Creative Economy: A Feasible Development Option

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2The development dimensionpublishers, music ensembles, etc. — that were previouslystate-financed have been forced to make their way in the privatemarketplace, and many have not been able to survive thetransition. Artists and professionals from the creative industries,who were used to being full-time employees, now haveto compete and look for new but limited opportunities in theprivate sector.Some municipalities in Eastern Europe are now lookingto the cultural industries as an avenue to becoming “creativecities”. An example is St. Petersburg in the RussianFederation. However, despite this city’s attraction as the locationof the Hermitage, one of the world’s finest art museums,some problems remain. Over-reliance on a single organizationto entice tourism has tended to mask the lack of an appropriatescheme for cultural activities in the city. The way forwardcould be to introduce creative industries in city planning bysupporting small-scale cultural producers by setting-up creativeclusters with suitable institutional support for the developmentof culture-related SMEs. 70 Lately, some EasternEuropean countries have taken a more proactive approach toenhancing culture and creative industries in their developmentstrategies.Latvia: A definition of the creative industries wasincluded for the first time in the Guidelines for the StateCultural Policy of Latvia for 2006-2015, 71 and the study“Creative Industries of Latvia”. 72 Economically, the mostsuccessful sectors are the publishing (literature and media)and polygraph industry (37 per cent of the total turnover ofall creative industries in 2006) and advertising (27 per cent).However, the priority fields identified by the Ministry ofCulture are design and audiovisual media because of theirexport potential. The study Creative Industry Research, Update ofStatistics (2008) shows that the annual turnover of the industriesand the number of employees in the creative industriesare constantly growing, totalling about 63,500 people in2006, two-thirds of whom work in the capital, Riga. 73However, both the publishing and tourism industries anticipatelarge-scale bankruptcies 74 due to the dramatic decline inbook sales during 2008-2009. The Ministry of Educationand Science and its subordinate institutions are responsiblefor developing the creative industry, as is the Ministry ofCulture’s Policy Planning Department.Moldova: Moldova’s entertainment business lags farbehind neighbouring countries, especially Russia andRomania, and it is influenced by their entertainment markets.The publicity market is developing fast, increasing each yearby 25 to 40 per cent. In 2006 the advertising/publicity businessaccounted for more than $14 million in sales, with about80 per cent of the funds brought into the country by foreignagencies. A non-governmental organization, OWH TVStudio, organizes workshops for young professionals in thecinema sector as well as international documentary film festivalsand summer schools on film production with the participationof international experts. 75Poland: According to the National Strategy for theDevelopment of Culture in 2004-2013, the value added bycreative industries reached €17.3 billion, or 5.2 per cent ofnational GDP. The field of cinema took an important stepforward with the 2005 Cinematography Act, which createdthe Polish Film Institute, which acts de facto as a non-departmentalpublic body. The act provides support up to 50 percent of the film budget — or up to 90 per cent in the case oflow-budget or artistic films. 76 This brought a rapid increasein the number of films produced in Poland and enticed foreignfilmmakers to engage in co-productions or utilize filmservices in Poland. As part of the process of reform of culturalpolicy, the Ministry of Culture and National Heritageorganized the Congress of Polish Culture in Krakow inSeptember 2009, involving artists, academics and politiciansin a debate on the development of Polish culture. In preparationfor the Congress, 15 research groups were commissionedto prepare reports on various fields of culture, from financingto promotion of Polish culture abroad. The Ministry ofCulture and National Heritage is actively involved in thepreparations for the European Capital of Culture 2016, severalcities have declared their interest and the first stage of thecontest is the evaluation of candidate cities on the nationallevel, a process scheduled to be concluded in autumn 2010.Romania: In recent years, Romania has become anattractive location for films, videos and advertising productions.However, the local film industry has been hurt by thedwindling number of cinemas in the country, from about70 See O’Connor (2005:244-258) and UNCTAD Creative Economy and Industries Newsletter, No. 5, April 2007.71 Cabinet Order No. 264, dated 18 April 2006.72 Ministry of Culture, Republic of Latvia, Creative Industries in Latvia (BICEPS, 2007). See http://www.km.gov.lv.73 Source: Creative Industry Research. Update of Statistics, 2008.74 Compendium: Cultural Policies and Trends in Europe. “Culture industries: policies and programmes”. http://www.culturalpolicies.net/web/latvia.php?aid=426.75 See http://www.culturalpolicies.net/web/moldova.76 For more information see Polish Film Institute: http://www.pisf.pl/en.62 CREATIVE ECONOMY REPORT 2010
