Statistics on Cultural Industries - International Trade Centre

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ForewordIn recent years, the international community has increasingly recognized the undeniable role ofculture in development. The United Nations (UN) family of agencies, reflecting this new-foundrecognition, has re-focused programming efforts to take into account the role of culture and thecultural industries as instrumental in achieving the Millennium Development Goals. The concernin this regard was cogently expressed in the 2002 United Nations General Assembly Resolution57/249 on Culture and Development. The resolution directly commented on the potential of culturalindustries for poverty reduction:5. Invites all Member States, intergovernmental bodies, organizations of the UnitedNations system and relevant non-governmental organizations ...(e) To strengthen international co-operation and solidarity in supporting nationalefforts of developing countries:(iii) To establish cultural industries that are viable and competitive at the nationaland international levels, in the face of the current imbalance in the flow andexchange of cultural goods at the global level; ...(i) To assess the interconnection between culture and development and theelimination of poverty in the context of the First United Nations Decade for theEradication of Poverty (1997-2006).UNESCO, as the UN agency with a specific mandate for culture, has a long history of involvementwith cultural industries, dating back to the 19 th General Conference of UNESCO, which took placein Nairobi in 1976. UNESCO first commissioned studies on cultural industries as preparation forEuropean and international conferences (Oslo 1976 and Mexico 1982). However, those conferenceshad only limited impact on programming and policy development in the countries of the Asia-Pacific region. Only in 1995, with the publication of the report Our Creative Diversity, by the WorldCommission on Culture and Development which is chaired by former UN Secretary-General, JavierPerez de Cuellar, were the issues of culture in development raised to the programming level in allUN Member States.This new resolve inspired the Intergovernmental Conference on Cultural Policies for Development,which took place in Stockholm (1998). Importantly, participation in this meeting was not limitedto UN and Member States but invited a dialogue with a wide range of NGOs and business interests.The Intergovernmental Conference was quickly followed by the publication by UNESCO of the firstWorld Culture Report - Culture, Creativity and Markets (UNESCO, 1998). Both the IntergovernmentalConference and the World Report emphasized the need for newly thought-out cultural policiesincorporating the emerging role of cultural industries as part of the portfolio of developmentstrategies available to all nations.With the adoption by the UNESCO General Conference in 2005 of the Convention on thePromotion and Protection of the Diversity of Cultural Expressions, and its susbsequent endorsementby the UN General Assembly, creativity and the resulting creative enterprises and culturalindustries have now been accorded their due role in strategies for human development.iii
Over the past decade these activities at the intergovernmental level have contributed to thegrowing recognition at the national level of the potential importance of the creative economyfor growth and for sustainable, equitable development. What remains now is for governmentsto adopt policy measures to activate this new-found understanding of the role of culture indevelopment. To do so, and to make informed decisions which will successfully promote culturalindustries, reliable data and meaningful statistics are required.UNESCO spearheaded the drive to generate statistical data on cultural industries, in contributionto the cultural policy debate, during the 2003 Montreal Symposium on Culture <strong>Statistics</strong> organizedby the UNESCO Institute of <strong>Statistics</strong>. A wide range of international experts participated in theSymposium which identified the main issues involved in establishing statistical data on cultureand also outlined the scope and methodology to be pursued in this respect.Other international organizations have also made efforts to understand and harness the economicpotential of cultural industries. In this regard, the Council of Europe in 1985 set up a NationalCultural Policy Review Programme, which later evolved into a new system for more efficient use ofthe compiled information (ERICarts’ Compendium, http://www.culturalpolicies.net).The World Bank and regional development banks, as well as governments in industrialized countries,have also increasingly focused on the concept of creativity and cultural industries. In 1998, the WorldBank took up the challenge in a framework document titled Culture in Sustainable Development andhas established a working group of the same name. In co-operation with UNESCO, the World Bankorganized two international conferences on this subject (Culture in Sustainable Development, 1998;Culture Counts, 1999), and subsequently focused on more specific social and economic aspects ofthe culture-and-development debate in the conferences on Culture and Poverty (2000) and Cultureand Public Action (2002).Other UN Specialized Agencies have also taken the creative economy as a focus for their activities.The creative industries were highlighted during the UNCTAD XI Conference held in Brazil in June2004. The UNDP Human Development Report 2004 focused on the theme of Cultural Liberty inToday’s Diverse World.Within the Asia-Pacific region, the UN Interagency Jodhpur Symposium in 2005 gave the impetusfor the establishment of an interagency platform