Mapping exercise: How could creative industries foster innovation in tourism in the Northern Dimension area?

Country Report – Denmark

December 2016 Team: Terry Sandell, Lila Skarveli

This project is funded A project implemented by by The European Union the PROMAN Consortium 1 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Country Report – Denmark

DISCLAIMERS

This report has been prepared with the financial assistance of the European Commission. The contents of this publication are the sole responsibility of PROMAN and can in no way be taken to reflect the views of the European Union.

This report has been discussed with the international expert concerned in relation to the input work plan agreed with the Client, the expert’s terms of reference and to ensure it contains relevant issues and recommendations, which have been discussed in a debriefing session with the Client.

This document has been prepared for the titled project or named part thereof and should not be relied on or used for any other project without an independent check being carried out as to its suitability and prior written authority of the Framework Contract Management (PROMAN) being obtained. PROMAN accepts no responsibility or liability for the consequences of this document being used for a purpose other than the purpose for which it was commissioned. Any person using or relying on the document for such other purposes agrees, and will by such use and reliance be taken to confirm his agreement to indemnify PROMAN for all loss and damage resulting therefrom. PROMAN accepts no responsibility or liability for this document to any party other than the person by whom it was commissioned.

To the extent that this report is based on information supplied by other parties, PROMAN accepts no liability for any loss or damage suffered by the client, whether contractual or tortuous, stemming from any conclusions based on data supplied by parties other than PROMAN and used by PROMAN in preparing this report.

Framework Contract Beneficiaries 2013 - EuropeAid/132633/C/SER/MULTI Lot 9: Culture, Education, Employment and Social.

RfS 2015/369412/1

2 2 Mapping exercise: How could creative industries foster innovation in tourism in the northern dimension area? Countr eport – enmar

CONTENTS

DISCLAIMERS ...... 2

LIST OF ABBREVIATIONS ...... 4

1. INTRODUCTION AND KEY COUNTRY POINTS ...... 5

2. BASIC COUNTRY INFORMATION ...... 12

C C

3. CULTURAL AND CREATIVE SECTORS/CCIS IN DENMARK ...... 15

’ C

C C

C C – C

C

4. TOURISM SECTOR IN DENMARK ...... 21

C

5. CCI AND TOURISM SECTOR COOPERATION IN DENMARK ...... 22

6. DENMARK’S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION WITH OTHER ND COUNTRIES AND INTERNATIONAL BODIES ...... 23

’ CC C

7. COUNTRY CASE STUDIES ...... 26

– C

C C C

C ,

8. COUNTRY CONCLUSIONS AND OBSERVATIONS...... 29

CC

C CC

APPENDIX A. KEY FACTS AND FIGURES ...... 31

APPENDIX B. KEY DOCUMENTS AND SOURCES ...... 33

3 M –

LIST ABBREIATINS

A M

4 M –

INTRDTIN AND KE NTR INTS

‘Mapping ’

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 European level has not been taken or is it because we are in a ‘postdefinitional’ era with certain

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 Is the tourism industry’s use of culture and heritage because of real engagement with the cultural

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5 M ountry eport – enmark

 iven that both sectors are to a large etent highly fragmented with a numerical predominance of MEs to what etent do the actors involved have the time and capacity to engage with each other innovatively or otherwise

 o the bridges that need to be built between Is and the tourism sector include new intermediaries who can identify interpret broker and manage tourismIItourism synergies

In the last couple of years there has been increasing interest in looking at the eisting and potential linkage of the cultural and creative industries to tourism development It however throws up considerable practical and methodological challenges and problems for various reasons and eplains why relatively little progress seems to have been made he maor first hurdle is that the definition of cultural and creative industries is constantly evolving and moreover it differs from country to country his has been particularly evident in the case of the eleven orthern imension countries even in the case of those countries which work very closely together for eample in the case of enmark orway and weden here can also be conceptually uite different national approaches or eample in one country cultural and creative industries may be seen as a distinct sector and be supported on that basis In another country they may not even be seen as a sector but as part of something wider or crosscutting such as one part of the creative economy or as a part of national innovation entrepreneurship or ME policies he third issue flows from the other two ecause of an evolving and differing understanding in country terms of what the Is constitute there is no common statistical base which allows clear comparisons or benchmarking something which is urgently needed and is beginning to start being eplored at European level

If one turns to the tourism sector there are similar parallel problems he collection of statistics eg number of nights’ accommodation may be firmly in place but those statistics are partial and beginning to look increasingly inadeuate as they are often not taking account of revolutionary changes affecting the tourism and travel industries he continuing growing importance of s and an emerging peerto peer and sharing economy affecting such areas as traditional tourism accommodation are often not being captured by the traditional industry information systems

ourism categorisation is also constantly evolving with the eistence of an increasing number of sub sectors Even cultural tourism a subsector itself can be broken down into possibly a doen or more sub sectors such as heritage tourism arts tourism creative tourism urban cultural tourism rural cultural tourism indigenous cultural tourism eperiential and gastronomic tourism ‘dark’ tourism often with overlaps with other forms of tourism eg adventure tourism health and wellbeing tourism and so on gain there are definitional differences from one country to another and certain types of tourism may be more developed or be more of a national tourism priority in one country compared to another

ommittee on Industry esearch and Energy and ommittee on ulture and Education of the European arliament raft eport une ‘On a coherent E policy for cultural and creative industries’ II ‘Alongside a clear definition that takes into account all sectors related to Is the corapporteurs believe it eually necessary to have comparable and reliable statistical data Each Member tate has in fact its own classification of Is It is therefore essential to adopt at E level an updated framework for the sector and to map changes over time he obective should be to identify specific indicators to measure the results of policies for the promotion of the sector.’ nline travel agencies such as Epedia ookingcom etc ourism in which visits are made to sites attractions or ehibitions connected with suffering death disaster and negative or macabre events Melanie mith in her ‘Issues in ultural ourism Studies’ outledge pp lists thirteen categories of cultural tourism which she reduces to nine and later seven broad subsectors ee ppendi of the egional eport for a detailed ‘Typology of ultural Tourism’.

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The complications o identiying at a general leel the eisting and potential linkage o Is to the tourism sector is eacerated y certain tourism susectors eing in their on right part o the cultural sector itsel or eample in the case o heritage tourism. oth the Is and the tourism sector are not in reality clearly demarcated oth are imprecise luidlydeined astchanging and dynamic areas o comple and important economic and social actiity. In the case o Is there are other complications. or eample the arts ‘lobbying industry’ has or many years uiuitously used the terms cultural industries and creatie industries interchangealy in order to protect or olster puliclyunded culture udgets. Although things hae moed on and in many countries the importance o the arts or eample is recognised and understood as a part o the creatie industries alue chain there is still oten a lot o lurring and deinitional conusion.

erhaps naiely e had the intention at the outset o our ork o trying to ring some clear and oerarching deinitional discipline to our suect. This rae intention as eliminated as a result o almost the irst day o the irst country isit here it as clear that there ere ery local and legitimate interests deates and speciicities and that it ould e artiicial to impose on countries deinitions and categories that might ork or some ut not or others. Imposing deinitions ould in some cases hae een positiely distorting to an understanding o the local I situation. It should also e mentioned as ill e seen rom the to ootnote reerences aoe to a ery recent uropean arliament report that een at leel here the cultural and creatie industries hae soared to a position o highest importance in terms o policy terminology is oten loose or eample ith oth the terms ultural and reatie Sectors S and ultural and reatie Industries I eing used.

