Creative Economy: A Feasible Development Option

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4Towards an evidence-based assessment of the creative economy(e.g., newspaper and periodicals)4. Characteristic goods of publishing industry of books(e.g., books and other printing matters)5. Auxiliary goods of recording industry (e.g., sound recordingdevices)6. Related goods of phonographic industry (e.g., music player)7. Characteristic goods of audiovisual and phonographicindustry (e.g., CD, cassette tape)8. Auxiliary goods of audiovisual and phonographic industry(e.g., microphone, sound recording media)9. Related goods of audiovisual and phonographic industry(e.g., broadcasting and receiving equipments of radio andtelevision)This methodology clearly inherits from the DNA ofEuropean classification but with a narrower focus on the threecore cultural industries, which are phonograph, publishingand audiovisual industries. The major difference is thatConvenio Andrés Bello’s version distinguishes cultural goodsinto three types according to their function in the cycle ofcultural production. The description of codes applied to thisclassification lies in the Common Nomenclature of MER-COSUR, which corresponds completely with the CombinedNomenclature used by European countries.United Kingdom’s statistical methodologyfor creative industriesIt is hard to say which countries first used the term‘creative industries’, but the United Kingdom’s classification,defined in the 1998 and 2001 mapping documents by theDepartment for Culture, Media and Sport (DCMS),absolutely influenced the majority of countries in developingtheir cultural statistics classification in the past decade. Thefirst published classification describing the creative industriescame from DCMS and identified the following 11 subindustries:■■■■■Video, Film and PhotographyMusic and the Visual and Performing artsArchitecturePublishingComputer games, software, electronic publishing■■■■■■CraftRadio and TVAdvertisingDesignDesigner fashionArt/antiques tradeTrade statistics for these 11 creative industries are collectedusing the United Kingdom Standard IndustrialClassification (UK SIC). In 2004, DCMS produced a morecomprehensive framework known as DCMS EvidenceToolkit (DET), and adopted UK SIC 2003 as the basis forthis new framework. This classification was used to estimatethe economic contribution of creative industries 18 and thestatistical figures are reported annually in the CreativeIndustries Economic Estimates (CIEE) publication. Becausethe UK SIC is a classification of activities, and provides noofficial list of codes for creative goods, the CIEE only reportthe export value of ‘services’.One advantage of this methodology is that it is broaderin scope 19 than the European cultural industries’ approach.It includes some categories, such as advertising, designerfashion and computer games, that were not previously identifiedas cultural activities. This classification has alsosparked controversy because it measures industrial activities,rather than trade flow, and much of the data reflects thingsother than creative activity. For example, UK SIC includesmany clothing-manufacturing codes in the “designer fashion”category, but its current structure cannot separate thesenon-creative activities. To remedy this situation, and obtainmore accurate data, the DCMS is working on a new set ofstandards for measuring the creative industries.UNESCO framework for cultural statisticsUNESCO developed its first Framework for CulturalStatistics (FCS) in 1986, and has subsequently influencedmany countries as they have developed strategies for collectingcultural statistics. Its original framework defined nine categoriesof cultural activities: cultural heritage, printed matterand literature, music, performing arts, audio media, audiovisualmedia, socio-cultural activities, sports and games, andenvironment and nature. The 1986 framework also described18 The craft and design sectors are excluded because there is no official data. For details, see Annex B in CIEE 2010 technical notes, available fromhttp://webarchive.nationalarchives.gov.uk/+/http://www.culture.gov.uk/reference_library/publications/6622.aspx.19 One of the broadest definitions of creative industries is from Italy and includes toys, furniture, marble works etc. A full list of Italian creative industries is available fromhttp://ec.europa.eu/culture/our-policy-development/doc/it_white_paper_creativity2009.pdf.108 CREATIVE ECONOMY REPORT 2010
five processes in cultural production: creation, production,distribution, consumption and preservation. The categoriesmeasure breadth, while the processes of production indicatedepth, resulting in a matrix for users to collect data.In 2009 UNESCO proposed an ambitious newframework for cultural statistics, which it hopes will becomean international standard capable of recording all humancultural activities. The updated framework articulates fiveprocesses in the cultural cycle: creation, production, dissemination,exhibition/reception/transmission, and consumption/participation.Its definition of culture includes sixdomains and 12 subgroups, as shown in figure 4.3.4Figure 4.3A. Cultural andNatural Heritage- Museums (also virtual)- Archeological andHistorical Places- Cultural Landscapes- Natural HeritageSource: UNESCO (2009)UNESCO 2009 Framework for Cultural Statistics DomainsB. Performanceand Celebrations- Performing Arts- Music- Festivals, Fairsand FeastsC. Visual Artsand Crafts- Fine Arts- Photography- CraftsCULTURAL DOMAINSD. Books and Press- Books- Newspapersand Magazine- Other printed matter- Library (also virtual)- Book FairsE. Audio-Visualand Interactive Media- Film and Video- TV and Radio (alsoInternet live streaming)- Internet podcasting- Video Games(also Online)INTANGIBLE CULTURAL HERITAGE(oral