Creative Economy: A Feasible Development Option

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5International trade in creative goods and services: Global trends and featuresChart 5.7a Creative goods: Top 10 trade surplus and deficit countries in 2002United KingdomChinaChina, Hong Kong SARThailandIrelandTurkeyMalaysiaCanadaKorea, Republic ofPolandSaudi ArabiaGreeceNetherlandsNorwaySwitzerlandFranceAustraliaJapanUnited States10.226.712.131.371.241.161.110.840.75-0.63-0.76-0.91-1.35-2.26-2.34-2.54-5.81-8.15-50.0729.41-60 -40 -20 0 20 40Source: UNCTAD, based on official data reported to UN COMTRADE databaseChart 5.7b Creative goods: Top 10 trade surplus and deficit countries in 2008ChinaUnited KingdomItalyGermanyIndiaChina, Hong Kong, SARThailandMalaysiaViet NamTurkeyPolandRussian FederationSwitzerlandSpainUnited Arab EmiratesFranceCanadaAustraliaUnited StatesJapan3.102.522.271.851.41Italy15.207.547.183.78-3.57-3.99-4.20-4.68-5.52-5.52-6.02-10.95-11.52-54.97(in billions of $)78.73(in billions of $)deficit of $55 billion in 2008. Thisresult corresponds to the global discussionthat China’s share of trade deficitin the United States is the largestamong all other group of economies.By 2008 the number of Asianexporters in the top 10 surplus countriesclimbed from five to seven, withIndia and Viet Nam becoming importantplayers in this industry. Among thedeveloped countries, Italy had the second-largestsurplus in creative goods,though its surplus was five times lowerthan China’s in 2008. Germany, whichranked third, has also increased its shareof exports in the world market, with$7.5 billion in 2008.No countries in Latin America orAfrica made the list of top 10 surpluscountries. In summary, with the exceptionof Asia, where many countries arenet exporters, other developing regions,in particular Africa, the Pacific, theCaribbean and Latin America, havebeen consuming more and moreimported creative products (see chart5.7a and chart 5.7b).5.3.5 Country profileson the creative economyAn integral part of this report isits statistical annex, which provides acomprehensive picture of world tradedata for creative goods and services.The annex derives from the UNCTADGlobal Database on the CreativeEconomy, which provides analyticaltools to enable individual countries to-80 -60 -40 -20020 40 60 80 100Source: UNCTAD, based on official data reported to UN COMTRADE database134 CREATIVE ECONOMY REPORT 2010
profile their trade performance in the area of the creativeindustries. The database provides an opportunity for policymakersand researchers to extract trade information to generatedetailed product and country-level information for economicanalysis.As an illustration, the annex presents country profilesfor two countries (Argentina and Turkey) from differentgeographical regions, showing their trade performance forboth creative goods and services. These country profilescover the period 2002-2008 and compare all creative sectorsto better understand how their trade performance hasevolved. The first part of each country profile summarizestrade balance and with a detailed disaggregation of productgroups. The second part presents a comparative analysis oftrade data for creative goods, positioning each country in itsregional context.55.4 Regional economic groups in world marketsEurope led exports of creative-industry products duringthe period 2002-2008. As shown in table 5.9, the 27-member European Union is the leading regional economicgrouping in exports of creative goods, dominating the marketwith about 40 per cent of world exports. However, thisincrease also reflects the growing number of countries in theEuropean Union. Conversely, fewer countries are nowgrouped as economies in transition, one of the reasons fortheir very low level of exports. European Union exports ofboth creative goods and creative services increased markedlyduring the period 2002-2008. Its exports of creativegoods rose from $89 billion in 2002 to $163 billion in2008. For data on trade flows by trade groups, see tables1.3 in the annex.Asia became the second largest exporting region in2002, when the total value of its exports of creative goodssurpassed the total exports of creative goods from NorthAmerica, according to reported figures. As mentioned earlier,the main reason for this is the impressive growth ofexports of creative goods from China, which reached $85billion in 2008. Moreover, exports of creative goods fromthe 10 countries of the Association of Southeast AsianNations (ASEAN) rose from $7.3 billion in 2002 to $17.3billion in 2008. For the so-called ASEAN+3 (ASEAN plusChina, Japan and the Republic of Korea), total exports ofcreative goods reached $113.4 billion in 2008 (see table 1.3in the annex). In other regions in Asia, including Westernand Eastern Asia, production and exports of creativeproducts also increased sharply from 2002 to 2008.In Latin America and the Caribbean, the performanceof creative industries also improved but less rapidly.Exports of creative goods from the 34 countries thatactively participate in the Free Trade Area of the Americas(FTAA) increased from $33 billion in 2002 to $53 billionin 2008. Of this latter amount, $49 billion represented theexports from the three countries that belong to the NorthAmerican Free Trade Agreement (NAFTA): Canada,Mexico and the United States. On the other hand, the fourMERCOSUR countries (Argentina, Brazil, Paraguay andUruguay) have a small share in the world trade of creativegoods despite the gradual increases; together they exported$1.6 billion of creative goods in 2008. The other countriesof the region have a very small share in world trade ofcreative-industry products.In summary, the potential of creative industries inLatin America and the Caribbean has not yet been fullyexplored. The economies of the ACP Group — whichencompasses the 79 countries of Africa, the Caribbean andthe Pacific — are not yet benefiting from the huge potentialof their creative industries. Despite their rich cultural assets,their share in world markets remains extremely small.Nevertheless, exports of creative goods increased from $446million in 2002 to $1.6 billion in 2008. The same situationapplies for the group of 49 LDCs (whose exports reached$1.6 billion in 2008) and the SIDS (whose exports reached$135 million in 2008). (Most of the LDCs and SIDS arealso members of the ACP Group). Undoubtedly, furtherefforts should be made to enhance creative capacities fortrade and development gains in all these countries.International trade in creative goods and services: Global trends and featuresCREATIVE ECONOMY REPORT 2010135
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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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2The development dimension2.5.1 Cre
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2The development dimension■solar
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2The development dimensionBox 2.13E
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72 CREATIVE ECONOMY REPORT 2010
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3.2 Organization of the creative ec
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3Analysing the creative economythat
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3Analysing the creative economyketi
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3Analysing the creative economydiff
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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 158 and 159: Chart 5.4a Share of economic groups
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Page 169 and 170: Table 5.12aRankExporterArt crafts:
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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,
Page 195 and 196: The Role of IntellectualProperty an
Page 197 and 198: CHAPTER6Therole of intellectual pro
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Page 207 and 208: NO DERIVATIVE WORKSAllows others to
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Page 211 and 212: 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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