In the contet o our ork e thereore elt there as no alternatie ut to assess the cultural and creatie industries and the tourism sector in the indiidual countries in their on terms and then ith the regionalcrosscountry report to try to ring them together.

Although it is right to look at ays o increasing the synergies eteen the tourism industry and Is it is important to recognise that there is already a sustantial leel o engagement. or eample een a supericial listing o the main Is illustrates ho they are already contriuting to the tourism sector

 Sotare and digitalisation this has had a reolutionary impact on many aspects o the tourism industry not least in the role that OTAs play e.g. TripAdisor ooking.com pedia Airn etc

 esign especially graphic design ut also right the ay through all aspects o design including son et lumire spectacles light estials and eents etc

 usic or place randing amience openair concerts etc

 Adertising and roadcasting the importance o these areas to the tourism industry are sel eident

 ilm and cinema promos traelogues ilm location tourism

 Theatre use o actors as animators or or audio guides staged eents etc

ommittee on Industry esearch and nergy and ommittee on ulture and ducation o the uropean arliament rat eport une ‘On a coherent policy or cultural and creatie industries’ II The uropean arliament ’Calls on the ommission to design its uture policies ased on the olloing deinition o Is ‘cultural and creatie industries are those industries that are ased on cultural alues indiidual creatiity skills and talent ith the potential to create ealth and os through generating alue rom intellectual property. They include the olloing sectors relying on cultural and creatie inputs architecture archies and liraries artistic crats audio isual including ilm teleision ideo games and multimedia cultural heritage design creatiitydrien highend industries and ashion estials music perorming arts ooks and pulishing radio and isual arts’. Online trael agencies

7 M Country eort – enar

 estials a aor eleent in eent touris and lace branding

 Crats and antiues as art o soing and souenirs

 rcitecture touris industrys use o eritage and usecoissioning o signiicant buildings including as otels

 ublising trael and guide boos are still ery oular

 asion lace iage and branding ol costues etc

 aing augented reality and eras still at an early stage but already being used een by big traditional touris oerators suc as oas Coo

 ood and local natural roducts ood estials branding (‘appellation’) and gastrotouris in bot urban and rural contets

o te uestion is really could and sould tere be ore interaction s tere eiter aret ailure or underutilised otentialresources Out o ic lo oter uestions or eale is eisting CC ouris interaction because o eectie ertical olicies or in site o te

oes a oriontal coon language eist it regular dialogue and te deeloent o sared interests beteen te CC and ouris sectors re tere articular touris subsectors and CC subsectors ore suited or innoatie interaction and ore able to roduce ne cooeration odels and aradigs tere is aret ailure or underutilised otentialresources at ind o interention or incentiisation is reuired to ae te CC sector and touris industry interact ore eectiely

s illustrated aboe a lot is going on beteen te arious CC subsectors and te touris industry so tere is not classic aret ailure but rater o ‘underutilisation’ ic arrants interention. ouris and te CCs sare any caracteristics. ey are ragented dynaic nuerically doinated by s and icrobusinesses reoccuied it teseles and oten caotic. ey eac ae teir on agendas. ere is lac o a coon language beteen te robably attributable in art sily to lac o tie. n general tere does also see to be a lac o saoir aire in ters o teir engaging it eac oter innoatiely or oterise. or CC deeloing clustering aears to be ery elul but CCs and touris actors ae so ar not naturally clustered. ost iortantly tere ae been e ractical easures altoug tere are soe good ecetions to bring touris roessionals and CC actors togeter ic reuires actie olicyaer interest interreters soe unding and articiatie coitent.

ery iortant uestion is to at etent any synergies currently taing lace beteen te cultural and creatie sectors and te trael and touris industry are because o or in site o current ‘vertical’ olicies. ile ention o CCs contributing to oter sectors is reuent including soeties in olicy docuents it tends not to be targeted in any ractical ay. ere is robably ore tan one reason or tis but te act tat te concet o te CCs is still relatiely ne een i one traces it bac to te s is ossibly art o te elanation. One susects tat altoug te role o te CCs in ters o teir econoic and social beneits is increasingly being recognised by uroean goernents tere is robably still airly idesread an issue o real understanding o te CC enoenon and te nature o teir otential. is is ten greatly eacerbated by te roble o oorly oinedu goernentadinistration ic articularly aects areas ic need to be olitically and econoically anaged in a crosscutting ay. urter issue in soe countries is tat goernents oten are not iaginatie at oring it and or te riate sector esecially in relation to s icro businesses and sole traders. ere is also an issue o onersi. ic inistry or adinistration is resonsible or CC deeloent Culture conoy ndustry nnoation usiness ared Or are te CCs teseles resonsible or teir on deeloent

8 M ountr eport – enar

n te case o te oter side o te euation touris o is responsile or developin touris services products and events especiall in relation to an area lie cultural touris n ost cases it is not overnent ut s independent coercial and noncoercial entrepreneurs and cultural institutions actin entrepreneuriall or iainativel not in act te inistries o ouris raditionall policaers ocus on at te directl control and anae unless loied to do oterise eadersip and representation in te susectors in an countries is not ver elldeveloped so loin is ea e s ave not een noticeal loin or ore enaeent it te touris industr and te touris industr altou uc etter oranised in ters o sector and susector representation as not een noticeal developin an aenda or reater oint dialoue and eploration it te sector

ain one needs to as a uestion tis tie suc an aenda as not een developed in te past t ould see tat it a sipl e to do it te copleit and caotic nature o te to sectors or eaple o an susectors does te touris industr ave one taes ust one o tose nuerous susectors or eaple cultural touris o an sususectors does it in turn ave s or te s o an are te t depends on te countr ut in ost cases aout a doen ut aain i one loos at one o te suc as desin one can see tat in one countr it as aout deined susectors

n looin at o te creative industries could oster innovation in touris in te ortern iension area one needs to tae into account all te actors entioned aove t as seeed ver clear ro our or tat to et te to caotic and raented sectors to ein to or etter toeter and eed o eac oter it ill e ipossile to identi a sinle uniied interace or ind a ’magic bullet’. proress is to e acieved tere is a need to e selective realisticall ocussed and tae a seental approac i trin to develop eective odels and paradis or ouris cooperation and interaction