traditions and expressions, rituals, languages, social practices)Education and TrainingArchiving and PreservingEquipment and Supporting MaterialsF. Design andCreative Services- Fashion Design- Graphic Design- Interior Design- Landscape Design- Architectural Services- Advertising ServicesRELATED DOMAINSG. Tourism- Charter traveland tourist services- Hospitality andaccommodationH. Sports andRecreation- Sports- Physical fitnessand well being- Amusement andTheme Parks- GamblingINTANGIBLECULTURAL HERITAGEEducation and TrainingArchiving and PreservingEquipment and Supporting MaterialsTowards an evidence-based assessment of the creative economyUNESCO’s 2009 framework measures the internationaltrade of cultural goods and services. The classificationof cultural goods adopts the Harmonised CommodityDescription and Coding System 2007 (HS 2007), while theclassification of cultural services uses the Balance ofPayments version six (BPM6) and Extended Balance ofPayments (EBOPS). The new UNESCO framework correlates85 of the codes in HS 2007 with cultural goods, categorizedunder six cultural domains. It defines another 84codes in HS 2007 as equipment and supporting materialsfor cultural goods. 20The six domains include these product groups(followed by the number of codes in each product group):A.Cultural and Natural Heritage: antiques (2 codes)B. Performance and Celebration: musical instruments (13codes); recorded media (6 codes)C.Visual Arts and Crafts: paintings (3 codes), other visualarts (12 codes), craft (7 codes), jewellery (8 codes) andphotography (2 codes)D.Books and Press: books (3 codes), newspaper (2 codes),other printed matter (6 codes)E. Audio-visual and Interactive Media: film and video (3 codes)F. Design and Creative services: architecture and design(1 code)Among the methodologies collected for this comparativeanalysis, UNESCO’s 2009 framework is the only onethat provides a full list for services. Defined by BPM6 andcorrespondent EBOPS codes, it proposed nine categories ofcultural services. 21 Special attention goes to the new codes inEBOPS, such as 8.4.1 and 8.4.2, which represent the licensesto reproduce and/or distribute audio-visual products andother artistic products. These new codes have the potential tocomplement the missing value of IPRs for creative/culturalgoods in trade statistics.20 The full list of UNESCO defined cultural goods and equipment and supporting materials of cultural goods can be accessed at UNESCO (2009:65-72).21 The full list of EBOPS codes defined as cultural services by UNESCO 2009 FCS and its explanation can be accessed at UNESCO (2009:39).CREATIVE ECONOMY REPORT 2010109
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ContentsForeword...................
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3.4.2 Large-scale corporate enterpr
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7. Technology, connectivity and the
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LIST OF BOXES1.1 A creative entrepr
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5.9 Creative goods: Exports, by reg
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5.13 Audiovisuals: Exports, by econ
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ForewordThe United Nations publishe
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AcknowledgementsThe Creative Econom
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Scope of this reportThe Creative Ec
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Chapter 1 explores evolving concept
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Ten key messagesThis policy-oriente
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IX. In the aftermath of the crisis,
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GCC Gulf Cooperation CouncilGDP Gro
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The Creative Economy1PART
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CHAPTER1Conceptand context of thecr
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1Concept and context of the creativ
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1Box 1.1 continuedA creative entrep
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1Box 1.2 continuedThe creative city
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2The development dimensioneties. Th
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Box 2.1South-South sharing of creat
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2The development dimension2.2.3 Soc
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2Box 2.2 continuedBrazilian carniva
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Box 2.3Africa Remix: Africa speakin
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2The development dimensionrequire c
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2The development dimensionconcrete
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2The development dimensionreforms,
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2The development dimensionThailand:
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2The development dimensionTurkey: I
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2The development dimensionMinistry.
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2The development dimensionvisual ar
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Page 90 and 91: 2The development dimensionpublisher
Page 92 and 93: Box 2.8 continuedThe Bolshoi: A sub
Page 94 and 95: 2The development dimension2.5.1 Cre
Page 96 and 97: 2The development dimension■solar
Page 98 and 99: 2The development dimensionBox 2.13E
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Page 102 and 103: 3.2 Organization of the creative ec
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Page 110 and 111: 3Analysing the creative economy3.3.
