Creative Economy: A Feasible Development Option

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■■The same rationale applies to figures for royalties. Althoughthey are shown, these figures are not included in the totalfor creative services, due to the inability to disaggregate theportion of the value related to creative industries.Due to shortcomings in the methodology and dataunavailability, the other royalties and license fees andinformation services are presented in the annex as Part 3for the purpose of market transparency. Table 4.7 summarizesthe current situation of data availability for creativegoods and services.4Towards an evidence-based assessment of the creative economyTable 4.7Goods and services of creative industriesCreative goods Creative services Creative servicesDomain Subgroup (available data) aggregated (data currently unavailable)Heritage Traditional cultural Art crafts goodsexpressionsCultural sites Other personal, cultural and Cultural & recreationalrecreational servicesservicesArts Visual arts Antiques, painting, Photography services,sculpture; photography,Painting & sculpture: services ofothers: collages andauthors, composers, sculptorssimilar decorative materialand other artists exceptperforming artists.Performing artsPerforming arts servicesMusic Recorded laser discs and recorded Music: Sound recording services;magnetic tapes, and manuscript musicreproduction services of recordedmedia, on a fee or contract basis.Media Publishing and Books, newspapers and other Publishing service andprinted media printed matter News agency servicesAudiovisuals Cinematographic film: Audiovisual and related Film: includes production services;- 35mm or more in width services distribution services;- other widths post-production services;and other related servicesRadio & television: broadcastingservices; audio post-productionservices; radio programme productionservices; audiovisual productionsupport services;Functional New media Recorded media for sound/image Business and creative software,creations and video games. digitalized creative content.Design Interior, fashion, toys, graphic Interior: interior design services;and jewellery:other specific design services.Creative services Advertising, market research Advertising services: planning,and public opinion services;creating services and trade fairand exhibition organization servicesarchitectural, engineeringand other technical services;Architectural services: architecturaladvisory pre-design and design,other architecture-related servicesresearch and development services;personal, cultural andrecreational services116 CREATIVE ECONOMY REPORT 2010
4.9 Methodological basis for a unified measureof international trade of creative goodsAgainst this background, chapter 5 presents in detailthe information that can be collated on the trade of creativegoods and services. It is important to caution end-users ofthis data that they do not provide a final figure on the valueof global trade in creative industries goods due to the reasonselaborated above. Nevertheless, they give a good indicationof the overall trends, the order of magnitude of the trade increative goods and services and major trade flows.Our approach was to use caution and err on the side ofunder-definition and exclusion rather than over-inclusion ofvariables. The analysis does not estimate the value of categoriesthat are a mixture of creative and non-creative goods. In fact,where there is uncertainty about the robustness of a categoryin reporting only creative industries, it is omitted. It is necessaryto proceed on the basis of verifiable facts (not estimates)obtained from official available national sources that are basedon a sound methodology and figures that are reported to theUnited Nations by national sources. Therefore, the findings ofthis report are at the lower end of valuations; without doubt,the actual figures will be considerably higher.In principle, the methodology deployed is simple andadditive. Trade statistics were broken down in their classificationto the smallest unit of analysis (usually referred to usingfour- or five-digit codes); then such units are included orexcluded from a definitive list of creative industries. Clearly,some activities associated with creative production are notclassified or described in data sources or they are describedbut carried out informally and have not actually been capturedin any data collected. These data will continue to beinvisible and go uncounted in the present schema.Recognizing that intellectual property is often animportant element of creative products, an attempt is madeto find corresponding data. However, the only available dataare on overall royalties, and they are collected using a differenttaxonomy. Ideally, some way of relating these data couldbe developed as the coverage of the work of WIPO increases.In addition, specific data on copyrights for the creativeindustries are not available. As a consequence, data on intellectualproperty data and on physical trade are not simplyadditive; it is certain that most intellectual property transactionshave been missed owing to non-availability of data.Copyright data depend on a locally functioning system forthe regulation, collection and distribution of IPRs. However,this system is not complete in the developed world and ispartial at best in many areas of the developing world. Hence,the developing world is likely to be under-represented inthese data. 25Trade information is fundamentally measured throughthe physical auditing of imports and exports of goods acrossnational borders. These goods are measured either by weight,volume or value. The reporting of the services sector iscarried out on a different basis. The most detailed data arecollected with respect to financial, trade-related foreignexchange flows self-reported by central banks (but not disaggregatedby product). Knowledge of the trade in services ingeneral and creative goods in particular provides evidencethat these figures tell only a little of what is needed to informpolicy-oriented analysis. For example, the weight or numberof CDs traded is an inferior indicator for policymakingbecause it does not inform the value of intellectual propertyassociated with what is basically a small disc of plastic.Moreover, it is possible that one recording of a song couldbe exported (in a passenger’s suitcase) and then reproducedin a second country under local licence or distributed as anMP3 file. No financial flows returning to the country oforigin are either recorded or visible. Thus, the value of musicto international trade is difficult to ascertain. For someproducts, the transfer of mass, volume and value can act as aproxy for value, but for most, it does not. Hence it is preciselybecause creative goods are worth more than their functionalvalue that the anomaly is so serious. For example, how can twopieces of furniture — chairs, for instance — be fully accountedfor when both contain similar volumes of material and aretherefore the same weight of goods, but one is an exclusive“designer” chair which has considerable aesthetic and retailvalue, and the other is a mass-produced office chair?The fundamental taxonomy of trade statistics is basedon the type of materials used. This presents those interested4Towards an evidence-based assessment of the creative economy25For example, the International Federation of the Phonographic Industry, an international trade body for music companies (http://www.ifpi.org), does not collect data in many countries,as reliable data are not available.CREATIVE ECONOMY REPORT 2010117
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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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Box 2.7 continuedBrand Jamaica as t
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2The development dimensionpublisher
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Box 2.8 continuedThe Bolshoi: A sub
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Page 96 and 97: 2The development dimension■solar
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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 118 and 119: 3Analysing the creative economyissu
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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
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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Page 169 and 170: Table 5.12aRankExporterArt crafts:
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Page 181 and 182: RadioDespite recent changes in life
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Page 185 and 186: The aim of this report is to sensit
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Page 191 and 192: Table 5.28Chart 5.19(in billions of
Page 193 and 194: 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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