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Measuring the true Value of Culture
Michael Soendermann Office for Culture Industries Research,
Cologne, Germany
Symposium at the Graduate School Humani?es, Kobe University, Japan, 14/15-‐12-‐2013
Measuring the true Value of Culture
• The Culture & Crea?ve Industries and Sectors in Europe • Measurement through strengthening the evidence base focussed
on rigorous data collec?on • Fragmented culture area (47 states European Council) leads to
fragmented quan?ta?ve data
How can people beVer understand the culture and crea?ve industries/sectors?
– normally people are interested in film, music or dance – not in data collec?on
How can policy makers beVer understand the CCI/CCS?
2
Overview
• Interna?onal Debate on Cultural Data Base
• Measuring the true Value of Culture by Concepts? – Conceptual Framework
• Measuring the true Value of Culture for Poli?cs? – Economic, social and cultural value added
• Conclusion
• References
3
The most recent Studies on Arts, Culture and the Crea?ve Sector
5
Understanding China
China Cultural and Creative Industry Reports 2013
Hardy Yong XiangPatricia Walker Editors
Oct 2013 Dec 2013 Nov 2013
CREATIVE ECONOMY REPORT
> WIDENING LOCAL DEVELOPMENT PATHWAYS
2013 SPECIAL EDITION
2013
WIPO STUDIES ON THE ECONOMIC CONTRIBUTION
OF THE COPYRIGHT INDUSTRIES
OVERVIEW
World Intellectual Property Organization (WIPO)
Sep 2013
Contribu?on of Copyright Industries to GDP
6 Source: World Intellectual Property Organiza?on (2013): WIPO Studies on the Economic Contribu?on of the Copyright Industries, Geneva
3
Chart 2: Contribution of Copyright Industries to GDP4
0.00%
2.00%
4.00%
6.00%
8.00%
10.00%
12.00%
USA
KOREA
ST LUCIA
HUNGARY
AUSTRALIA
ST KITTS/N
EVIS
CHINA
PANAMA
SINGAPORE
RUSSIA
NETHERLANDS
MALAYSIA
ST VINCENT
ROMANIA
BHUTAN
LITHUANIA
CANADA
KENYA
SLOVENIA
LATVIA
FINLAND
PHILIPPINES
JAMAIC
A
TRINID
AD AND TOBAGO
MEXICO
LEBANON
GRENADA
TANZANIA
BULGARIA
THAILAND
PAKISTAN
CROATIA
SOUTH AFRIC
A
DOMINIC
A
COLOMBIA
UKRAINEPERU
JORDAN
BRUNEI
Source: WIPO
2.1.2. Contribution to National Employment
The contribution of copyright industries to national employment is slightly higher than the share of GDP and stands at an average of 5.49%. Nearly three quarters of the countries fall in the range between 4% and 7% contribution to national employment. Mexico and the Philippines have by far the highest share of their labor force in the copyright Industries. Most countries with above average share of creative industries5 in GDP also exhibit above average share of employment. Chart 3: Contribution of Copyright Industries to National Employment
0.00%
2.00%
4.00%
6.00%
8.00%
10.00%
12.00%
PHILIPPINES
MEXICO
BHUTAN
NETHERLANDSUSA
AUSTRALIA
MALAYSIA
RUSSIA
HUNGARY
SLOVENIACHIN
A
KOREA
SINGAPORE
COLOMBIA
TANZANIA
LATVIA
CANADA
FINLAND
TRINID
AD AND TOBAGO
LITHUANIA
BULGARIA
KENYA
ST VINCENT
DOMINIC
A
CROATIAPERU
ST LUCIA
LEBANON
ROMANIA
SOUTH AFRIC
A
PAKISTAN
BRUNEI
PANAMA
ST KITTS/N
EVIS
JORDAN
JAMAIC
A
GRENADA
THAILAND
UKRAINE
Source: WIPO
WIPO
Share of Cultural Employment in total Employment 2011
its «International Cultural Flows» reportseries. It is anticipated that UIS willpublish a fifth in the series (and secondfor UIS) in 2014. Using the latest dataand according to the 2009 UNESCOFramework for Cultural Statistics (FCS)methodology, this new report will providean additional step forward inunderstanding and valuing the globalflows of cultural goods and services.