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Page 124 and 125: 4Towards an evidence-based assessme
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Page 142 and 143: Table 4.4 continuedCreative service
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Page 148 and 149: Box 4.1Reality and numbers4Towards
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Page 154 and 155: 5importing countries. It is not yet
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Page 161 and 162: Chart 5.6AlldevelopingeconomiesAsia
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ative content. Issues relating to m
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tions. The rationale for including
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Table 5.28Chart 5.19(in billions of
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Table 5.30 Related goods: Imports,
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The Role of IntellectualProperty an
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CHAPTER6Therole of intellectual pro
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Box 6.1Design as a key ingredient f
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defined in national legislation. Th
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has developed rapidly over the last
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and made commercially available by
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NO DERIVATIVE WORKSAllows others to
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In 2006, WIPO published National St
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Box 6.4Jewellery: A magic marriage
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ing at least until the first sale o
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tial. The right balance should be f
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CHAPTER7Technology,connectivityand
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m-commerce and m-banking. Mobile te
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Figure 7.4Subscribers per 100 inh.4
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Table 7.2DimensionDigital enablersD
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Table 7.4Rank1234567891011121314151
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IPR rights that may be “re-purpos
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producers; in short, the business m
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Box 7.2 continuedFree and open-sour
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patterns developed by ICTs, rich so
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Promoting the CreativeEconomy for D
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CHAPTER8Policystrategies for the cr
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entirely limited to the major urban
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8.3 The policy processThe process o
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8.4.2 Provision of finance andinves
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they operate and to evaluate the sh
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Box 8.2Alternative Currencies in Br
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Box 8.3 continuedThe Egyptian film
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crisis, the active participation to
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tries to the benefits of growth in
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There is significant evidence that
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■■■the desirability of capaci
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CHAPTER9Theinternational dimensiono
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the issues relating to trade in aud
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Development of the European Commiss
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and bound tariff rates have decline
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and continue negotiations on the Ag
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9.3.4 TRIPS AgreementWith respect t
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9.4 UNESCO cultural-diversity persp
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9.5 WIPO Development AgendaAt the W
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Cooperation has continued to work w
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come obstacles faced by poor commun
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9.8 UNEP: Promoting biodiversity be
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CHAPTER10 Lessons learned and polic
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VI. The creative economy cuts acros
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the creative industries in the Unit
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policymakers, researchers and pract
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Another mechanism to promote South-
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10.3.2 Role of creative entrepreneu
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ReferencesBooks and articlesAcheson
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of Definitions of the Cultural and
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ativity for its management”, in C
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Taylor, Calvin (2006). “Beyond Ad
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Department of Communications, Infor
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PricewaterhouseCoopers (2008). “G
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______(2004). São Paulo Consensus:
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The 2009 UNESCO Framework for Cultu
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Statistical Annex
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Explanatory notes (continued)Art cr
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Explanatory notes (continued)Obviou
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Explanatory notes (continued)EBOPSE
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Country Profile: Argentina (continu
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Country Profile: Argentina (continu
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Country Profile: Turkey (continued)
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Country Profile: Turkey (continued)
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Distribution of developing economie
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Distribution of developed economies
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Distribution of economies by trade
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TABLE1.1IMPORTS (c.i.f., in million
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TABLE1.2.ADeveloping economiesAsiaE
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TABLE1.2.ADeveloping economiesEaste
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TABLE1.2.BDeveloping economiesAsiaE
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TABLE1.2.BDeveloping economiesEaste
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CREATIVE GOODS: EXPORTS AND IMPORTS
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EXPORTS OF ALL CREATIVE SERVICES (1
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IMPORTS OF ALL CREATIVE SERVICES (1
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EXPORTS OF ADVERTISING AND RELATED
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IMPORTS OF ADVERTISING AND RELATED
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EXPORTS OF ARCHITECTURAL AND RELATE
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IMPORTS OF ARCHITECTURAL AND RELATE
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EXPORTS OF RESEARCH AND DEVELOPMENT
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IMPORTS OF RESEARCH AND DEVELOPMENT
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EXPORTS OF PERSONAL, CULTURAL AND R
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IMPORTS OF PERSONAL, CULTURAL AND R
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EXPORTS OF AUDIOVISUAL AND RELATED
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IMPORTS OF AUDIOVISUAL AND RELATED
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EXPORTS OF OTHER PERSONAL, CULTURAL
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IMPORTS OF OTHER PERSONAL, CULTURAL
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Statistical Annex Part 2CREATIVE EC
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TABLE3.2.ADeveloping economies (2)E
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TABLE3.2.BDeveloping economies (2)E
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TABLE3.3.AEXPORTS (in millions of $
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TABLE3.3.BIMPORTS (in millions of $
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Creative Economy: A Feasible Development Option

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