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Statistics on Cultural Industries - International Trade Centre

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COMPONENT B - MODULE 2–manufactured goods and classify, for example, crafts together with other manufacturingactivities (e.g. furniture or apparel)a large (undocumented) part of the ec<strong>on</strong>omic activities undertaken in the manufacturingcultural industries are part of the n<strong>on</strong>-formal ec<strong>on</strong>omy.Though these challenges are often pr<strong>on</strong>ounced in relati<strong>on</strong> to the crafts and heritage sub-sectors,they are basically comm<strong>on</strong> for most ec<strong>on</strong>omic activities of the partial copyright industries. Themethodological difficulties in establishing cultural statistics that relate to this have made somecountries opt to exclude crafts from surveys of the cultural industries sector altogether. This soluti<strong>on</strong>is, however, not valid for developing countries where crafts have relatively greater ec<strong>on</strong>omicimportance and potential. Crafts use local, renewable resources and often c<strong>on</strong>tribute significantlyto the ec<strong>on</strong>omies of developing countries. To give an example, a recent study by UNESCOestimates that in Thailand the crafts industry c<strong>on</strong>tributes USD$4.55 billi<strong>on</strong> (almost 1 percent ofGross Domestic Product (GDP)) to the ec<strong>on</strong>omy – an indicati<strong>on</strong> of the significant potential theseindustries have for income-generati<strong>on</strong>, especially in low-income areas. The manufacturing or partial copyright industries are characterized by the degree to which designdetermines the quality and value of produced goods and services. Derived from evolving culturalknowledge and expressi<strong>on</strong>s of culture and heritage, the competitive edge or quality of designedproducts is linked to the innovative potential of a diversity of cultural expressi<strong>on</strong>s. In this respect,there is no fundamental difference between traditi<strong>on</strong>al arts and crafts and the more modernexpressi<strong>on</strong>s of design. Rather, they c<strong>on</strong>stitute of a c<strong>on</strong>tinuum of products stretching from thetraditi<strong>on</strong>al to the modern.Crafts are obviously culturally significant and they add value to goods whose primary functi<strong>on</strong> is notaesthetic. They also draw <strong>on</strong> traditi<strong>on</strong>al cultural assets. It is interesting to note that the intangiblevalue of these goods are causing new specific intellectual property regimes and labeling tools tobe designed (such as “geographical indicati<strong>on</strong>s”) which may eventually provide another means tomeasure the impact of these ec<strong>on</strong>omic activities.Special C<strong>on</strong>siderati<strong>on</strong>sThe data collected are expected to be used to observe the relative positi<strong>on</strong> of the c<strong>on</strong>cernedindustries in the country’s manufacturing sector and inter-sub-nati<strong>on</strong>al comparis<strong>on</strong>s in, for instance,labour productivity, value-added/output ratio, wage rates and gender structure of employment.An analysis of this type will highlight sub-nati<strong>on</strong>al disparities and yield a measure of the industries’potential to raise income levels in the areas with a high incidence of poverty.A particular aspect of this analysis relates to the fact that the craft and heritage industries to a greatextent are part of the n<strong>on</strong>-formal sector and, as such, are largely undocumented – an issue whichis also dealt with as part of the data analysis in Module 3.With more accurate informati<strong>on</strong> <strong>on</strong> activities and resources in these industries, their potentialcould be more directly harnessed for poverty reducti<strong>on</strong> and community vitalizati<strong>on</strong>.30. UNESCO, Crafts/Tourism Index Report, Paris, May 2004

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