In terms of methodology, UIS releasedthe 2009 UNESCO FCS, which providesconcepts and definitions to guide theproduction of comparable statistics, aswell as to support the development ofindicators and analytical research of theculture sector. The 2009 UNESCO FCSis a tool to organize cultural statisticsnationally and internationally. Since itsrelease, the 2009 UNESCO FCS hasbeen used by countries in differentways. Canada took into considerationthe 2009 UNESCO FCS when itdeveloped its new 2011 FCS whileBosnia Herzegovina, Fiji, Mongolia andSouth Africa have plans to develop andimplement their own nationalframeworks, all adopting elements of the2009 UNESCO FCS. BosniaHerzegovina also undertook a gapanalysis (policy and statistical level)using the UNESCO 2009 FCS as a basisfor analysis while China developed itsown classification for its “Framework forCultural Industries” using the UNESCO2009 FCS as a model. Kenya createdits own definition of culture based on the2009 UNESCO FCS model andundertook a “Mapping Exercise onCreative Cultural Industries”.Meanwhile, Seychelles used the coding
171C R E AT I V E E C O N O M Y R E P O R T 2 0 1 3
Figure 1 Contrasting trends between global admissions and box office, 2005-2011
10
9
8
7
6
52005 2006
Admissions
Bill
ion
of A
dmis
sion
s
Bill
ion
of U
SD
GBO
2007 2008 2009 2010 2011
35
30
25
20
15
10
Source: UNESCO Institute for Statistics (2013) Emerging Markets and the Digitalisation of the Film Industry. Montreal: UIS.
Figure 2 Share of cultural employment in total employment
7%6.51
6.24
5.295.02 4.99
4.674.45
4.24
3.43 3.41 3.34
2.20
1.54 1.38
6%
5%
4%
3%
2%
0%
1%
Switz
erlan
d
Swed
en
United
King
dom
USA
Netherl
ands
Austr
ia
Franc
e
Hunga
ry
Urugua
y
Polan
d
Slova
k Rep
ublic
Macao
, Chin
a SAR
Roman
iaQata
r
Shar
e of
Cul
tura
l Em
ploy
men
t
Source: UIS, 2013
7 Source: UN/UNDP/UNESCO, Crea?ve Economy Report 2013. Special Edi?on, New York
UNESCO-‐UIS
U.S. Arts and Cultural Produc?on 1998 -‐2011
1
ACPSA Issue Brief #3: Arts and Cultural Production and the Recession of 2007-2009
The arts suffered more than the overall economy during the severe recession of 2007-2009. Between 1998 and 2006, the production of arts and cultural goods and services made up roughly 3.5 to 3.7 percent of U.S. GDP. Even during the relatively mild recession of 2001, the arts were nearly 3.6 percent of the U.S. economy.
In 2007, however, the arts and cultural economy fell to 3.3 percent of GDP, and it dipped further to 3.2 percent in 2009. The production of arts and cultural goods and services stabilized in 2010 and posted a modest gain in 2011, when arts and cultural production composed almost 3.3 percent of the U.S. economy.
2.9%
3.0%
3.1%
3.2%
3.3%
3.4%
3.5%
3.6%
3.7%
3.8%
1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
Arts and Cultural Production as a Percentage of U.S. GDP: 1998-2011
Data source: Arts and Cultural Production Satellite Account (ACPSA), U.S. Bureau of Economic Analysis.
Recession of 2007-2009
Office of Research & Analysis National Endowment for the Arts December 2013
8 Source: Office of Research & Analysis, NEA, Washington, U.S. Department of Commerce/BEA
U.S. Department of Commerce
The true Value through Indicators?
• Three different indicators give three different values for the U.S..: 11%, 5%, 3%
• Are Indicators right or wrong? • Are Data bases right or wrong? • Are Comparisons right or wrong?
• A reliable indicator can s?mulate the debate on CCI/CCS poli?cs
9
The Term ‘Culture and Crea?ve Industries‘ is ambiguous
• Defining the culture and crea?ve industries is complex and difficult.
• That‘s because the culture and crea?ve industries in Europe are always changing and developing.
• This is a serious scien?fic problem!
11
.
The scien?fic community is very heterogeneous
• In Europe, the main source of disagreement are different concepts of crea?vity:
– Crea?vity is innova?on – Crea?vity is spill-‐over – Crea?vity is part of the ecology – Crea?vity is everywhere in the economy – Crea?vity is a holis?c term
• The broader the concepts, the poorer the empirical results!
12
.