for co-operation and co-ordination of countryprogramming in this region of the world. At this symposium, agencies adopted a common strategyto promote the cultural industries as a tool for poverty reduction and local economic development,known as the Jodhpur Initiatives.The first concrete output of the interagency collaboration arising from the Jodhpur Symposiumis a jointly-developed framework for the systematic collection and analysis of <strong>Statistics</strong> on CulturalIndustries. The purpose of the Elaboration of National Data Capacity Building Projects frameworkis to serve as a guide, within a consolidated intellectual framework, for the elaboration andimplementation of tailor-made national projects to collect and analyse statistics on creativity ingeneral and cultural industries in particular.The implementation of a data collection strategy on cultural industry statistics at the national levelwill meet the need to provide statistical information on the potential and scope of the creative andiv
Page 2 and 3: STATISTICS ONCULTURAL INDUSTRIESFra
Page 6 and 7: cultural industries. This informati
Page 8 and 9: The Jodhpur InitiativesIn February
Page 10 and 11: HOW TO USE the Prototype National D
Page 12 and 13: HOW TO USE THIS FRAMEWORKThis docum
Page 14 and 15: documents for definitions and a ful
Page 16 and 17: The methodological challenge for th
Page 18 and 19: FRAMEWORK FORTHE ELABORATION OFNATI
Page 20 and 21: 1. Why Cultural Industries: Develop
Page 22 and 23: equal participation in knowledge so
Page 24 and 25: industries (see Table 1). The mappi
Page 26 and 27: 3. Goal and ObjectivesThe overall g
Page 28 and 29: 4. Methodology4.1 DefinitionsCultur
Page 30 and 31: for cultural statistics that will r
Page 32 and 33: information on the cultural industr
Page 34 and 35: 5)Infrastructure and Policy Environ
Page 36 and 37: of the components defines their sub
Page 38 and 39: 5. Project ActivitiesTo repeat, the
Page 40 and 41: COMPONENT AHence, the diagnostic se
Page 42 and 43: COMPONENT B5.2 Component B: Statist
Page 44 and 45: COMPONENT B - MODULE 1Component B -
Page 46 and 47: COMPONENT B - MODULE 2Component B -
Page 48 and 49: COMPONENT B - MODULE 2ActivitiesThe
Page 50 and 51: COMPONENT B - MODULE 2The Framework
Page 52 and 53: COMPONENT B - MODULE 2OBJECTIVES EX
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COMPONENT B - MODULE 3LOGICAL FRAME
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COMPONENT B - MODULE 4LOGICAL FRAME
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COMPONENT C2)3)4)A few examples of
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COMPONENT D5.4 Component D : Benchm
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6. Expected Project OutcomesProject
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At the regional level (Asia-Pacific
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7. BeneficiariesThe immediate targe
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particular interest in the developm
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function as a task force that co-op
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2012 2013 2014 2015 2016 Countrypil
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-co-operation on specific projects,
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OUTPUTS (Phases 1, 2, and 3)- Mappi
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PROTOTYPENational Cultural Industri
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1. Development Context1.1 Internati
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holistic approach to development as
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place as genuine alternatives to Th
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the way creative industries are fun
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indicated above.As part of the disc
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and was carried out with technical
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3. Goal and Objectives3.1 Developme
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4. Methodology4.1 DefinitionsThe Jo
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cultural industries (for example in
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Activity C4 Elaboration of input to
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6. Expected Project Outcomes6.1 Res
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OUTPUT 2.3Input to the establishmen
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PHASE 18. Implementation Arrangemen
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PHASE 1OUTPUTS (Phases 1, 2, and 3)
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PHASE 1• Basic country data(UNDP
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PHASE 1Table 2:GOVERNMENTMinistry o
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PHASE 1National Advisory CommitteeD
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PHASE 19. FundingThe cost and resou
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PHASE 1BUDGET ITEMS UNIT COST TOTAL
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ANNEX 1ISIC Codes Related to Cultur
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ANNEX 2The Jodhpur ConsensusWe, the
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ANNEX 3Paro InitiativeThe Expert Gr
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3.9 Act as a hub for coordinating a
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ARTICLE 8Budget8.1 The Commission s
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Statistics on Cultural Industries - International Trade Centre

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