4,600 in the 1990s to about 85 at present; as a result, nationalaudience was 45 times lower in 2005 than in 1990. Despitethis negative trend, Romania has seen increased production oflong, medium and short films and TV serial films. Accordingto the European Cinema Yearbook, in 2006 Romania had onescreen for every 200,000 inhabitant. The nation’s advertisingmarket, however, is expanding. A national program implementedfrom 2006 to 2009 sought to stimulate crafts production,improve artisans’ access to information, and promoteproducts obtained by simple technologies, mainly manuallymanufactured using traditional technologies. It also soughtto stimulate domestic demand for such products as well as togain entry into new external markets, especially for traditionalproducts, and to increase the number of jobs by attractingyouth and women. 77Russia: The Russian government has been looking intothe creative industries as part of its effort to develop and modernizethe country. The city of Moscow is undergoing animpressive transformation, merging the old and the new andsupporting creative clusters that bring together public and privateinvestors. Emphasis is being given to the fields of design,architecture and new media. A number of buildings constructedin the nineteenth and twentieth centuries are being transformedinto cultural centres, art galleries, artist studios oradvertising agencies. Defunct factories are being renovated tohouse clusters of artists, architects and designers. A goodexample is the former Bakhmetevsky Bus Garage. Built in1926, it has been fully renovated and reborn as the GarageCentre for Contemporary Culture, now one of Moscow’sleading venues for contemporary art shows. To support suchinitiatives, the Strelka Institute for Media, Architecture andDesign is launching a postgraduate program for specialists in2The development dimensionthe fields of design, architecture and new media. 78 63Box 2.8The Bolshoi: A sublime gift to the worldThe Bolshoi Theatre is one of the most famous cultural institutions not only in Russia but also around the world. However, this has not always been the case.Bolshoi’s history goes back to March 1776 when the Russian Tsarina, Catherine the Great, granted Prince Urussov exclusive rights to organize performancesand masquerades in Moscow. In four years – by 1780 – Petrovsky Theatre was built for the company on the exact spot where the historic building of theBolshoi Theatre now stands, at the place that today we call Teatralnaya Square. Only after the big fire of 1805, when the building was ruined, and in orderto preserve the company was the decision taken for it to come under the Emperor’s theatres, which eventually included the Mariinsky (renamed the KirovTheatre for part of the twentieth century), Aleksandrinsky and Maly Theatres in St. Petersburg and Maly Theatre in Moscow. With the Russian capital locatedin St. Petersburg, all major musical theatre events during the nineteenth century took place at the Mariinsky rather than at the Bolshoi.After the October revolution of 1917, the capital was moved to Moscow and the situation drastically changed. All the best artists were invited to Moscow.Prior to that time, Anatoly Lunacharsky, who was the Cultural Minister of the new Soviet Republic, had to win a major battle in order to convince authoritiesthat ballet and opera were not a mere bourgeois form of distraction but rather a truly great art that expresses the national glory of Russian peopleno less evidently than any economic, social or scientific achievements.The importance of art as an ideological tool was understood quite rapidly by the communists and throughout the twentieth century, State support to theBolshoi was outstanding even in the most difficult times. Stalin himself was often a guest in the official box of the Bolshoi Theatre. Galina Ulanova, MarinaSemionova, Olga Lepeshinskaya, Maya Plisetskaya, Vladimir Vasiliev – these are only some of the names of legendary dancers who made the BolshoiBallet synonymous with the highest standards in classical ballet. From the first Bolshoi international tour in 1956, the Western world was confronted witha new face of Soviet Russia – talented, human, touching and expressive.Today the Bolshoi Ballet Company comprises 220 dancers and is the largest classical ballet company in the world. It has faced some difficult times, however,particularly in the early 1990s after a decade of perestroika where the State for a while lost interest in the company; all former privileges wereerased, all former relations were broken. The company had to find its place in the new country and it took several years to do so. The situation wasaggravated owing to internal artistic crises. When Yury Grigorovich had to leave his post as chief choreographer after holding the post for 30 years, theBolshoi Ballet Company was torn apart by different creative forces and no interesting projects materialized for years.In 2000, Anatoly Iksanov was appointed General Director of the Bolshoi Theater and had to meet several challenges. One of the main ones was therenovation and reconstruction of the historic building of the company, which had been without any major renovation since 1856. The particular natureof the Bolshoi is that opera, ballet, orchestra and building all form an outstanding cultural institution known in the world as the Bolshoi. Hence duringrenovation, it was important not merely to reinforce basement and walls and to install new stage equipment but first of all to preserve a unique company.77 Associations such as Professional Association of Folk Art Producers (ROMARTIZANA) or the National Association of Crafts Co-operation (UCECOM).78 As reported by the Institute for Russia and Eastern Europe, in the context of its Creative Compass Project, whose aim is to enhance mutual understanding between Europeancountries by promoting multilateral cultural cooperation between EU countries and Russia, Ukraine and Belarus. Available from http://www.rusin.fi.CREATIVE ECONOMY REPORT 2010
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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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Page 40 and 41: 1Box 1.1 continuedA creative entrep
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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 92 and 93: Box 2.8 continuedThe Bolshoi: A sub
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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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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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4Towards an evidence-based assessme
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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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