1. Theory: UNESCO Defini?on
http://www.uis.unesco.org/
>> 1.4 CONTEXT AND CONTOURSOF THE CREATIVE ECONOMY
Modified policy responses are needed when addressing thecreative economy as it differs from other economic sectors.Policy-making in this field has tended to follow genericindustrial models, despite the fact that the creative econo-my functions differently. There is still too much of acookie-cutter approach in this field, which harms regionaland local specificity.10 Hence, there are few current policy
frameworks that are well positioned to encourage such anapproach. The creative economy differs from other sectorsthrough its organizational forms and the market risk associ-ated with new products. Micro-enterprise is more commonin this sector than in others, particularly in developing coun-tries; Yet even there, three layers are to be found: smallindependent producers; quasi-independent subsidiariesserving larger firms; and very large companies (often multi-nationals) in fields, such as film-making and publishing.
The creative economy is simultaneously linked to the
all human beings are caught up in rhythms, movements,relationships and exchanges of resources. These phe-nomena are grounded and lived, and guided by culturalnorms and predilections. As we investigate the culturaland creative industries in diverse local settings around the
world, this perspective helps to deliver the conceptualreframing sought in this Report. The breadth and diversityof the cultural economy are captured in the 2009UNESCO Framework for Cultural Statistics and illustratedin figure 1.4 below.
25C R E AT I V E E C O N O M Y R E P O R T 2 0 1 3
10 Ross, A. (2009)
Figure 1.4 UNESCO Framework for Cultural Statistics Domains
Source: 2009 UNESCO Framework for Cultural Statistics, p. 24.
CULTURAL DOMAINS
The Cultural EconomyBased on UNESCO’S Framework for Cultural Statistics
INTANGIBLE CULTURAL HERTIAGE(oral traditions and expressions, rituals, languages, social practices)
EDUCATION AND TRAINING
ARCHIVING AND PRESERVING
EQUIPMENT AND SUPPORTING MATERIALS
INTANGIBLE CULTURAL HERTIAGE
EDUCATION AND TRAINING
ARCHIVING AND PRESERVING
EQUIPMENT AND SUPPORTING MATERIALS
RELATED DOMAINS
A. Cultural and Natural Heritage– Museums
(also virtual)– Archeological
and Historical Places
– Cultural Landscapes
– Natural Heritage
B. Performance and Celebration– Performing Arts– Music– Festivals, Fairs
and Feasts
C. Visual Arts and Crafts– Fine Arts– Photography– Crafts
D. Books and Press– Books– Newspaper and
Magazine– Other printed
matter– Library
(also virtual) – Book Fairs
E. Audio-visual and Interactive Media– Film and Video– TV and Radio (also Internet
Live streaming)– Internet
Podcasting– Video Games
(also online)
F. Design and Creative Services– Fashion Design– Graphic Design– Interior Design– Landscape
Design– Architectural
Services– Advertising
Services
G. Tourism– Charter Travel
and Tourist Services
– Hospitality and Accommodation
H. Sports and Recreation– Sports– Physical Fitness
and Well Being– Amusement and
Theme parks– Camping
2. Methodology: UNESCO Sta?s?cs Classifica?on
http://www.uis.unesco.org/
>> 1.4 CONTEXT AND CONTOURSOF THE CREATIVE ECONOMY
Modified policy responses are needed when addressing thecreative economy as it differs from other economic sectors.Policy-making in this field has tended to follow genericindustrial models, despite the fact that the creative econo-my functions differently. There is still too much of acookie-cutter approach in this field, which harms regionaland local specificity.10 Hence, there are few current policy
frameworks that are well positioned to encourage such anapproach. The creative economy differs from other sectorsthrough its organizational forms and the market risk associ-ated with new products. Micro-enterprise is more commonin this sector than in others, particularly in developing coun-tries; Yet even there, three layers are to be found: smallindependent producers; quasi-independent subsidiariesserving larger firms; and very large companies (often multi-nationals) in fields, such as film-making and publishing.
The creative economy is simultaneously linked to the
all human beings are caught up in rhythms, movements,relationships and exchanges of resources. These phe-nomena are grounded and lived, and guided by culturalnorms and predilections. As we investigate the culturaland creative industries in diverse local settings around the
world, this perspective helps to deliver the conceptualreframing sought in this Report. The breadth and diversityof the cultural economy are captured in the 2009UNESCO Framework for Cultural Statistics and illustratedin figure 1.4 below.