ur or suests tat in ein selective and in relation to te ortern iension reion te ost productive touris taret areas are proal oin to e eritae touris creative touris (includin routes and trails astrono and rural touris) and events touris eritae touris is in an o te countries ell developed ere are plent o sites an useusut o an apps reative touris ic e deine ore clearl elo is a natural round or all tpes o involveent ultural routes and trails open up innovative opportunities as visitors are tere or te eperience and need to ove learn eat sleep and interact ultural routes can o course also e crossorder and ulticountr proects ural touriss special callenes inoration counication and access are also ields o opportunit or s vents touris a priorit in an o te countries is still not a saturated area and ne estivals o all tpes are usrooin in te reion and are natural eetin rounds or te s and touris developent n te case o estivals te s could e encouraed to provide te linae and continuit to estivals and events tat are oten oneo narrolocussed soeties selasored and usuall o sort duration not classical usic estivals (it teir din audiences) lined to co located outoriented asion popups s as linae or continuit is alread appenin in soe places

cceptin tat te creative industries alread contriute a lot to te travel and touris industr ut tat tere could e a ore developed relationsip especiall i tareted at a e ver speciic touris su sectors at ind o intervention is needed t a polic level te irst steps ould see to e increased aareness understandin and interest in act te classic ‘Hawthorne Effect’. olic encouraeent o ottoup initiatives and oriontal enaeent coined it topled iainative and sensitive strateic place randin and eective destination anaeent aretin are also needed areness o te potential o te touris relationsip needs to e activel prooted in particular encourain it to e put on touris industr aendas and eature as a discussion topic at industr airs conerences events and trou industr inoration cannels arenessraisin is also needed in te opposite direction ain s ore aare o te iportance and potential o te touris sector as a partner

9 M ountr eort – enmar

an maret for creatie industries’ goo an erice .hi nee to be one through maing it a ractical agena item at eent an gathering an through ‘word of mouth’. here i alo a nee iml to bring tourim an rofeional together to create ome new an ractical brige. mentione earlier there i little eience of a common language an robabl a nee for an intermeiar care of inutr ‘producerinterpreters’ from both ector.

hile in man of the orthern imenion countrie at roblem are beginning to be aree relate to finance an inetment for gien their nontraitional inutr attribute thi i uuall manifeting itelf in facilitating their acce to eiting innoation or E funing cheme which are er general in nature. f real rogre i going to be mae in rawing the an tourim ector cloer together then there i robabl going to be a nee for there to be ecific an narrowl targete encouragement an uort oortunitie an cheme. n ractice thi robabl mean that there i a nee for ecialie agencie e.g. nnoation orwa weih genc for Economic an egional rowth Enterrie Etonia inlan ee etc to focu on thi. he an the tourim ector are often traelling in the ame irection but on arallel rail an not on the ame trac with hare but erha ifferent winwin goal omething which the ecialie agencie coul are. he fact i a alrea mentione the an tourim ector are namic chaotic ector an o fragmente that een within each iniiual ector there are awarene roblem nowlege eficit an communication ga.

uggete aboe a focu houl be on heritage tourim creatie tourim incluing route an trail gatronom an rural tourim an eent tourim a thee area eem to be the mot fruitful for nergitic an innoatie engagement with the ector. Heritage an eent tourim are elfeientl unertanable but the imortant an till emerging area of ‘creative tourism’ which we beliee erha ha the mot releance an otential for man of the nee ome elanation.

t i imortant to elaborate a little on what creatie tourim i or rather what it i becoming. he concet of creatie tourim emerge about fifteen ear ago but in the narrow contet of eole traelling to etination to follow a coure or learn omething in a tructure etting e.g. to o a cooer coure or to learn a language. n recent time influence b the namim of the ector creatie tourim eeloment ha taen on a much wier meaning an inclue an tourim eerience which inole not onl formal but alo nonformal or informal learning. reatie tourim i a ‘workinprogress’ in that it i een b ome a alo haing an imortant cocreation imenion to it i.e. where the tourim roier an the tourim conumer cocreate the tourim eerience. t i alo often een a embracing all eerience an learning relate to a ecific lace een thoe that hae not been traitionall erceie a ‘tourism’ eerience. he local imenion an actie articiation b ‘locals’ i alo often coniere another eential ingreient. nlie traitional culturalheritage tourim creatie tourim embrace not onl hitorical culture but alo er much contemorar culture. inall creatie tourim can be een a a reaction to traitional cultural tourim that ha ometime turne into ‘serial reproduction’ or ‘Gettyisation’. here i a eman for itinctiel iniiualie an actie eerience not aie conumtion of for eamle a franchie ett mueum. ecognition of the imortance of thi new form of tourim came in with E commiioning the firt eriou nonacaemic tu of it.

hi alrea imortant icernible moement to a new form of iniiualie cocreate tourim oen u real an innoatie oortunitie for the cultural an creatie ector to elore an etablih new an

articularl intereting roect uoa ata i currentl taing lace in inlan which i areing thi iue. reg ichar an ulie ilon eeloing reatiit in tourit eerience olution to the rerouction of culture in ourim anagement . A phenomenon sometimes referred to as ‘Macdonaldsisation’ E ourim an the reatie Econom E ublihing ari. htt.oi.org.en

10 M ountry eport – enmark active relationships with the tourism sector. As is made clear in the regionalcrosscountry report it will reuire practical intervention and certain types of support as for all their similarities in terms of eing uintessential postindustrial economic sectors the s and the tourism industry do not speak the same language. ocussing on how ridges can e uilt etween s on the one hand and creative tourism and traditional cultural tourism on the other is proaly the est way to start to get the wider tourism industry and the cultural and creative sectors travelling more often and more productively on the same track and with mutuallyeneficial and genuinely shared agendas rather than on separate parallel paths as seems so often the case.

n the country reports we try to take stock of the current state of the s of the tourism sector the general climate of interaction etween them, and the general degree of the country’s interaction with other orthern imension countries plus some country case studies. n the regionalcrosscountry report we ring things together present an analysis draw some conclusions and make recommendations which we hope may help to take things forward.

ey points for enmark include

 our conceptualiations of culture can e identified in anish cultural policy o culture as a humanistic concept of art and enlightenment o culture as an anthropological sociological concept o culture defined as in terms of eperience economy o culture as national identity  The Government’s cultural and business policy efforts have a clear visionary perspective to develop enmark as a creative region of urope  ocus areas in plan for growth in the creative industries are o mprove usiness skills and access to financing o peed up market maturation of new creative products and design solutions o romote growth in the creative industries with good educational programmes and strong research  enmark as an international growth centre for architecture fashion and design  ourist attraction has a feature of oth tourism and culture as it is emedded with tourism nature at the same time it is a cultureased activity.

