Creative Economy: A Feasible Development Option

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In this context, in January 2010 UNCTAD launchedthe celebration of the United Nations 2010 InternationalYear of Biodiversity, by convening three intertwined ecoorientedevents with a focus on eco-fashion, natural health,cosmetics and the luxury industries. In addition to an ecofashionshow and exhibition, an international policy andbusiness-oriented seminar was held to engage the internationalcommunity in more environmentally and sociallysensitive practices with regard to the use of the biodiversitywhile promoting creativity.9The international dimension of creative-industries policy252 CREATIVE ECONOMY REPORT 2010
CHAPTER10 Lessons learned and policy options10.1 Lessons learnedThis report broadly reaffirms and validates the findingsand recommendations of the 2008 report, but goes astep further. It not only provides a deeper analysis, includingadditional research and more recent data and information,but also broadens concepts and identifies more clearly criticalareas requiring target policy interventions by countries.Moreover, it brings new reflections taking into account thefar-reaching consequences of the economic crisis and themitigating policies towards economic recovery. The reportalso contributes to the process of reorienting developmentthinking towards more equitable, people-centred and sustainablepolicies.All countries, developing and developed alike, areenormously rich in cultural diversity and creative talents.Their traditions provide a unique heritage of music, crafts,arts, rituals, dances, performances, storytelling and culturalpractices. These manifestations of local and national culturalexpressions are assets, representing the indisputablecultural capital, both tangible and intangible, on which thelives of the community are founded. These assets can, inturn, give rise to a complex array of creative products —goods and services (commercial and non-commercial) withboth cultural and economic value that personify the expressionsof the creativity and talent of the people.<strong>Creative</strong> products and cultural activities have realpotential to generate economic and social gains. The productionand distribution of creative products can yieldincome, employment and trade opportunities, while fosteringsocial cohesion and community interaction.Globalization and the rapid uptake of new informationand communication technologies (ICTs) have opened uphuge possibilities for the commercial development ofcreative products. Indeed, it is the adoption of newtechnologies and a focus on market expansion that are distinguishingcharacteristics of the creative industries asdynamic sectors in the world economy.Gradually these trends are being reflected in theexperience of developing countries. Some parts of thedeveloping world, notably Asia, are enjoying strong growthin their creative industries. However, in other developingregions the situation is more nuanced. This report showsthe rapid growth in the exports of creative goods and servicesas indicators of the strength of the creative industriesin contemporary society. In the period 2002-2008, worldexports of creative goods and services grew at unprecedentedlevels by 11 and 17 per cent, respectively. Growth ratesin developing countries as a whole exceeded those in developedcountries, thanks to the exceptional performance ofChina. South-South trade of creative goods accounted for15 per cent of world exports in 2008, a sign of the growingpenetration of developing countries in global markets.These results provide a strong hint of the potential that stillawaits developing countries to take better advantage of theircreative economy for development gains.Certainly there are obstacles, at the national andinternational levels, that need to be tackled so that developingcountries can optimize the new opportunitiesoffered by the creative economy for generating jobs, revenuesand export earnings while promoting social inclusion,cultural diversity and a more human development.These opportunities are more visible today and cannot bemissed. In general, some of the main domestic constrainsconfronted by many countries are:■■■the lack of a clear framework for understanding and analyzingthe overall interactions of the creative economy asa basis for tailored and forward-looking policymaking;the absence of data about the performance of differentcreative industries as a basis to shape concrete initiativessuch as support for small and medium-sized enterprises(SMEs), clustering, financing, etc.;the unusual organizational characteristics of the creativeCREATIVE ECONOMY REPORT 201010Lessons learned and policy options253
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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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3Analysing the creative economychai
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3Analysing the creative economygrou
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6766.966.27878.179.7*3940.041.6*363
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3Analysing the creative economyissu
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3Analysing the creative economybeca
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3Analysing the creative economy■
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4Towards an evidence-based assessme
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4.7 The case for a trade model for
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elated to need and comparable. Seco
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4.8.2 Summary comparison of statist
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Table 4.4 continuedCreative service
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■■The same rationale applies to
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Box 4.1Reality and numbers4Towards
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124 CREATIVE ECONOMY REPORT 2010
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5importing countries. It is not yet
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5International trade in creative go
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Chart 5.4a Share of economic groups
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Chart 5.6AlldevelopingeconomiesAsia
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profile their trade performance in
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82.5 per cent in 2002 to 77 per cen
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Trade (GATT) and Article V of the G
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Table 5.12aRankExporterArt crafts:
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socio-economic growth, performing a
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Tajikistan), underscores the promis
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except in South Africa. Recently st
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from $3.5 billion in 2002 to $7 bil
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India remains the world largest fil
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RadioDespite recent changes in life
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first and second, exporting nearly
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The aim of this report is to sensit
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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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Page 237 and 238: CHAPTER8Policystrategies for the cr
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Page 243 and 244: 8.4.2 Provision of finance andinves
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Page 269 and 270: 9.3.4 TRIPS AgreementWith respect t
Page 271 and 272: 9.4 UNESCO cultural-diversity persp
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Page 275 and 276: Cooperation has continued to work w
Page 277 and 278: come obstacles faced by poor commun
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Page 291 and 292: 10.3.2 Role of creative entrepreneu
Page 293 and 294: ReferencesBooks and articlesAcheson
Page 295 and 296: of Definitions of the Cultural and
Page 297 and 298: ativity for its management”, in C
Page 299 and 300: Taylor, Calvin (2006). “Beyond Ad
Page 301 and 302: Department of Communications, Infor
Page 303 and 304: PricewaterhouseCoopers (2008). “G
Page 305 and 306: ______(2004). São Paulo Consensus:
Page 307 and 308: The 2009 UNESCO Framework for Cultu
Page 309 and 310: Statistical Annex
Page 311 and 312: Explanatory notes (continued)Art cr
Page 313 and 314: Explanatory notes (continued)Obviou
Page 315 and 316: Explanatory notes (continued)EBOPSE
Page 317 and 318: Country Profile: Argentina (continu
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Page 321 and 322: Country Profile: Turkey (continued)
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Page 325 and 326: Distribution of developing economie
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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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