25C R E AT I V E E C O N O M Y R E P O R T 2 0 1 3
10 Ross, A. (2009)
Figure 1.4 UNESCO Framework for Cultural Statistics Domains
Source: 2009 UNESCO Framework for Cultural Statistics, p. 24.
CULTURAL DOMAINS
The Cultural EconomyBased on UNESCO’S Framework for Cultural Statistics
INTANGIBLE CULTURAL HERTIAGE(oral traditions and expressions, rituals, languages, social practices)
EDUCATION AND TRAINING
ARCHIVING AND PRESERVING
EQUIPMENT AND SUPPORTING MATERIALS
INTANGIBLE CULTURAL HERTIAGE
EDUCATION AND TRAINING
ARCHIVING AND PRESERVING
EQUIPMENT AND SUPPORTING MATERIALS
RELATED DOMAINS
A. Cultural and Natural Heritage– Museums
(also virtual)– Archeological
and Historical Places
– Cultural Landscapes
– Natural Heritage
B. Performance and Celebration– Performing Arts– Music– Festivals, Fairs
and Feasts
C. Visual Arts and Crafts– Fine Arts– Photography– Crafts
D. Books and Press– Books– Newspaper and
Magazine– Other printed
matter– Library
(also virtual) – Book Fairs
E. Audio-visual and Interactive Media– Film and Video– TV and Radio (also Internet
Live streaming)– Internet
Podcasting– Video Games
(also online)
F. Design and Creative Services– Fashion Design– Graphic Design– Interior Design– Landscape
Design– Architectural
Services– Advertising
Services
G. Tourism– Charter Travel
and Tourist Services
– Hospitality and Accommodation
H. Sports and Recreation– Sports– Physical Fitness
and Well Being– Amusement and
Theme parks– Camping
CORE DOMAINS WORK TABLES
3. Analysis: Basic model for measuring the economic contribu?on of cultural industries
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Indicator Measure
Gross value added
Gross value added/GDP of cultural industries or sub-‐sectors Gross value added/GDP of cultural industries in rela?ve terms Distribu?on of gross value added/GDP by sub-‐sectors
Turnover Turnover of cultural industries or sub-‐sectors Turnover of cultural industries in rela?ve terms Distribu?on of turnover by cultural industries sub-‐sectors
Employment Contribu?on of cultural industries employment to total employment Distribu?on of employment in cultural industries sub-‐sectors Volume and share of self-‐ employment Labour produc?vity in cultural industries
Business ac?vity
Stock of business Distribu?on of businesses by sub-‐ sectors Business start-‐ups Business mortality Distribu?on of start-‐ups by sub-‐ sector Distribu?on of business mortality
Source: Hris?na Mikic (2012): Measuring the economic contribu?on of cultural industries. 2009 Framework for Cultural Sta?s?cs Handbook No.1 published by UNESCO Ins?tute for Sta?s?cs, Montreal
Poli;cs
• How can policy makers beVer understand the culture & crea?ve indstries and sectors (CCI/CCS)?
1. The economic value of CCI/CCS
2. The social value of CCI/CCS
3. The cultural value of CCI/CCS
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Poli;cs: 1. Economic Value Added
• Many na?onal and interna?onal studies have analysed the economic value added in the culture and crea?ve industries.
• The analysis shall be con?nued for the European countries on a strictly compara?ve data basis.
• The empiric evidence of the economic value of the culture and crea;ve industries is one of the most important messages to society.
• However, the economic perspec;ve on the culture and crea;ve industries as such is not sufficient any more.
• The strengths of the culture and crea?ve industries are to be found in their wider spectrum.
19
Poli;cs: 1. Economic Value Added
20
Basic Indicator: Contribu?on of Culture Crea?ve Industries in Europe to GDP, 2010 Common data collec;on: EU-‐Structural business sta?s?cs Common defini;on: 2009 UNESCO FCS European region: 25 countries from 47 countries in Europe
above average
1,2% 1,3% 1,4% 1,5% 1,5% 1,6% 1,6% 1,7% 1,9% 1,9%
2,0% 2,0% 2,0% 2,1% 2,1%
2,2% 2,3% 2,4% 2,5% 2,5%
2,8% 2,9% 3,0% 3,1% 3,2%
2,4%
0,0% 1,0% 2,0% 3,0% 4,0%
Lithuania Czech Republic
Portugal Romania Bulgaria Slovakia
Luxembourg Beglium Croa?a Hungary
Latvia Slovenia
Italy Spain
Estonia
Austria France Poland Cyprus
Germany
Denmark Finland
United Kingdom Sweden
Netherlands EU-‐25*
average
below average
far below average
above average
Note: *EU-‐25 without Malta, Irland, Greece Source: Eurostat, Brussels; Office for Culture Industries Research Cologne (Germany)
Poli;cs: 2. Social Value Added
• Due to its diversity of employment forms the culture and crea?ve industries (CCI) gain more and more importance as a factor in employment policy.
