Policy-making for the
creative and cultural
industries
Cultural sector mapping
Using data for policymaking
Presentation to UNESCO Capacity
Building Programme – Africa 2012
© CAJ, 2009
 Economic contribution models
 Measurement and mapping of
the creative industries/ creative
economy
 Evidence of contribution
DEVELOPING CLEAR ADVOCACY
BASED ON FACTS AND
EVIDENCE
© CAJ, 2009
Measurement of Creative Industries
 UNESCO – Framework for Cultural Statistics: 1987
 Still little agreement on a methodology for measuring
the creative industries
 Individual countries collect stats
 Australian surveys of industries, individuals,
attendance of events
 Statistics Canada – measures size of industry,
participation in cultural activities, cultural labour
force survey
 Finland, France & Italy – governmental statistical
agency collects creative sector stats
 Philippines extracts relevant stats from national
statistical agency but much is lost due to informality
and micro nature of firms
 UK and Singapore – relevant government department
extracts information from data collected by
businesses at 4-5 digit SIC level
© CAJ, 2009
What information is being collected
 Gross value added - turnover less
total costs (excluding labour and
capital)
 Number of businesses
 Exports
 Total creative employment
 Employment in creative industry firms
 Employment of creatives in occupations
in other sectors
© CAJ, 2009
UK experiences
 Creative Britain: new talents for the new
economy - latest government strategy
 “Britain is a creative country and our creative
industries are increasingly vital to the UK. Two
million people are employed in creative jobs and
the sector contributes 60bn a year – 7.3% to
the British economy. Over the past decade, the
creative sector has grown at twice the rate of
the economy as a whole and is well placed for
continued growth as demand for creative
content – particularly in English – grows”
(DCMS, 2008)
© CAJ, 2009
Why collect statistics?
 Good official stats ‘prove’ the contribution
of creative sectors to the overall economy
and encourage regional, sub-regional and
local assessments of contribution
 This links to regional development
strategies
 linking creative businesses with wider networks
of communication and exchange,
 improving business development agencies’
appreciation and understanding of creative
industries
 Enhancing investor knowledge of creative
industry opportunities
© CAJ, 2009
Mapping: origins
 UK: Mapping the Creative Industries, 1998
(DCMS) – Creative Industries Task Force
 Defined and measured economic contribution of
creative industries and assessed their
opportunities & challenges
 Mapping provides the economic data which
shows the current value of the creative
economy
 Mapping shows the economic potential of
the sector and where it needs support to
grow and realise its potential
 UK now a world leader in English speaking
economies in identifying creativity as the driver
for job creation & economic growth.
© CAJ, 2009
Creative Industries: a definition
 CITF defines Creative industries
 “those activities which have their origin in individual
creativity, skill and talent and which have a
potential for wealth and job creation through the
generation and exploitation of intellectual property”
 See website
www.culture.gov.uk/creative/mapping.htlm
 These include advertising, architecture, the art and
antiques market, crafts, design, designer fashion,
film, interactive leisure, software, music, the
performing arts, print media and publishing,
software, television and ratio, heritage and tourism
services
© CAJ, 2009
Creative mapping
 Valuable tool used in
 Developed world: UK, Canada, USA, Hong Kong,
New Zealand, Australia,
 Developing countries: Colombia (2002), South
Africa (2008)
 Colombia developed a handbook “Guide to producing
Regional mappings of the Creative Industries”
(Spanish and English) – has guidelines for creative
mapping process
 Since 2002, UK has produced yearly Creative
Industries Economic Estimates using comprehensive
survey data collected by the Office for National
Statistics (ONS). (regular updates and consistent
data on activity of creative industries).
© CAJ, 2009
UK research strategy revealed ..
 Government strategy “Creative Britain” preceded
by Creative Economy Programme (CEP) in 2007
 Series of research projects commissioned from
independent consultants, research bodies,
inside DCMS – all on website
http://headshift.com/dcms/
 “The CEP’s objective in commissioning these
research projects was to furnish policy makers
with a more complex understanding of the
characteristics and structure of the creative
industries and trends they have experienced.
Together they represent a large advance in
DCMS and research partners’ understanding of
the creative industries” (DCMS 2007
© CAJ, 2009
Questions framing the research
 What is the direct contribution of the
Creative industries to the economy?
 Do the creative industries face barriers to
growth and improved productivity
 What is the government’s role in
overcoming these?
