Creative Economy: A Feasible Development Option

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4.8.2 Summary comparison of statisticsmethodologies for creative andcultural goods4Table 4.1 Comparative analysis of statistical methodologies for international trade of creative/cultural goodsDomains Subgroup (1)Selected methodologies and their definition of creative/cultural goods (2)Towards an evidence-based assessment of the creative economyHeritageArtsMediaFunctionalcreation1. European culturalindustries2. MERCOSUR3. Creativeindustries (3)Product group Eurostat Finland UK Italy4. UNESCO5. UNCTADCreative EconomyI. Art Crafts - (4) - - - C C CCarpets - - - - C - CCelebration - - - - - C CPaperware - - - - - - CYarn - C - C C C CII. Performing Arts C (5) C C C C C C, R(6)Music (CD, Tape) C C C C C C CPrinted music - C - C C C CMusical instrument C C - C C C RIII. Visual Arts C C - C C (7) C, R C, RAntiques C C - C - C CPainting C C - C - C C, RPhotography - C - C - C, R C, RSculpture C C - C - C CIV. Publishing C C C C C C, R C, RBooks C C C C C C CNewspaper C C C C C C COther printed matter C C C C C C CPrinting machinery - - - - - R RV. Audio-visual - C C, R C C C, R C, RFilm - C C C C C CAudio-visualsPost-production equipment - C R C C R RBroadcasting equipment - C R C C R RVI. Design - - - C C C C, RArchitecture - - - C C C C, RFashion - - - C C - C, RInterior - - - - C - C, RGlassware - - - C C C CJewellery - C - C C C C, RToys - - - - C - CVII. New media C C R C C C, R C, RRecorded media C C R C C C CVideo games - - - C - C CComputer equipment - - - C C R RNotes:1. Domain and subgroup definition is based on UNCTAD classification for creative and related goods; definition may vary in other classifications.2. Nomenclatures of selected methodologies: Eurostat: ComExt Nomenclature; Finland: Combined Nomenclature (CN); MERCOSUR: Common Nomenclature of MER-COSUR (NCM); United Kingdom: UK Standard Industrial Classification (UK SIC); Italy: Classification of Economic Activity (ATECO); UNESCO: Harmonized System2007 version (HS 2007); UNCTAD: Harmonized System 2002 version (HS 2002).3. UK SIC and Italy’s ATECO are classifications for economic activities, The corresponding products for these activities are listed here.4. -: This sector/product group is identified neither creative goods nor related goods in the methodology.5. C: This sector/product group is identified as creative/cultural goods in the methodology.6. R: This sector/product group is identified as related goods/supporting equipments and materials in the methodology; only MERCOSUR, UNESCO and UNCTADclassifications identify categories for related goods.7. Italy’s ATECO classification lists art galleries and art auction activities in the category of ‘Contemporary Art’ but does not provide any specific codes in this category.Source: UNCTAD110 CREATIVE ECONOMY REPORT 2010
Table 4.1 provides a summary comparison of thedefinition of creative/cultural goods in the foregoingfour statistical methodologies in relation to the UNC-TAD methodology. It compares product groups insteadof the most detailed codes, because many methodologiesuse different nomenclatures and translating codes fromone to another is problematic. The differences in thesemethodologies highlight how various approaches tocultural policy have influenced the classification ofcreative/cultural goods.This analysis reveals the intersection and divergence ofthe selected methodologies. As seen in table 4.1, several productgroups are recognized as creative/cultural goods in all ofthe methodologies. These include music products (recordedmedia such as CDs and tapes as well as printed music andmusical instruments), visual arts (antiques, paintings andsculpture), publishing (books, newspapers and periodicals)and audiovisual materials (films and videos). It is fair to suggestthese products form a core set of creative/cultural goods,since they have been approved universally, and should thereforebe included in the framework of trade statistics as thecomparative base.Another set of products was only recognized by somemethodologies. These include art crafts, design and newmedia. They can be said to form an ‘optional’ set of creative/culturalgoods, which provide flexibility as policy makersseek to define the most appropriate statistical frameworkfor their countries.As the most important two classifications for culturalstatistics, the UNESCO and UNCTAD frameworks cover abroader range of product groups than the other methodologiesbecause they aim to provide a universal reference; hencethey include both the ‘core’ and ‘optional’ sets ofcreative/cultural goods. As shown in tables 4.2 and 4.3, theUNESCO 2009 FCS and UNCTAD share a similar philosophyin categorizing creative/cultural goods and relatedgoods and equipments. Although these two frameworksapply different versions of HS codes, they embrace somecommon underlying principles for capturing the exclusivecreative/cultural goods.However, a more detailed comparison of the productcompositions in each classification makes the differencesbetween the UNESCO and UNCTAD frameworks moreapparent. For example, if we separate the ‘core’ set of goods(arts and media products) from the ‘optional’ set (art craft,design and new media products), the ratio of core to optionalgoods in the UNESCO framework is 60/40, while in theUNCTAD classification it is 20/80. According to the datafrom UN CONTRADE database, the ‘core’ set ofcreative/cultural goods is dominated by developedeconomies, but the ‘optional’ set gives developing countriesmore export opportunities. 22 Combining these two observations,it could be argued that the UNESCO classification isbetter at capturing the experience of countries in the globalNorth, while UNCTAD’s better reflects opportunities forcountries in the South.Generally speaking, the UNESCO 2009 FCS providesa general framework and a conceptual list of trade statisticfor cultural goods and services at a universal level. TheUNESCO proposed new classification also sets an agendafor future taxonomic modification and has the potential tofacilitate better measurement of the economic dimension incultural goods and services in the future.Comparatively, the UNCTAD classification emphasizesthe undiscovered creativity of the global South by providingelements to identify potentialities. Therefore, the majority ofproducts in the UNCTAD classification fall into the Designand Art crafts categories. Indeed, it was the Creative EconomyReport 2008 that first presented world trade statistics for thesetwo categories on a universal basis, since these are the categorieswhere developing countries have higher market sharesand greater opportunities in international trade. The UNC-TAD classification is pragmatic in the way it both analyses theevolution of statistical methodology while also reflecting thebalance of trade data currently available.4Towards an evidence-based assessment of the creative economy22 According to the UN COMTRADE database, the exports of arts and media (core sets) goods are dominated by developed economies, which command 80 to 90 per cent of theglobal market. Art crafts, design and new media (optional sets) goods from developing economies capture more than half of the global market. For more detailed analysis, see chart5.4a and 5.4b in chapter 5.CREATIVE ECONOMY REPORT 2010111
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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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2The development dimension2.4.5 The
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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 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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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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