• CCI offer jobs to highly qualified as well as less qualified employees. • CCI make an important contribu?on to gender balance and immigrant
integra?on issues.
• CCI are a less capital intensive and more labour intensive economic sector and thus have a posi;ve influence on the social cohesion of a society.
• Therefore CCI can contribute greatly to ‘social value added’ in a society.
21
Poli;cs: 2. Employment Diversity in the Culture and Crea?ve Sector
Labour Market Culture Crea;ve
Sector
Self-‐ Employed
Culturally Self-‐Employed*
Ecnomically Self-‐Employed
Regulary Employee with social insurance
contract
Full ?me Employee
Part ?me Employee
Marginally Employee**
Full ?me Employee
Short ?me Employee
Volunteer
22 Notes: *Low-‐Income Self-‐Employed = less than 17.500 € annual turnover in Germany; **Marginally Employee = only short-‐term contracts or salaries up to 400 € monthly in Germany
23
• Cultural value added by ar?sts, cultural and crea?ve workers is the very basis of economic and social value added in the culture and crea?ve industries.
• The ar;s;c, cultural and crea;ves milieus are the point of departure for culture and crea;ve industries
• What are the working and living condi?ons of ar?sts and crea?ve workers in the European countries?
• Are ar;sts and crea;ves able to contribute novel ideas to the great ques;ons society?
Poli;cs: 3. Cultural Value Added
Poli;cs: 3. The “vola?le“ Life for Ar?sts and Crea?ves
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100
117
129
115
98 100 96 98
95 95 100
97 96
118
109
100
89 92
95
102
80
90
100
110
120
130
140
2008 2009 2010 2011 2012
Inde
x 2008 = 100
Ar;sts and Crea;ves Employment
Denmark
Netherlands
Finland
Sweden
UK
Source: Labour Force Survey 2013; own calcula?ons Office for Culture Industries Research, Cologne Germany
The true Value of Culture
Three dimensions of value: • Economic value is more than just economic impact • Social value will become much more important • Cultural value will hopefully be at the core of future measures
These need a strong empirical basis*: • Framework defini?on must be clear, unequivocal, detailed • Necessity to work towards improving interna?onal standards • Framework should be modular • Classifica?on more important than structure • Comparability is a recurring theme • Robustness → comparability → credibility
26 Source: *Gordon, John C (2006): Interna?onal Measurement of Culture, OECD-‐Workshop , Paris 4/5.12.2006
Thank you for your aVen?on
Ques?ons and Comments Michael Soendermann Office for Culture Industries Research, Cologne, Germany email: soendermann@kulturwirtschax.de hVp://www.kulturwirtschax.de
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References
• For most up to date informa;on: hVp://www.kulturwirtschaX.de • SOENDERMANN, Michael (2012). Monitoring of Selected Economic Key Data on Culture and
Crea?ve Industries 2011. Summary version. Issued by German Federal Ministry of Economics and Technology, Berlin.
• SOENDERMANN, Michael (2012). Monitoring of Selected Economic Key Data on Culture and Crea?ve Industries 2010. Summary version. Issued by German Federal Ministry of Economics and Technology, Berlin.
• SOENDERMANN, Michael (2012). Culture & Crea?ve Industries: Defini?ons and Economic Development in Europe. Presenta?on Workshop German Working Group on Cultural Sta?s?cs, Cologne.
• SOENDERMANN, Michael (2012). Short Analysis of the Cultural Labour Market and Ar?sts’ Market in Germany, based on the UNESCO FCS Model. Commissioned by the German Commission for UNESCO, Bonn.
• SOENDERMANN, Michael (2011). Defini?on of Cultural Industries within the TF 3 Framework, in: ESSnet Culture. European Sta?s?cal System Network on Culture (2012), European Commission.
• SOENDERMANN, Michael (2011). Music Industry, in: German Music Council (2011). Musical life in Germany.
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