11 M ountry eport – enmar

BASI NTR INRMATIN

Cultural policy evolution

n enmar, cultural life and the authorities have had a mutual commitment to one another since the iddle ge The eformation of transferred responsibility for culture from the hurch to the ourt ntil the une onstitution of and the advent of democracy, it was almost eclusively the ing and the members of his court who, to varying degrees, showed interest in and funded culture Thus art and culture in enmar already had a solid feudal tradition and a wellestablished infrastructure, consisting of absolutist secular and ecclesiastical cultural institutions, upon which to build The demise of bsolutism in transferred responsibility for culture from the ourt to the state in the new inistry for hurch and ducation, called the ultus inestry The inistry assumed control of a number of cultural institutions, including the cademy of ine rts and the oyal Theatre The ultus inistry was responsible for cultural affairs from until n , responsibility for church affairs was transferred elsewhere, but cultural matters remained part of what was now nown as the inistry of ducation up until , when culture was granted its own ministry

The development of public cultural policies and institutions in enmar have since then been closely lined to nlightenment hilosophy and the specific interpretation and implementation of these ideas by intellectuals and in the cultural and political movements that fostered anish democracy and the welfare state hen enmar adopted its first democratic constitution in , responsibility for support to the arts and culture gradually shifted from the oyal ourt to the newly constituted civil administration ultural policies under the absolute monarchs was elitist, but cosmopolitan compared to the new bourgeois culture that emerged from the increasingly influential merchant and civil servant classes in openhagen around the middle of the th century The bourgeoisie, which was predominantly anish in contrast to the mainly German aristocracy, argued for a national orientation of cultural policy arallel to the national dimension in the dominant bourgeois transformation a liberal movement of intellectuals, the socalled cultural radicalism, emerged in the capital of openhagen with focus on enlightenment, freedom of individual citiens and political republicanism

fter , a cultural policy inspired by Grundtvig and his philosophy of one nation, one language, one people, afforded the anish landowning class, whose political power had increased in step with its economic muscle, the opportunity to revitalie the otherwise practically moribund rural culture The rural liberal culture they sought to promote was not a counterculture in opposition to bourgeois culture t was more of a parallel culture, separate from the culture of the bourgeoisie, albeit allegedly with the same obective, ie to promote national sentiment The rapprochement between the ocial emocratic labor movements classbased perception of culture and the adical artys popular education philosophy, during the period of reconciliation in the s, laid the political foundations for the formation of the welfare based cultural policy after and the setting up of the inistry of ulture in The price paid was that culture was now perceived and defined, first and foremost, as a national phenomenon lthough the public cultural policy was a part of the postwar national construction process, the general obectives and means were defined in the universal concepts of enlightenment philosophy hat had not been culturally realied in the traditional bourgeois public sphere since the rench evolution and the revolution of should now be realied in the framewor of the welfare state ublic cultural policy, initiated, financed and organied by the state and municipalities, was meant to guarantee artistic freedom and cultural diversity rt, culture and publicly organied cultural institutions were thought as means for building up the cultural and aesthetic competence for all citiens and regions of the country, to enable them to tae part in the development of a democratic welfare society

12 M –

‘instrumentaliation’ o Definitions

  

The Nordic Cultural Model

13 M ountr eort – enmar

 ulture as national ientit ner te ealine te emoratiation o ulture rom te s to te mis – anis ultural oli as oune on rouns o a umanisti onet o art an enlitenment urin te s tis strate as transorme into a strate o romotin ultural emora e umanist onet o ultural oli as sulemente a soioloial an antrooloial onet o ulture i inlue te multitue o alues liestles an atiities o eera lie n reent ears ulture eine in terms o eeriene eonom an national ientit as alle attention in anis ultural oli

rom te mile o te s ultural oliies ere reineste it ne oals

 to romote an titen te lin eteen arts an usinesses  to reue state reulation o te ultural inustries  to enourae riate atrons an omanies to at as sonsors an urase art an suort art institutions  to inrease te olitial reulation o arts an ultural institutions means o erormane ontrats ia aministratie entraliation an transormin te unseiie means alloate on te asis o eert ealuation to earmare ools or seiie an olitiall eine uroses an  to reitalie te national imension in ultural oli in orer to strenten te national ientit o te eole an romote soial oesion in resonse to loaliation miration an iniiualiation

seiall ultural oli eine in terms o national ientit oli as een ital in te erios uner te ultural oli o te ierent governments. But the economic ‘instrumentalisation,’ as ell as te ne uli manaements reulation o te ultural iel in anis ultural oli as initiate te oial emorati oial ieral oernment in te s eore te too oer in ne orientation in te oli o romotin artisti reatiit as introue te reort entitle enmars reatie otential anmars reatie otentiale laune te anis inistr o ulture toeter it te inistr o usiness an onomi airs it te urose to rat a ne oint aena or ultural oli an trae an inustrial oli it te ne oernmental roramme an eseiall te isions o te ne ultural inister e l te rimorial orientation o anis ultural oli in te erio seems to ae een transorme to an more oen an osmoolitan iretion ominate a moern onetion o ultural iersit itiensi an ultural oli

Denmark’s Creative Potential ttumraisumonloasuliationerenmarsreatieotential ttenlisumoliareasreatieanulturalusinesses

14 M Countr eort – Denmark

LTRAL AND REATIE SETRSIS IN DENMARK

The Government’s cultural and business policy efforts have a clear visionary perspective, namely, to evelo Denmark as a creative region o uroe. region here the arts succee in cometing on gloal market terms, an here large sections o usiness an inustr are recognie or their creative resources, accomlishe narratives an ualit esign.

his is imortant rom a usiness olic oint o vie. But it is also imortant or cultural reasons. he report makes it clear that “a cultural output capable of competing with global entertainment groups is essential i our societ is to reserve an evelo its values an narratives in the ne gloal meia realit. Danes must have an alternative to Disney and American soaps”. The traditional cultural policy goal of ocusing on ualit remains imortant, o course, ut it must e given an etra imension.

his can e accomlishe

 Develoing rameork conitions or the Danish cultural an entertainment inustr, so that it can oer an alternative to the gloal entertainment inustr  eling to create a ne orm o cooeration eteen commercial concerns, on the one han, an the arts, on the other, ith resect to marketing, esign, rouct eveloment, organiation changes, management an emloee eveloment. Danish comanies must e aore etter conitions to eneit rom the creative otential Denmark ossesses.  trengthening the ailit o Danish comanies to comete in the eerience econom emloing values an artistic cometence seciic to Denmark to olster cometitiveness.

nteraction eteen the arts an the usiness communit has its limits. Precisel at a time hen cultural an commercial interests are converging, it is more imortant than ever to e aare o their ierent roles an contriutions to the eveloment o societ. his alies articularl to the role lae art. he reort estalishes that the resence o a ree an ineenent arts communit is asolutel vital or societ. Closer interaction eteen cultural an usiness olic must in no a lea to a reuction in public sector subsidies to independent cultural activities, or to the commercialization of art’s free space. Closer interaction eteen the arts an usiness ill never act as an alternative to ree artistic eression. imilarl, an integrate cultural an usiness olic ill e ut a sulement to overall inustrial olic. nustrial olic concerns itsel ith much more than cultural values an creativit. n ill continue to o so. The government’s input: The Ideas Catalogue

The Danish Government’s vision points to the kernel of a new dynamic between the arts and the commercial sector. oever, it oes suggest also that eisting otential is ar rom eloite. n man areas there are oth structural an mental arriers to eveloing snerg eteen the to sectors. he reort suggests, or eamle, that there is no traition ithin the arts o thinking along usiness lines an the usiness sector, or its art, ar rom eloits the creative resources at han ithin the cultural sector. Putting it luntl, the to orls isla a egree o reticence in coming together, an lack a common language an knolege o each other.

n its reort “Denmark’s Creative Potential”, the overnment resents an ieas catalogue setting out initiatives aime at imroving the commercial rameork conitions o the cultural inustr, ismantling

i i

15 M ountry eport – Denmark

the solid barriers preventing interaction between the arts and business, and building a bridge between the two sectors.