© CAJ, 2009
Creative mapping
 Creative mapping as a way to assist
countries to recognise importance of the
sector
 To raise awareness of the industries , raise
their profile & the contribution they make
to the economy
 Impact of creativity in regeneration & social
inclusion is widely acknowledged
 Share expertise and experience with
countries (British Council support to
mapping studies)
© CAJ, 2009
Creative mapping and why we do it
 Economic data – current value of creative
economy (GDP, employment, )
 Potential of the sector and where it needs
support to grow and realise its potential
 Contribution in ‘hard’ terms for policy
makers in treasury and trade and industry
- used to obtain support (political and
financial)
 Evidence based policy
 Used to track the development of the sector
and success of its interventions
© CAJ, 2009
Creative mapping (2)
 Mobilising stakeholders and forces
govt to take Creative Economy
seriously
 In UK 2 million people employed in
creative jobs and the creative sector
contributed 7.3% to the British
economy and it has grown at twice
the rate of the economy as a whole
(DCMS, 2008)
© CAJ, 2009
Limitations of statistics
 Official statistics do not keep pace with
 rapid changes, particularly in technology
 consequent classification problems that occur in
creative industries
 Scope of sectors – such as design which crosses
many codes
 Fail to capture full extent of activity as do no
accurately reflect structure of industries
 Figures therefore remain estimates rather
than definitive valuations
© CAJ, 2009
New insights from UK process
Large firms are important The largest 200 firms account for 50% of turnover
for the creative industries
Growth in the creative Start up companies accounted for 48% of growth from
industries is driven by start- 1995-2005: most of this in year 1. Creative Industry
companies appear to grow slowly in the years after they start
up companies
up
Creative firms have survival Three year survival rates for firms within the creative
rates that are similar to industries is similar to the average across all industrial
sectors but there are variations between sectors
other sectors.
Large international creative International firms may locate in the UK because of its supply
industry firms are important of high quality graduates, specialist “creative skills”, unique
infrastructure and because the UK is an attractive place for
in the UK
executives to live and visit
Creative industries perform
well on a number of
productivity
measures
compared to other UK
sectors
The creative industries are more likely to be innovative than
the other sectors identified in the project and they employ
highly skilled workers and have a higher proportion of
self employed people that then economy as a whole
Findings from DCMS (Frontier Economics)
© CAJ, 2009
Most important insight for
developing countries
 While individually the creative
industry sectors (music, film,
performing arts, dance, fashion, etc)
might not be of STRATEGIC
importance to the UK, there was no
doubt that COLLECTIVELY the
creative industries are very
important.
© CAJ, 2009
Framework for cross-cutting policy
Production
Services
Publishing
Television & media
Film & video
Interactive leisure
software
Software
&
computer
services
Advertising
Architecture
Design
Music
Designer fashion
Performing arts
Arts and Antiques
Crafts
Arts and Crafts
Frontier Economics, 2007
© CAJ, 2009
Purpose of mapping studies (1)
 To diagnose a given situation by identifying
its constituent elements, the relations
between them and the results of such
interaction
 To describe and interpret the data to
contribute to solutions to the problems
revealed by the diagnosis
 To give greater visibility to the sector
through the identification of the value of
culture and creation both as cultural
expression as well as its contribution to the
economy or region
© CAJ, 2009
Purpose of mapping studies (2)
 To provide information that allows national &
regional agents to identify key aspects about
the dynamics of creative industries
 To provide the necessary facts that improves
decision-making in the design of policies to
strengthen these industries
 To stimulate the organisation of individuals &
companies of the creative & cultural sectors so
that they are perceived as a collective whole
that facilities their recognition, positioning &
empowerment as an economically important
sector.
© CAJ, 2009
Purpose of mapping studies (3)
 To identify the targets of the study
which are the institutions that are able
to support the growth of the sector, the
role-players within the creative sector as
well as the stakeholders in the creative
community.
 The process of mapping could, through
the building of alliances & clusters of
industries, stimulate organisation
Ministry of Culture, Colombia, 2007:6
© CAJ, 2009
Contribution of Creative Industries
to the Economy: some evidence
 Mapping studies in UK, Singapore, Canada and
Australia
 Not directly comparable across countries since
definitions vary
 But they illustrate the significant contribution that
sectors make to the economy as a whole
 Eg UK: Creative industries in 2004 contributed
 7.3% of Gross value added (£57billion) and
 grew at rate of 5% (97-04) (compared to rest of
economy of 3%) with
 employment growing at 2%.
 They exported £13 billion worth of goods and services
and
 employed 1.8 million people (DCMS, 2006)
© CAJ, 2009
Contribution of Creative Industries
to the Economy: some evidence
 Singapore
 From 1986 in 5 yearly averages can
compare growth rates in various creative
sectors:
 value of S$3 bn in 2000 (=1.9% of GDP)
 employed 46,850 people (= 2.2% of
employment)
 exported S$536 million worth of g & s.
 Higher growth rates than economy of
whole: 87-2000 CIs : 17.2% pa (annual
ave growth of GDP 10.5%)
© CAJ, 2009
Contribution of Creative Industries
to the Economy: some evidence
 Canada
 Conference Board of Canada (2008)
 full contribution is $84.6bn (7.4% of total
real GDP) in 2007
 Full employment contribution (direct,
indirect and induced effects) being over 1.1
million people in 2007
 Average household in Canada spent about
$1,650 on cultural g & s = $21 bn in 2007
(trends of household spending away from
written media to cable and satellite TV)
© CAJ, 2009
Advocacy position continued: key
questions relating to data/information
you may need to make your case
 Why are we collecting data
 What information do we need to make our case
 what will we use it for
 (representations to other govt dept, policy-making,
feedback to consumers/audience, etc)
 who is our audience
 industry stakeholders, govt, international bodies
 how might it affect or alter our policies
 Provide direction/spend less/more, on different ‘things’
 how can it be simplified
 Do we need to collect all the information/ data?
