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

Adrian Cooper, CEO, Oxford Economics

The Economic Impact of Creative Industries in the Americas

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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

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

Americas

Background to the research

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■ 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.

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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:

■ 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

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Objectives of our researchCountry Coverage Sectoral Coverage34 OAS Member States

10 Benchmark Countries:ChinaItalyJordanMauritiusSouth AfricaSouth KoreaSpainUnited KingdomMalaysiaPhilippines

Art & CraftsVisual ArtsAudio-VisualFilmFashionEntertainment Software (including Video Games)PublishingMusicPerforming ArtsDesignAdvertisingCultural 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.

Defining the Creative industries

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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.”

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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.

Overview of data availability in the Americas

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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 authoritiesOAS Countries 1 Digit 2 Digit 3/4 Digit OAS Countries 1 Digit 2 Digit 3/4 Digit

Antigua & Barbuda a a a Panama a a a

Argentina a a a Paraguay a a a

Bahamas a a a Peru a a a

Barbados a a a St. Kitts and Nevis a a a

Belize a a a St. Lucia a a a

Bolivia a a a St. Vincent and the Grenadines

a a a

Brazil a a a Suriname a a a

Canada a a a Trinidad & Tobago a a a

Chile a a a United States a a a

Colombia a a a Uruguay a a a

Costa Rica a a a Venezuela a a a

Dominica a a a

Dominican Rep. a a a Benchmark Countries

Ecuador a a a China a a a

El Salvador a a a Indonesia/Malaysia a a a

Grenada a a a Italy a a a

Guatemala a a a Jordan a a a

Guyana a a a Mauritius a a a

Haiti a a a Philippines/Thailand a a a

Honduras a a a South Africa a a a

Jamaica a a a South Korea a a a

Mexico a a a Spain a a a

Nicaragua a a a UK a a a

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Numerous national studies produced

■ Data available from ad hoc national studies and statistical authorities on creative / cultural activity

OAS CountriesCultural Statistics

Yearbook

National Study on Creative / Cultural

IndustriesOAS Countries

Cultural Statistics Yearbook

National Study on Creative / Cultural

Industries

Antigua & Barbuda a a Panama a a

Argentina a a Paraguay a a

Bahamas a a Peru a a

Barbados a a St. Kitts and Nevis a a

Belize a a St. Lucia a a

Bolivia a a St. Vincent and the Grenadines

a a

Brazil a a Suriname a a

Canada a a Trinidad & Tobago a a

Chile a a United States a a

Colombia a a Uruguay a a

Costa Rica a a Venezuela a a

Dominica a a

Dominican Rep. a a Benchmark Countries

Ecuador a a China a a

El Salvador a a Indonesia/Malaysia a a

Grenada a a Italy a a

Guatemala a a Jordan a a

Guyana a a Mauritius a a

Haiti a a Philippines/Thailand a a

Honduras a a South Africa a a

Jamaica a a South Korea a a

Mexico a a Spain a a

Nicaragua a a UK a a

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Other data providers

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

0

10

20

30

40

50

60

70

80

90 Number of feature films produced

Source: UNESCO

0

2

4

6

8

10

12 Copyright industries (% of GDP)

Source: WIPO

0.0

10.0

20.0

30.0

40.0

50.0

60.0

70.0

80.0

90.0 Video Game Spending per Capita (US$)

Source: EuroMonitor

0

50

100

150

200

250

300

350

400

450

500 Advertising Spend per Capita (US$)

Source: WARC

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A wealth of trade data

■ Detailed trade data from UNCTAD for creative Goods and Services are available

0

1000

2000

3000

4000

5000

6000

7000

2005 2006 2007 2008 2009 2010

Expo

rts

($m

illio

n)

Brazil Creative Goods & Services exports

Creative Goods

Creative Services

Source: UNCTADBrazil - Creative Goods exports

Art Crafts

Audio Visuals

Design

New Media

Publishing

Visual Arts

Source: UNCTAD

0.00%

1.00%

2.00%

3.00%

4.00%

5.00%

6.00%

7.00%

8.00%

9.00%

10.00%

Creative Exports as a % of Total Exports

Source: UNCTAD

OAS average

Accurate measurement of the creative industries

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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 world’s 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 2008.

■ 2.73% 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

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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

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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.

Creative / Cultural Satellite accounts

Data included in Colombia’s 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

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In general, satellite accounts provide data on key areas of interest, such as:

- Value added

- Employment

- Cultural Infrastructure & Consumption

Outputs of the study

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Country data files for each country

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Summary dashboards for each country

Next steps

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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 1st.

APPENDIX 1: Review of International Labor Force Surveys

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Review of international Labour Force Surveys

Country Industrial Activity classification used in LFS

Occupation Classifications used in LFS

  Classification Codes Linkage Classification Codes LinkageAustralia ANZSIC 158 ISIC-Rev.3. ASCO 340 ISCO-88Bolivia

National ISIC adaptation33 ISIC-Rev.2

2-digit levelCOTA 89 ISCO-68

Botswana (BSCO). Noinformation.

ISIC-Rev.3 National ISCO adaptation No information. ISCO-88.

Brazil National ISIC adaptation 169 ISIC Rev.2. National ISCO adaptation 381 ISCO-1968Canada NAICS 312. ISIC- Rev.3.

( indirect)SOC-91 514 ISCO-88.

(indirect)Colombia National ISIC adaptation 444 ISIC- Rev.3. National ISCO adaptation No information ISCO-68

2- digitsEgypt National ISIC adaptation 18 ISIC-Rev.3. National ISCO adaptation 10 ISCO-88France NAF 696 ISIC-Rev.3.

NACEPCS 455 ISCO-88.

India NIC 9 ISIC-Rev.3. National ISCO adaptation 31 ISCO-88.Jamaica National classification

classification9 ISIC-Rev.2. National classification 9 ISCO-88

Partially linkedJapan National classification No information ISIC-Rev.2

2 and 3 digitNational classification 15 ISCO-68 at the 1st

digit levelJordan National ISIC adaptation No information ISIC-Rev.3

3-digit levelNational ISCO adaptation No information ISCO-88.

3-digit level.Kenya National ISIC adaptation No information ISIC-Rev.2 at the 3rd

digit levelNational ISCO adaptation 9 ISCO-68

Mexico National ISIC adaptation 390 ISIC Rev.3 CMO 465 ISCO-88Nigeria National ISIC adaptation No information ISIC-1968

2-digit and 3-digitNational ISCOadaptation

No information ISCO-19683-digit

Norway National classification No information ISIC-Rev.3 at the 2-digit level.

National ISCO adaptation 353 ISCO-88.

Korea, Republic of

KSIC No information ISIC-Rev.32nd digit level

KSOC No information ISCO-882nd digit level

Singapore SSIC 9 ISIC-Rev.3 First digit level

SSOC 8. ISCO-88.First digit level

South AfricaAfrica

National ISICadaptation

190. ISIC-Rev.3 National ISCO adaptation 369 ISCO-88.

United Kingdom SIC92. 458. ISIC-Rev. 3 at the 4-digit level;

SOC 374 In process: harmonizationwith ISCO

USA US Census Bureau’s Industrial Classification System.

236 ISIC-Rev.2.(indirect) NAICS

OCS 501 ISCO-1968Indirect

Zimbabwe National ISICadaptation

13 ISIC-Rev.2 National ISCO adaptation 13 ISCO-1968

■ Levels of disaggregation and industrial classification systems vary across countries

■ Causes comparability issues

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Tel: 00 1 646 503 3050

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