The Government’s cultural and business strategy is a framework, which must be enlarged upon as time goes on. The Government will follow up the ideas catalogue in the months ahead and discuss its proposals with trade union and employer organizations, and the cultural and business sectors. ome of the initiatives outlined may need adusting. thers will be implemented as suggested.

These initiatives have been included as part of the Government’s ordinary current account priorities when drawing up annual udget proposals.

The ideas catalogue contains proposed initiatives outlined briefly below.

. enture capital for the film and media industries . amining regional film funds . usicproducer training courses . mproved correlation between artistic disciplines and business studies . nnovation milieus for cultural entrepreneurs . Dialogue with the cultural sector on eport drives . port credits for Danish film . A national event fund . artnet.dk isual arts portal . uropean framework provisions for content production for new media . D in the correlation between the arts and industry . ultural contracts. artnership between the arts and business and industry . ontact network between leaders of industry and the arts The Danish cultural policy model

The Danish cultural model can primarily be conceptualized as a variation of the aritet model. According to the architect model, the state fashions the framework for a countrys cultural development through a ministry of culture, which follows overall policy obectives and approaches from a general perspective. Decisions about overall cultural policy are made – in theory – by the government, after public debate and representations to the minister and ministry of culture. ultural policy is designed to serve democratic obectives, training in democracy being considered an important social goal in itself, to guarantee artistic freedom by subsidizing the arts and to promote eual access for all by funding centralized and decentralized cultural institutions. The state builds the house, but leaves it up to the tenants to decorate the rooms. The financial conditions faced by artists and permanent institutions depend primarily on publicsector funding and are, to a lesser etent than under the facilitator and patron models, subected to commercial conditions in the form of sales of works, ticket sales, private donations or sponsorship.

Although the high degree of public funding of the cultural sector is a characteristic paradigm of the ordic cultural architect model, the present government has given high priority to improve the ticketincome of the institutions and to stimulate private investment and funding of cultural life. o the intention is to transform the Danish cultural model into a facilitator model. This transformation of cultural policy in the direction of a facilitator model has been a general trend in most uropean countries in recent years. owever, in some respects, the Danish architect model continues to stand apart from other architect

ouncil of uropearts, ompendium of ultural olicies and Trends in urope, th edition, 18 The ordic ultural odel hapter .

16 M ountry eport – enmark models in urope it is to a high degree a decentralied model n , approimately of the public sector spending activities in arts and culture were financed by the municipalities

The decentralied financing and implementation of the local cultural institutions, such as local heritage museums, local theatres etc, is being improved according to the decentraliation and recentraliation process of the new local governmental reform, although local cultural activities such as museums and libraries still have to be in accordance with laws decided by the government and there is great emphasis on the egalitarian dimension in cultural policy that means eual access for all citiens to cultural goods regardless of income and settlement

The citiens eual access to participation has been emphasied as a main obective in all the governmental reports on culture from – Today, enmark has a high proportion of people aged years and older who have been to theatres, museums, art ehibitions, libraries, cinemas, concerts, galleries, historic sites and who access the nternet, eg approimately of the population, over years of age, had been at least once to a public library during the previous year Cultural and creative industries – a thriving sector

reative industries make up a significant share of the anish economy n they employed appro , persons in service as well as manufacturing, and had revenue of about billion The creative industries thus represent per cent of total revenue and employment in anish business and industry This trend has been particularly strong in parts of the fashion clothing sector, where productivity is also higher than the average for anish business and industry as a whole

n addition, the creative industries contribute to innovation and growth in the rest of the business sector n increasingly intense international competition, businesses are increasing their use of creative competencies to develop, design and market their products and services or eample, anish businesses use designers to develop aesthetic and userfriendly solutions which differentiate them from competing businesses and which customers are willing to pay a higher price for, while advertising agencies and developers of digital content supply communication and marketing solutions to businesses

The creative industries in enmark span a wide range of areas, comprising a total of sectors aritetre, ooks ress, esin, ilm vieo, iital ontent rotion omters, arts rats, msi, asion lotin, rnitre interior esin, raio and avertisin The sectors vary greatly and include manufacturing companies, knowledge service companies and companies that create artistic content

Denmark’s creative industries are strong. Danish design and architecture is world renowned, and in recent years the anish fashion clothing sector has seen significantly increasing revenue and internationaliation urthermore, anish films and T programmes have won numerous international awards, which has helped attract tourists and talent to the country as well as strengthening Denmark’s international brand as a creative nation

nternationally, the creative industries have seen strong growth in the past decade, reflecting factors such as increased global prosperity and new information and communication technologies This trend is epected to continue in future years, keeping pace with the growing middle class in the emerging economies This is a potential source of increased growth for the creative industries, resulting especially from greater demand for lifestyle and design products ne eample is the increasing anish eport of fur

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17 M ountry eport – Denmark

to the sian market. urthermore, the spread o smartphones, talets and s etc. is epected to increase the demand or computer games, learning games, apps and other creative digital content.

t the same time, there is increasing ocus in Denmark and the rest o the world on how creative industries, such as architecture and design, can contriute to the green transition, e.g. y developing environmentally and climate riendly uildings and uran environments or through products and packaging that are produced rom iodegradale or recyclale materials. The vast majority of a product’s environmental ootprint is deined during the early design phase, and many environmental issues can thereore e solved y ocusing early in the product development process on reducing the environmental impact. inally green transition and sustainale production are also gaining ground in the ashion clothing industry, which is currently one o the most polluting industries in the world. Vision for the future20

Denmark as a powerhouse or creative industries, ocusing on sustainale solutions and new digital opportunities

 nitiatives or creative digital companies  etter access to inancing and ocus on usiness development  he rewery ite roect as a eacon or uran development, architecture and design  ew design partnerships  aster market maturation ocus areas in plan or growth in the creative industries design

 mprove usiness skills and access to inancing  peed up market maturation o new creative products and design solutions  romote growth in the creative industries with good educational programmes and strong research  Denmark as an international growth centre or architecture, ashion and design inally, a numer o the leading Danish manuacturing companies are leading the way in the use o design and userdriven innovation as part o the development and dierentiation o their products. ith this growth plan, the government, in cooperation with usinesses and organiations within the creative industries, aims to develop the Danish positions o strength and, especially, oost growth and employment in the areas where gloal demand is opening up new opportunities or Danish usinesses.

