1. Cultural Information System in Saint Lucia

2. Historical background
Until the early 2000s, the measurement of the economic contribution of cultural industries did not generate any special research interest. This was due to :
the lack of evidence and long-term statistical data on cultural industries (e.g. cultural industries and culture as an economic subject are relatively new phenomena in expert and academic communities);
poor and underdeveloped measurement approaches for economic analysis that could be applied to the cultural industries domain;
an unsystematic relationship between cultural industries and the economy;
Historical background of measuring the economic contribution of cultural industries
In Saint Lucia, until the early 2000s, the measurement of the economic contribution of cultural industries did not generate any special research interest. This was due to several factors:
the lack of evidence and long-term statistical data on cultural industries (e.g. cultural industries and culture as an economic subject are relatively new phenomena in expert and academic communities);
poor and underdeveloped measurement approaches for economic analysis that could be applied to the cultural industries domain;
an unsystematic relationship between cultural industries and the economy;
difficulties in measuring the economic effects of cultural industries;
the traditional perception that an economic analysis of cultural industries does not correspond to their spirit or nature, as cultural industries and culture in general were seen as the expression of pure aesthetic and spiritual activity; and
Investment potential analyses were scarce in the cultural sector, which was mostly due to the traditional view that considered the cultural domain as a public good and public financing of cultural activities as a matter for government consumption.
Since 2001 this situation has changed, with more and more research and analyses being dedicated to the character of the relationship between cultural industries and the economy, and cultural industries and their economic impacts.

3. What and Why ? MoTHCI and CDF agents of change and development
Creative Industries – Culture & Art are growth industries
In Saint Lucia anecdotal evidence abounds – hard data is absent
MoTHCI and CDF agents of change and development
In 2011, the Ministry of Tourism, Heritage and Creative Industries was established, spurring the interest in the economic contribution of culture and cultural industries and new approaches for understanding the relationship between culture and economic development. In particular, interest was focused on the quantification of the contribution of different cultural domains to development.

4. Indicators: the Story so far…
Severe lack of data
- Who is involved - - What are they doing - - Where are they doing it - - What is the $ Value - - What is the Employment contribution - - What Education level do they have - - What are their successes - - What are their challenges - - What do they need -
This pilot project was never conceived to be able to deliver a final definitive database of resources in the communities. The process of cultural mapping of the communities has to necessarily be an ongoing one to allow for the future mapping of missed resources, and to cater for changes in the arts and cultural makeup of these communities.

5. The Story so far…. General Trends across communities Contextual
The population of all the communities were largely a youthful population
All the communities showed high rates of unemployment particularly among the youth.
Arts and Culture in the Communities: General
Communities blessed with much creativity and a wide variety of creative products particularly in the area of visual arts and craft
Overwhelming concern over marginalisation and even replacement of authentic local products by cheap imports
Vibrant folk arts and traditional cultural activities characterised the past; rapid decline and disappearance reality today
widening generation gap and a lack of adequate venues for either training or performance

6. The Story so far… 7 communities >400 people mapped
Gros Islet Monchy Anse la Raye Soufriere Laborie Vieux Fort North Mabouya Valley

7. Types of Data Collected - Needs
MAIN CHALLENGES
NO. OF ARTIST
% VALUE 1
Financial- Banks wont lend 32
6.79% 2
Financial- Getting Paid Takes too long 24
5.10% 3
Skill level- You need training 31
6.58% 4
Record Keeping- You need business help/Training 6
1.27% 5
Employees - Cant Find Persons Interested in A&C
0.85%
You need space to work 48
10.19% 7
You need equipment/ Tools 21
4.46% 8
Sales too low 73
15.50% 9
Cant Access markets 37
7.86% 10
Sourcing Material is difficult 25
5.31% 11
Cost of material is high 16
3.40% 12
Cost of labour is high
0.00% 13
Cost overall is high 14
Packaging is unavailable/ too costly 15
You need a logo or brand design
0.42%
Competition from imports is tough
0.64% 17
Perception of buyers 18
None 81
17.20% 19
Other
TOTAL
471
100.00%

8. Types of Data Collected - demographics

9. Types of Data Collected – industry size

10. Analysis of data by region per query

11. Analysis of data by region per query

12. Pilot Cultural Map Launched

13. Data Input – Artists Registration

14. What Now? Reviewing the Pilot – Preparing for the long-term
Island-wide launch Cultural Map
Meeting the stakeholder’s needs
Linking Cultural Map/Registry to benefits (government funding/tax waivers)
Consult Stakeholders
Continue Mapping
Create outputs

15. Cultural Mapping http://mapitnodes.com/
WHO? WHAT? WHERE? HOW? HOW MUCH?