebon’s position as more than just a transit city.

In light of these considerations, future policy recommendations include the institutionalization of cross-sectoral coordination platforms for city branding, investment in cultural infrastructure, and continuous capacity-building for creative actors in marketing and digital innovation. The city government should also develop a master plan for city branding that aligns urban development with cultural preservation and creative economic growth. With a long-term vision, a participatory governance model, and a commitment to local authenticity, Cirebon has the potential to transform its creative economy into a cornerstone of inclusive, identity-driven urban development.

This research encountered notable limitations in the number of informants successfully interviewed. Although a purposive sampling strategy was employed to ensure relevance and representativeness, the actual number of participants did not align with the predetermined target. The limitation was primarily due to the constrained timeframe allocated for the fieldwork and the unforeseen overlap with a major municipal event namely, the Cirebon City Anniversary celebration which engaged many potential informants in intensive preparations and reduced their availability.

Consequently, several key stakeholders from the local government and creative sectors who were initially identified as potential informants could not be reached or were only partially involved. This restricted the richness and depth of qualitative data that could have been gathered, particularly concerning the nuances of collaborative strategies and governance practices in the local creative economy. As a result, some dimensions of the government's institutional role and the informal dynamics of creative networks may not have been fully captured in this study.

In light of these constraints, future research is strongly advised to adopt a more flexible data collection period. Conducting fieldwork during a time frame that avoids overlaps with major civic or cultural events could significantly enhance access to respondents and improve the quality of interaction. A longitudinal or phased research design may also help mitigate temporal limitations and facilitate richer engagement with informants over time.

Further studies should also consider broadening the scope of stakeholder inclusion, particularly by involving representatives from peripheral creative sectors, community-based organizations, and non-state actors whose roles are often underrepresented but potentially influential. By doing so, the research would not only enhance the inclusivity of the analysis but also reflect a more holistic ecosystem of the creative economy within urban branding processes.

Moreover, future research could delve deeper into the strategic dimension of how local governments formulate and implement creative city branding, especially in cities with strong cultural heritage like Cirebon. Emphasis could be placed on examining policy coherence, interdepartmental coordination, and the effectiveness of participatory governance models. The interplay between top- down policy initiatives and bottom-up creative practices also warrants closer investigation to identify possible tensions or synergies.

Another promising avenue is the exploration of how cultural identity and traditional values are negotiated within the frameworks of contemporary branding narratives. Researchers could analyze the ways in which city branding strategies incorporate, reinterpret, or commodify local cultural symbols and heritage. Such inquiry could contribute to theoretical debates on authenticity, identity politics, and cultural sustainability within urban development discourse. Lastly, comparative studies involving other Indonesian cities or Southeast

Asian urban centers with similar sociocultural contexts could offer valuable insights. Cross-case comparisons may illuminate best practices and divergent approaches in integrating creative economy strategies into urban planning and

city branding. These findings could, in turn, inform policy formulation at both local and national levels, advancing the scholarly discourse on creative urbanism in the Global South.

On this occasion, the researchers would like to express their deepest gratitude to those who provided support in the process of preparing this journal. Special thanks go to parents who have provided prayers, enthusiasm, and determination at every step of this journey. Thank you to the Institution for taking the time and sharing knowledge, without their help and support, the writing of this scientific article would not have been completed properly.