The government’s plan for growth in creative industries / design has been drawn up on the basis of recommendations made y the rowth eam or reative ndustries Design and with contriutions rom a wide circle o stakeholders rom the creative industries.

ision or growth plan and selected initiatives

 ood educational programmes and strong research  orld Design apital  reen transition and new sustainale materials

he ision o the Design ommittee The Danish Enterprise & Construction’s website: www.ebst.dk See respective Case Study ‘Design 2020’ – ootnote

18 M Country eport – Denmark

Inter-ministerial cooperation

Since 2000 the Danish inistry of oreign ffairs and the Danish inistry of Culture have through a collaboration agreement been working to promote Denmarks international cultural echange. nternational Coordination is an independent team at the Danish gency for Culture ulturstyrelsen. t acts as the operating staff to carry out the Danish gency for Cultures duties in connection with the collaboration agreement. mong others it is the to negotiate cultural agreements and programmes as authoried by the Danish inistry of Culture and the Danish inistry of oreign ffairs and to follow up on and administer cultural agreements entered into. n their collaboration on international cultural echange through the Danish gency for Culture the Danish inistry of oreign ffairs and the Danish inistry of Culture also aim at strengthening the collaborative network among all Danish institutions etc. working with international cultural echange.

The Danish Centre for Cultural Development DCCD Center for ultur og dvikling organied within the inistry of oreign ffairs is responsible for international cultural echange organied for developments purposes. The inistry of Economic and usiness ffairs Erhvervsministeriet promotes cooperation between the cultural sector i.e. Danish design and the business sector.

The inistry of Education ndervisningsministeriet takes care of cultural education in schools and provides subsidies to various activities devoted to leisure and cultural minority groups. Cultural activities for children are improved by the etwork for Childrens Culture rnekulturens etvrk established in cooperation with the inistry of amily and Consumer ffairs amilie og orbrugerministeriet and the inistry of Education. oluntary organiations and amateur activities are primarily regulated and financed by the aw of eneral Education managed by the inistry of Education. The inistry of efugees mmigration and ntegration ffairs inisteriet for lygtninge ndvandrere og ntegration is responsible for several projects targeted at minorities immigrants and refugees often together with the inistry of Culture and the inistry of Education.

Since 2002200 the inistry of Culture and the inistry of usiness and Economic ffairs have cooperated closely on matters concerning the Danish cultural industry. Today this cooperation is based on a political agreement signed in 200 by the government and the opposition parties. The greement on strengthening the cultural economy in Denmark introduces the two corner stones of the political initiatives in this field: The Centre for Culture and Eperience Economy and The our Eperienceones.

The goal for the agreement and these two initiatives is:

 to strengthen the Danish cultural industry internationally through professional guidance and international networking and  to encourage cooperation between the more traditional companies and the companies working in the cultural field in order to strengthen the business skills of the cultural and artistic field and to make the traditional companies learn to use the artistic and cultural skills in development of products and services.

The Centre for Culture and Eperience Economy has been established by the government to improve the cooperation between culture business universities and research institutions in the field. The purpose is to stimulate the branding of Danish products in the global eperience society. s well as strengthening the cooperation between the business world and the cultural sector. The initiative The our Eperienceones is partly cultural and also has a business character. The four areas are: ashion computer games food culture and music. n each field a project holder is appointed and the goal is for the ones to cooperate internally to Denmark Council of Europe/ECarts Compendium of Cultural olicies and Trends in Europe th edition 202 D create growth and innovation within their field and in the end create a

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TRISM SETR IN DENMARK

Policy priorities

called “experience economy” created by mand for the innovative new products and “experience” based tangible products and intangible

called “creative turn” in tourism development. “The emergence of ‘creative tourism’ reflects the creative industries, creative cities, and the ‘creative class’” (Richards, 2011)

L R T T A A

T T

21 M ountry Report – enmar

I AND TRISM SETR ERATIN IN DENMARK

There are at least four types of tourist attractions

1. free and open attractions, lie natural beauty of landscape, old buildings, modern syscrapers, and monuments 2. nowledge or aesthetic seeing attractions where they charge entrance fees, such as art galleries and museums . commercial amusements and attractions, such as amusement pars and oos where they also charge entrance fees . cultural events such as musical festivals and sport events. n certain cases, hotels and restaurants are also tourist attractions, when tourists choose for those hotels and the restaurants for seeing the uniue experiences. rowth in Tourist ttractions reativity and innovation involve much more in tourist attraction development now than ever before. ew products and services based on innovation indeed give visitors uniue experience therefore more and more visitors are attracted to the regions. t is observed that many regions have put their focus and investment on the development of tourist attractions. t is not possible to register number of visitors in those attractions when they have free entrance, such as beaches, forests, and monuments. The tourist attractions included are mostly museums, amusement pars, and oos, where the number of visitors can be registered. These tourist attractions have the registered numbers of visitors, and their companies’ information is included in the statistical system with their economic accounts and employment numbers2.

Tourist attraction has a feature of both tourism and culture, as it is embedded with tourism nature, at the same time it is a culturebased activity. The tourists who are attracted by tourist attractions and conducted mostly cultureoriented activities at destinations are often called “culture tourists”. “Culture tourism” is distinguished by its nature with “nature oriented tourism” and “mass tourism”.

2 Tourist attraction development in enmar and its impact on regions 22

22 M Country eport – enmar

DENMARK’S BILATERAL AND MULTILATERAL SI AND TRISM ERATIN IT TER ND NTRIES AND INTERNATINAL BDIES

s a small state, since , enmar has sought to play an active role in the international field of cultural cooperation, within ordic cooperation through the ordic Council ordis d the forum for ordic parliamentary cooperation formed in and the ordic Council of inisters ordis inisterrd the forum for governmental cooperation formed in , the Council of urope, nited ations C and the . ordic cooperation has been, and is, essential because of the common models of public cultural policy, dialogues and echanges of common cultural eperiences and a considerable cultural budget, which maes possible the implementation of several proects in the cultural field each year, e.g. oint ordic film production.

he Council of urope is important because of the uropean Convention on uman ights and the additional protocols ratified by enmar in and included in anish legislation by aw no. on pril , the uropean Court of uman ights, the Convention for the rotection of ational inorities ratified in enmar ecember and set in to force on ebruary and concrete cultural policy actions such as the Compendium of Cultural olicies and rends in urope launched in and the ational Cultural olicy eviews initiated since .

he anish gency for Culture is an administrative body under the auspices of the anish inistry of Culture. mong other things, the gency acts as secretariat for the anish rts oundation and the anish rts Council and has the regulatory responsibility for sites and monuments, listed buildings and state subsidied museums. he anish gency for Culture is welleuipped to promote and provide services for anish culture and art in the broadest sense on the domestic, uropean, and international fronts.

