Creative Economy: A Feasible Development Option

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1Concept and context of the creative economyTable 1.9 Estimates of the contribution of creative industries to GDP for five OECD countriesUnited States2002United Kingdom2003France2003Canada2002Australia1998-1999%GVA%US$GVA millions%£GVA millions%€GDP millions%C$GDP millionsCreative industries A$millions0.200.200.400.301.100.401.000.000.10na20,835*19,111*39,076*30,294*116,451*45,662*101,713*195*13,463*na0.700.500.300.502.100.900.900.100.70na5,0004,0002,2003,70014,9506,3506,2005005,630na0.800.200.400.200.800.300.300.000.00na11,858*2,524*5,155*3,425*11,283*4,851*4,878*413*363*na0.300.100.400.201.80na0.500.100.10na2,856*1,084*3,909*2,576*19,427*na5,305*1,082*1,226*na0.500.100.400.201.201.000.600.000.10na2,464*788*2,397*952*6,590*5,640*3,474*74*313*na*AdvertisingArchitectureVideo, film and photographyMusic & the visual & performing artsPublishing/written mediaof which: printingRadio and TV (broadcasting)Art and antiques tradeDesign (including designer fashion)CraftsTotal17,053* 3.1037,465* 3.5039,899* 2.8042,180* 5.80 341,139* 3.30Total economy (GDP or GVA)542,831 100.00 1,069,703 100.00 1,434,812 100.00732,395 100.00 10,469,601 100.000.000.000.001,112*3,294*508*nanananananana0.00nana148*na0.100.100.101,236*550*672*……na792.2716.4naLibraries (includes archives)MuseumsHeritage sitesElectronic gamesna nana na8,169* 0.6020,700 2.80129,636* 1.20* = OECD estimate# = income dataCaveat: These data are initial estimates and should be interpreted with extreme caution, bearing in mind that (a) they are based on national cultural industry typologies; (b) the contents of individual headings are different from one countryto another; and (c) treatment of taxes such as the value added tax is not consistent across countries. In order to maintain consistency between the numerator and the denominator when calculating the percentages, the total GVA or GDPhas been used as appropriate.Australia: Data are OECD estimates derived from output by product and by industry data presented in the Australian Bureau of Statistics (ABS), Arts and Culture in Australia: A Statistical Overview. Ratios of value added to output werederived from various ABS Service Industries Surveys available on the ABS website.Canada: Statistics Canada estimates at www.statcan.ca/english/freepub/87-008-GIE/them/economiccont.htm. These are updates to the tables presented in Statistics Canada, Economic Contribution of Culture in Canada, December 2004(Catalogue no. 81-595-MIE – no. 023) also available on the Statistics Canada website. The category “Support activities” used in the Canadian framework has been distributed proportionally across the other sectors.France: Data are OECD estimates. They were derived from National Institute for Statistics and Economic Studies (INSEE) turnover data, supplied by the French Ministry of Culture and Communications, by applying value added to turnoverratios taken from INSEE and OECD data. Total GVA has been taken from INSEE national accounts data.United Kingdom: UK DCMS estimates are based on United Kingdom Office for National Statistics data taken from the DCMS Creative Industries Economic Estimates Statistical Bulletin, October 2005 - Revised Version atwww.culture.gov.uk/global/research/statistics_outputs/creative_industries_eco_est.htm. The table departs from the equivalent DCMS table in that the activities of the printing industry have been added to "Publishing" and the "Total ofabove". This has been done to enhance cross-country comparability.United States of America: Data are OECD estimates. They were derived from Bureau of Economic Analysis and United States Bureau of the Census data. These estimates should be used with particular caution given the number ofassumptions applied in their preparation.Source: Gordon and Beilby-Orrin, International Measurement of the Economic and Social Importance of Culture, OECD (2007).32 CREATIVE ECONOMY REPORT 2010
CHAPTER2 The development dimension2Most of the attention in the debate about the creativeeconomy around the world has been paid to developedeconomies, where creative industries are well establishedand where participation in global markets for creativeproducts is strong. In developing economies, however,the situation is more nuanced. Asian countries, led byChina, are experiencing rapid growth in creative capacitiesand in recent years have been benefiting from the competitivenessof their creative products in world markets. Inother areas of the developing world, national strategies toenhance the creative economy are gradually being put inplace but more time is needed for the poorest countries toreinforce their policy and institutional frameworks