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Adrian Cooper, CEO, Oxford Economics The Economic Impact of Creative Industries in the Americas.

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Presentation on theme: "Adrian Cooper, CEO, Oxford Economics The Economic Impact of Creative Industries in the Americas."— Presentation transcript:

1 Adrian Cooper, CEO, Oxford Economics The Economic Impact of Creative Industries in the Americas

2 2 Overview Overview of Oxford Economics research project Defining the Creative Industries An overview of data availability in the Americas Accurate measurement of the creative industries Outputs of the study Next steps

3 Overview of Oxford Economics research project - The Economic Impact of Creative Industries in the Americas

4 Background to the research 4 The area of creative and cultural industries is a cross-cutting issue that covers several areas of focus of the OAS, IDB and British Council. The development of national and regional cultural information systems is an ongoing priority for the OAS Member States. High Potential Sector The creative sector presents an attractive opportunity for growth and development for OAS economies through culture. Poor Data Coverage Poor data coverage creates a constant obstacle in meetings of cultural authorities and limits learning opportunities about cultural policies and programmes across OAS members. OE Research Oxford Economics have been commissioned to review the available data and will make recommendations as to how best to measure the contribution and potential of the sector.

5 5 Objectives of our research The objective of the study is to assess and demonstrate the economic contribution and potential of the creative/cultural industries. The scale of the sector will be analyzed using available secondary data, which will cover: Scale of Creative sector Trade Employment / GDP Cultural Consumption Infrastructure OE will make best efforts to locate, compile, and analyze existing data available and will identify any information gaps. OE will use national public and private data sources, as complemented by the methodologies used by UNCTAD, CAB, WIPO, UNESCO, inter alia. On this basis we will assemble country and industry datasets in the referenced format. - Creative Goods imports and exports - Creative services imports and exports - Limited data at the required level of detail - Dependent upon national studies - Video game expenditure - Advertising sales - Music sales - Film box office sales -Number of cinemas - Number of film distribution companies - Number of libraries - Number of museums

6 6 Objectives of our research Country CoverageSectoral Coverage 34 OAS Member States 10 Benchmark Countries: China Italy Jordan Mauritius South Africa South Korea Spain United Kingdom Malaysia Philippines Art & Crafts Visual Arts Audio-Visual Film Fashion Entertainment Software (including Video Games) Publishing Music Performing Arts Design Advertising Cultural Heritage After reviewing all relevant data, OE will make recommendations to the (OAS-IDB-BC) Steering Committee on the best approach to undertake the Study in terms of data sources.

7 Defining the Creative industries

8 8 Confusion between creative and cultural industries The term creative industries has different meanings and uses throughout the world. In its broadest sense it is used to refer to all the industries that generate copyright, patents and trademarks. In other contexts it is used to refer only to such industries that produce content or cultural industries. (Hawkins, 1991) Possibly the most accepted definition at an international level is that of the Department of Culture, Media and Sport (DCMS) in the UK. According to the Department, creative industries are those that: Have their origin in creativity, individual skills and talent and have the potential to create wealth and employment through the generation and exploitation of intellectual property.

9 9 No internationally agreed definition for the sector Different data providers define the creative / cultural sector in different ways – which is a global phenomenon and not specific to the Americas Therefore national studies are largely using an inconsistent definition of the sector All definitions require detailed digit ISIC information – which is scarce.

10 Overview of data availability in the Americas

11 11 Availability of Employment by Industry Data on national statistics websites Difficult to get granular employment information from national statistics websites Dependent upon placing statistical requests with National statistics authorities

12 12 Numerous national studies produced Data available from ad hoc national studies and statistical authorities on creative / cultural activity

13 13 Other data providers Excellent data available from specialist providers – but does not cover all OAS countries

14 14 A wealth of trade data Detailed trade data from UNCTAD for creative Goods and Services are available

15 Accurate measurement of the creative industries

16 16 Importance of measuring the sector The creative economy has become a topical issue of the international economic and development agenda UNCTAD statistics highlight it accounts for a significant and growing slice of the worlds economy, with the creative sector accounting for: $592 billion of exports (in 2008), growing at an average annual rate of 14 per cent between 2002 and % of world export of Goods (in 2008) 4.8% of world export of services (in 2008) As the sector grows it is important to continue to improve measurement and data coverage to Identify niche growth markets To track the evolution of the sector To enable policy officials to create a trading environment to enable the creative sector to continue to grow