he anish Cultural nstitute is an independent nonprofit organiation funded by the inistry of Culture. t aims to promote international cultural collaboration and echange and to create enduring international connections and networs – not least through education and social awareness. he nstitutes head office lies in Copenhagen with divisions in dinburgh , russels elgium enelu, anover ermany, ienna ustria, ecsemt ungary, dans oland, iga atvia, allinn stonia, ilnius ithuania, t. etersburg ussia, eiing China, uenos ires rail and Cairo gypt.

hree other institutes also operate abroad in ome, thens and amascus focusing primarily on the fields of humanistic and cultural research and cooperation. he anish Centre for Culture and evelopment CC promotes international cultural collaboration between enmar and the developing countries in frica, sia, the Caribbean, atin merica, and the iddle ast.

he anish mbassies anish inistry for oreign ffairs and foreign missions are actively involved in promoting anish art and culture as part of their public diplomacy efforts.

he maor instruments used in international cultural relations are cooperation treaties , the ordic Council of inisters, C, etc.. Coproduction agreements on specific areas e.g. film co productions in and the ordic Council of inisters, see chapter .. are also used. inally, all the cultural institutions directly or indirectly funded and regulated by the state i.e. he oyal useum of ine rts tatens useum for unst, he ational useum of enmar ationalmuseet, the oyal anish

in and coordinates in ppendi bid

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Key elements of Denmark’s presence/participation on the international cultural stage

       S Cltral

     atral

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       I L

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     “El Primer Nueva Coronica y Buen Gobierno” (2007)    III, Biblia Latina. Commonly called “the Hamburg Bible”, or “the Bertoldus” (2011)

UNES

L

   

25 M Country eort – enmar

UNTR ASE STUDIES

Case studies have been selected either as roosals by our interlocutors during country missions, andor identiied in sit by the eerts or through desor and study o eisting literature. It has been articularly diicult in certain cases to identiy relevant casestudies ocused on the theme o this assignment or reasons that are urther develoed in the crosscountry reort. 7.1 The Tivoli Gardens – Copenhagen28

ivoli Gardens amusement park in Copenhagen is promoted by ‘Visit Denmark’ as a must for all visitors to the city, young and old. Tivoli is located just a few minutes’ walk from City Hall, and with the Copenhagen Central tation as its nearest neighbour it is very easy to get to.

ivoli Gardens as ounded in 1 and has become a national treasure and an international attraction. airy tale riter Hans Christian ndersen visited many times, as did alt isney and many other celebrities, ho all ell in love ith the gardens.

Part o ivoli Gardens secret is that there is something or everyone. he scenery is beautiul ith eotic architecture, historic buildings and lush gardens. t night, thousands o coloured lights create a airy tale atmoshere that is comletely uniue.

he rides are all designed to match ivolis architecture and gardens. ome rides are nostalgic. thers ill match the eectations o the eenest thrill seeers, e.g. the ertigo hich ill turns uside don at 100 km/h and was voted Europe’s Best Ride in 2014.

Tivoli’s oldest and most popular ride, the wooden Roller Coaster rom 11, is one o only seven roller coasters orldide hich have a braeman on board every train.

In 201, ivoli Gardens oened its doors to the longest summer season ever in ivoli Gardens, ith many eciting international events and double u on music concerts.

In Tivoli Concert Hall one can see a cast of some of Denmark’s finest dancers and actors. Tivoli Gardens also boasts an etensive rogramme o live music events every day. Every day during the summer, the oenair concerts have concerts reorming a, ol, classic and o music. 7.2 The Copenhagen Business School design framing project 29

Proect title Living ice Ho a Product Goes through ultile Lie Cycles

esearchers Proessor ohn . Christiansen, ssociate Proessor Claus . arnes, student iana torm‐ Nielsen, student Eri ohnsen inther, Ph student arta Gasarin

Partners rit Hansen

ethod Ethnograhic method ith a case study and actornetor theory

he roect as conducted ithout eternal unding

“A group of students’ surprising dataset caused a theory to be rewritten. Research on Danish design classics shoed that roduct lie cycle is not as uniorm as revious theories imlied. esign raming can turn roducts such as anish designer urniture into timeless classics ith multile lives, says Proessor John Christiansen.”

2 Inormation collected in sit 2 Inormation collected in situ and on htt.cbs.den 2

26 M Country Report – Denmark

Concept roduct value and life are usually epected to follow the product life cycle C, wherein products are epected to move from an investment toward a profitable mature peak that ends when the product is phased out. This study illustrates the sales volume of Arne Jacobsens Egg chair over a 0‐year period, shifting from low to high volume to etremely low to high again. This study introduces a theoretical perspective in which value creation is described as a process of valuing, in which an assumption is made that the value of a product is relational and that relationships between products and consumers are created, broken, and recreated. This makes it possible to understand how timeless products can be achieved. Based on a co‐constructivist view of value creation, the life of the Egg chair demonstrates how value is co‐created as different associations, relationships, and conflicts are attached, detached, and reattached to the product through processes of ualifications and reualification. Value is contet dependent, emerging, and performative. By providing vital clues about what makes some products timeless, the study of the Egg provides implications for companies and managers. The strength of the Egg is its ability to be simultaneously fleible and stable. At its core is the design of a mastermind, yet it can adapt to todays changes and tastes. Through its ability to transform and connect in new ways, keeping its core, it becomes strong. The implications for product development are, among other things, that the C curve should not guide actions or reactions. Instead, it is necessary to understand, identify, or define the core design and values of products and the way products of the past can be adapted, negotiated, and transformed to stay attractive and to involve modern customers. It is essential to understand how product framing and framing devices work as management technologies in processes that involve the creation of long‐lasting product icons. 7.3 Negotiating heritage and tradition: identity and cultural tourism in Ærø, Denmark30

Ronstrms tradition/heritage dichotomy is used to eplore issues of cultural inheritance in the Danish island of r. The 200 publication of Carsten Jensens best‐selling historical novel “e, the Drowned” turned the Baltic ea village of arstal into Denmarks best‐known maritime community. ocally, however, there had long been a tradition of arstallers contrasting their communitys seafaring past to the reputedly agrarian identity of the islands other main village, the former market town of rskbing.

The community rivalry between industrial arstal and tourist‐friendly, half‐timbered rskbing finds expression in the two villages’ various tourist attractions. Jensens novel has been embraced by both arstallers and Danes in general, renewing interest in local traditions and the encouraging arstals development as a heritage town. Although e, the Drowned has become a tool for constructing community solidarity, it has also introduced a mode of heritage tourism that may clash with elements of the local identity.

Based on an eploratory case, this study proposes that different conceptions of authenticity can co‐eist within the tourist setting, whereby new technologies can be implemented to strengthen heritage sites as tourism attractions while still paying attention to authenticity and ongoing authentication processes. Abstract, conceptual discussions of authenticity often stress the etremes, but it is here argued that a combination can eist in practice. The project also suggests that understanding levels and patterns of authenticity among various groups of actors is central to discussions of authenticity and its role in tourism settings.