in orderto take best advantage of their creative talents to fostersocio-economic development. It is more widely recognizedthat developing countries have a vast deposit ofintangible cultural heritage and traditional cultural expressionsthat could be better nurtured. This chapter reviewsthe development dimensions of the creative economy,looking at the economic and cultural linkages, social interactionsand environmental considerations. Policy implicationsin the light of impact of the world economic downturnand its impact for poverty reduction and sustainabledevelopment are discussed. The chapter also presents anoverview of recent developments regarding the creativeeconomy in regions of the developing world.The analysis is presented in the context of theMillennium Development Goals (MDGs) since they representthe international policy environment within whichnational strategies for advancing the creative economy indeveloping countries are being implemented. Chapter 9will further elaborate on the multilateral processes andongoing policy action under implementation by UnitedNations bodies and the international community pursuantto the Millennium Declaration.The development dimension2.1 Policy implications: The Millennium Development GoalsThe MDGs express the international community’scommitment to the global development agenda. There areeight goals with specific targets to be reached by 2015,namely to: (1) eradicate extreme poverty and hunger; (2)achieve universal primary education; (3) promote genderequality and empower women; (4) reduce child mortality;(5) improve maternal health; (6) combat HIV/AIDS,malaria and other diseases; (7) ensure environmental sustainability;and (8) develop a global partnership for development.For a number of developing countries progress in attainingthe MDGs has been slow and was further aggravatedby the devastating impact of the 2008 world financial crisison the global economy. The crisis was especially devastatingin least developed countries (LDCs) that werealready affected by the food crisis and are less able toabsorb external shocks. By 2010, although many developingcountries had made some progress in reducing poverty,the poorest countries are likely to fail to eradicate extremepoverty and hunger within the next five years without a significantimprovement in their economic situation andmore targeted development policies that are supported byinternational cooperation. As the majority of developingcountries, in particular the LDCs, have a large proportionof youth and women who need better access to educationand jobs, the creative economy should be seen as a workablemeans to poverty alleviation and environmentalsustainability.The MDGs address development challenges as aninherent part of the global economy and the life of soci-CREATIVE ECONOMY REPORT 201033
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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
Page 9 and 10: LIST OF BOXES1.1 A creative entrepr
Page 11 and 12: 5.9 Creative goods: Exports, by reg
Page 13 and 14: 5.13 Audiovisuals: Exports, by econ
Page 15 and 16: ForewordThe United Nations publishe
Page 17 and 18: AcknowledgementsThe Creative Econom
Page 19 and 20: Scope of this reportThe Creative Ec
Page 21 and 22: Chapter 1 explores evolving concept
Page 23 and 24: Ten key messagesThis policy-oriente
Page 25 and 26: IX. In the aftermath of the crisis,
Page 27 and 28: GCC Gulf Cooperation CouncilGDP Gro
Page 29 and 30: The Creative Economy1PART
Page 31 and 32: CHAPTER1Conceptand context of thecr
Page 34 and 35: 1Concept and context of the creativ
Page 40 and 41: 1Box 1.1 continuedA creative entrep
Page 42 and 43: 1Box 1.2 continuedThe creative city
Page 62 and 63: 2The development dimensioneties. Th
Page 64 and 65: Box 2.1South-South sharing of creat
Page 66 and 67: 2The development dimension2.2.3 Soc
Page 68 and 69: 2Box 2.2 continuedBrazilian carniva
Page 70 and 71: Box 2.3Africa Remix: Africa speakin
Page 72 and 73: 2The development dimensionrequire c
Page 74 and 75: 2The development dimensionconcrete
Page 76 and 77: 2The development dimensionreforms,
Page 78 and 79: 2The development dimensionThailand:
Page 80 and 81: 2The development dimensionTurkey: I
Page 82 and 83: 2The development dimensionMinistry.
Page 84 and 85: 2The development dimensionvisual ar
Page 86 and 87: 2The development dimension2.4.5 The
Page 88 and 89: Box 2.7 continuedBrand Jamaica as t
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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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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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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