17 17 How can the sector best be measured in the Americas An agreed definition across the OAS member countries Publication of labour market statistics and national accounts based on a common classification system and level of data disaggregation An agreed framework for measurement – ensuring consistency across countries Regularly updated accounting systems Creative / Cultural Satellite Accounts are an option to provide for a coherent framework for gathering and analysing statistical information on the Creative/Cultural economy

18 18 Creative / Cultural Satellite accounts A number of the OAS Member States, including Colombia, Argentina and Chile produce creative/cultural satellite accounts / yearbooks. These are central sources which contain a detailed analysis of the creative/cultural economy, including a wide range of cultural statistics and sub-sectoral data. The key objective and benefit of cultural accounts is that they produce information that makes possible economic analysis and evaluation of cultural activities in the country and to facilitate public and private decision-making in the cultural sector.

19 Creative / Cultural Satellite accounts Data included in Colombias Cultural accounts includes statistics on the following key creative/cultural topics: - Publishing -Books -Magazines -Newspapers -Audiovisuals -Movies -Videos -Television -Videogames -Radio -Music -Cultural Areas -Libraries 19 In general, satellite accounts provide data on key areas of interest, such as: - Value added - Employment - Cultural Infrastructure & Consumption

20 Outputs of the study

21 21 Country data files for each country

22 22 Summary dashboards for each country

23 Next steps

24 24 Next Steps The format for the final report will include: Excel spreadsheets for all OAS and benchmark countries Economic dashboards to summarise key information and trends Narrative highlighting key findings, main trends, and information gaps and recommendation. The final report is to be submitted by May 1 st.

25 APPENDIX 1: Review of International Labor Force Surveys

26 26 Review of international Labour Force Surveys CountryIndustrial Activity classification used in LFS Occupation Classifications used in LFS ClassificationCodesLinkageClassificationCodesLinkage Australia ANZSIC158ISIC-Rev.3.ASCO340ISCO-88 Bolivia National ISIC adaptation 33ISIC-Rev.2 2-digit level COTA89ISCO-68 Botswana (BSCO).No information. ISIC-Rev.3National ISCO adaptationNo information.ISCO-88. Brazil National ISIC adaptation169ISIC Rev.2.National ISCO adaptation381ISCO-1968 Canada NAICS312.ISIC- Rev.3. ( indirect) SOC-91514ISCO-88. (indirect) Colombia National ISIC adaptation444ISIC- Rev.3. National ISCO adaptation No informationISCO digits Egypt National ISIC adaptation18ISIC-Rev.3. National ISCO adaptation 10ISCO-88 France NAF696ISIC-Rev.3. NACE PCS455ISCO-88. India NIC9ISIC-Rev.3.National ISCO adaptation31ISCO-88. Jamaica National classification classification 9ISIC-Rev.2.National classification9ISCO-88 Partially linked Japan National classificationNo informationISIC-Rev.2 2 and 3 digit National classification 15ISCO-68 at the 1st digit level Jordan National ISIC adaptationNo informationISIC-Rev.3 3-digit level National ISCO adaptationNo informationISCO digit level. Kenya National ISIC adaptationNo informationISIC-Rev.2 at the 3rd digit level National ISCO adaptation9ISCO-68 Mexico National ISIC adaptation390ISIC Rev.3CMO465ISCO-88 Nigeria National ISIC adaptationNo informationISIC digit and 3-digit National ISCO adaptation No informationISCO digit Norway National classificationNo informationISIC-Rev.3 at the 2- digit level. National ISCO adaptation353ISCO-88. Korea, Republic of KSICNo informationISIC-Rev.3 2nd digit level KSOCNo informationISCO-88 2nd digit level Singapore SSIC9ISIC-Rev.3 First digit level SSOC8.ISCO-88. First digit level South Africa Africa National ISIC adaptation 190.ISIC-Rev.3National ISCO adaptation369ISCO-88. United Kingdom SIC ISIC-Rev. 3 at the 4- digit level; SOC374In process: harmonization with ISCO USA US Census Bureaus Industrial Classification System. 236ISIC-Rev.2. (indirect) NAICS OCS501ISCO-1968 Indirect Zimbabwe National ISIC adaptation 13ISIC-Rev.2National ISCO adaptation13ISCO-1968 Levels of disaggregation and industrial classification systems vary across countries Causes comparability issues

27 Contact Details: Oxford Economics USA 5 Hanover Square 19th Floor New York NY USA Tel:

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