 How big must the sample be?
 What is our strategic vision and organising principle
© CAJ, 2009
Policy in support of cultural
and creative industries
© CAJ, 2009
© CAJ, 2009
Interventions through research
 Any policy-oriented research is also an
intervention. A new dynamic is set in
motion the minute you start asking
people questions.
 For ex: In a research project conducted
amongst small creative enterprises in
the SADC region, providers of small
business support and assistance became
aware that more co-ordination was
necessary.
© CAJ, 2009
Strategic Pillar 1: Improving
Access to Resources
Problem
CRAFT
Strategic
FrameworkIntervention
Lack of access to resources such as materials,
production space etc.
Urban and satellite hubs
Objective
Improve access to resources to improve product quality
and production efficiencies
Risk
Dependency
Gate keeping
Indicators
• Production space: 30 craft enterprises per region
• Improvement in product quality and production
efficiency
• Consistent increase in the turnover of craft enterprises
© CAJ, 2009
Strategic Pillar 2:
Improving Market Access
Problem
CRAFT
Strategic
Intervention
Framework
Lack of market access
•
•
•
•
•
•
Improved access
Product development
Product ranges linked to opportunities (2010)
Market segmentation strategies
Partnerships with retail & other sectors
Export market identification
Objective
Facilitate and grow market access opportunities
Risk
Inability of producers to meet market demands due to
market readiness issues
Indicators
• Consistent growth in regular custom
• Value of sales of new products
• Increased market share of local products
© CAJ, 2009
Strategic Pillar 3:
Marketing
Problem
CRAFT
Strategic
Framework Intervention
Lack of value of local craft products in the market
•
•
•
•
Advocacy campaigns
Branding strategy
Promotion of fair trade practice
Media to promote craft
Objective
Increase consumption of craft products in Gauteng
Risk
“Overselling” of products
Indicators
•
•
•
•
Increase in volume of sales
Increase in attendance at markets etc.
Increase in retail outlets
Increase in fair trade practices
© CAJ, 2009
Strategic Pillar 4:
Improving the Skills Base
Problem
CRAFT
Strategic
Intervention
Framework
Significant skills gaps
• Facilitation of formal training through SETAs
• Continuous professional development programmes
• Mentorship & apprenticeship programmes
Objective
Improve skills of producers, retailers & agents
Risk
Training not “demand-led”
Dependency on SETA funding
Indicators
• General improvement in skills
• Increase in outputs of crafters in programmes
© CAJ, 2009
Strategic Pillar 5: Improving
Design and Innovation
CRAFT
Strategic
Framework
Problem
Under-utilised design & innovation resources
Intervention
•
•
•
•
•
Objective
Develop design & innovation skills to ensure continuous
product innovation
Risk
Lack of market-driven ethos
Sustainability
Indicators
•
•
•
•
Design & product development support
Market driven programmes
Quality assurance & control
Materials development
FabLab links
Increased market access
Number of new products
Improved products & quality
Increased market share
© CAJ, 2009
EXAMPLE
OF FORMAT
FROM
CREATIVE
MAPPING
IN
GAUTENG
CRAFT
Strategic
Framework
Strategic Pillar 6:
Developing Enterprises
Problem
Survivalist level of enterprises
Intervention
•
•
•
•
Objective
Enterprise development at all levels
Risk
Failure rate of new enterprises
Dependency
Lack of co-operation
Indicators
•
•
•
•
•
Application of business criteria
Partnership development
Referral services
Tailor-made services
Increase in registrations
Increase in turnover & profitability
Number of businesses in business after 5 years
Increase in skills
Increase in production & sales
© CAJ, 2009
EXAMPLE
OF FORMAT
FROM
CREATIVE
MAPPING
IN
GAUTENG
CRAFT
Strategic
Framework
Strategic Pillar 7: Improving
Information Sharing &
Coordination
Problem
Lack of communication & co-operation between
stakeholders
Intervention
•
•
•
•
•
•
Objective
Improve government services
Risk
Gate keepers
Apathy
Cynicism
Indicators
• Increase in range of services
• Improved quality of services
• Increased networks in the sector
Networking opportunities
Tools such as a newsletter
Regional hubs
Regional craft forum
Research
Centralised database
© CAJ, 2009
people
enterprises
• There is a NEW generation of designers and craft artists;
and professional, well-informed, pioneering craft
entrepreneurs across the value chain
• There are many profitable businesses operating in a
competitive sector, using appropriate technology, that
covers the whole province and makes a valuable
contribution to GDP
products
• The WC has an identifiable signature, that is influenced by
our heritage, and is recognized globally for its design &
innovation
markets
• There is a strong local market, developed niche
international markets, with increased value/appreciation
for hand manufactured products
environment
institute
• The sector is industry-led with a discernable craft
community and a strong fair trade practice
• The CCDI is a globally recognized sector development
body and a centre of excellence
© CAJ, 2009