0 Adam Grydehoj, Journal of Heritage Tourism 21‐14 ovember 2011 2

27 M ountr eport – enar

7.4 The Tales of Limfjorden31

t estinations aroun the ior imoren, a nuer o ierent ators uner a oon ran – “The Tales of Limfjorden” – tell stories relate to loal harateristis he stories are suivie into the thees histor nature rat an inustr the aritie an teptations an through these stories the listeners are offered: “a nie limse into te natre, istor and culture of the Land of Limfjorden”. he stories have een tol sine an see lie a ature touris prout an onseuentl the present ase stu o will e ale to provie an unerstaning o stortelling ase on the ears o pratial experienes that the staeholers have gaine through the appliation o stortelling in relation to prout an estination evelopent he prout is estalishe within a geographial area that strethes aross two politial regions it involves a nuer o loal estinations an urtherore inlues an ierent staeholers he prout is anage within the raewor o a ooperative networ an thereore organiation an staeholer relations within the networ o ioren are entral to onsier hough ioren is loate losel to the oast o the orth ea an there next to a aor anish touris area the oastline o the ior itsel sees to la aor tourist attrations to enourage ore holia stas he purpose o telling stories is to reate a prout that woul ae people aware o the ualities o ioren in orer to ae the want to ove aroun the area an at est spen their entire vaation there his state ai aes it highl relevant to stu how the onept o stortelling is unerstoo an pratie the iniviual ator as well as in the networ in general with reerene to estination evelopent s outline aove the stortelling prout is estalishe within a geographial area that strethes aross two politial regions involves a nuer o loal estinations an inlues an ierent puli as well as private staeholers t anageent level the prout o is hanle within etvrk imoren, a networ assoiation whose ain purpose is to evelop an proote touris in the area o ioren he networ is anage a oittee onsisting o puli an private touris staeholers an politial representatives ter soe turulene ue to politial reor that hange the iel o responsiilit o the regional in orthern utlan the prout is now oorinate the loal ouris gen in truer while an eploee at the egion o entral utlan untions as seretar hanling all ainistrative tass he organisational struture o the networ eans that the oorinator an the seretar have to hanle all prout oorination an ainistration as part tie os esies ulilling their ain os as iretor o touris an regional eploee respetivel wish or a ore oralie struture integrating an inepenent seretariat is expresse a nuer o staeholers within the networ aturall involves a nuer o ators proviing the atual telling o stories hese ators ae up a iverse group o organisations ounting tourist attrations eg historial useus nature pars et an opanies ro other usiness setors eg air rewer ars – all in all ig sall an iro sie organisations an a ixture o puli an private organisations he stortelling loations are hosen the tourist agenies in the partiular loal estinations an the seletion is priaril ase on whether the stor represents soething uniue an extraorinar within the given estination area hether a stor turns out suessul is uge the nuer o visitors uring a season an the stories within the ierent thees an estinations a var ro one season to the next hile the tourist agenies have to pa or the atual nuer o stories the want to e a part o the stortelling loations are not reuire an paent the get to eep all inoe ro entrane ees o the stor arrangeents an otain inrease areting exposure through the prootional paphlet press releases an the oint wesite

r nette herelsen researh assistant ao arsen tortelling an estination evelopent oren

28 M ontr eort – enar

UNTR NLUSINS AND BSERATINS

General conclusion

e ies and data olleted drin tis eerise ilit o te nderstandin of s in te ontries is a ontinos neotiation eteen tree e diensions:

 te definition of s itself  te a s are seen in te eono in relation to li riate and not for rofit setors  te ole intersetion of roean national t also reional and ran oli fraeors ot te o of or assinent and te aroed netion eort nderlined a allene i is also an essential finding of the study “11 Dimensions rends and allenes in ltral and reatie ndstr Policy Development within the Northern Dimension Area”, commissioned by the NDPC and published in a i states tat:

The countries comrise a er heteroeneous reion in terms of s. This heteroeneit stems larel from the fact that the countries are at different staes of deeloment considerin the s. eendin on the stae of deeloment there are considerale differences in ho the s are ieed ranin from traditional arts and culture to focus on creatie econom. imilarl there are differences in hich susectors are included under the s. urthermore the s are onl einnin to hae a national olic status throuhout the reion and the focus and real actions taken to develop the sector are varied”. is findin as een reatl onfired te field issions and te desor done drin te std ase

e interrelated dnai enironent of oli ain for te seifi field onerned or ission nderlines te neessit for onstant transnational eane of inforation and nolede in te field of ltral resear is aset is ore onretel illstrated in te rossontr reort and resetie reoendations Country conclusion- Denmark

or onetaliations of ltre an e identified in anis ltral oli i define ot the country’s adopted cultural policies as well as the interventions of the various state and/or riate odies in te setor:  ltre as a anisti onet of art and enlitenent  ltre as an antrooloial soioloial onet  ltre defined as in ters of eeriene eono  ltre as national identit lloation of rants tro atonoos arts onils eerts oittees instittions and oter ars lent odies insired te anis tradition of self oernane are in lae to arantee te indeendene of arts and ltre fro eonoi and olitial interests

oeer fro te iddle of te s ltral oliies in enar ere reinested it ne oals to roote and titen te lin eteen arts and sinesses to rede state relation of te ltral indstries and to enorae riate atrons and oanies to at as sonsors and rase art and sort art instittions

n arallel an effort is ein deloed to inrease te olitial relation of arts and ltral instittions as ell as to reitalie te national diension in ltral oli in order to strenten

29 M Country eport – Denmar

the national identity of the people and promote social cohesion in response to globaliation, migration and individualiation

The Government’s cultural and business policy efforts have a clear visionary perspective to COUNTRY PROFILE - Denmark develop Denmar as a creative region of urope, namely within the sectors of Design, Creative Industries Trade Performance, 2003 and 2012 Architecture and ashion Denmar has a clear will to evolve as an international growth centre for these sectors Denmark 2003 2012

ther focus areas in plan for growth in the creative industries are Value ( in Million US$) Value ( in Million US$)

 mprove business sills and access to financing Exports Imports Balance Exports Imports Balance  peed up maret maturation of new creative products and design solutions All Creative Industries 2,823.61 2,120.93 702.68 4,094.58 4,171.13 76.55  Promote growth in the creative industries with good educational programmes and strong All Creative Goods 2,823.61 2,120.93 702.68 3,506.01 3,209.25 296.76 research his new dynamic between the arts and the commercial sector has not yet demonstrate its full All Creatives Services -00 -00 0.00 588.57 961.88 373.31 potential n many areas there are both structural and mental barriers to developing synergy between the two sectors Putting it bluntly, the two worlds display a degree of reticence in coming Denmark: Creative Industry Trade Performance, 2003-2012. together, and lac a common language and nowledge of each other his is very often the case 12,000 between tourism and creative industries ourism, creativity and culturecontained activities, and the socalled “experience economy” created by these activities are observed by its growing importance in Danish society he trends 9,000 of these activities influence both production and consumption ourist attraction in Denmar is considered to have a feature of both tourism and culture, as it is embedded with tourism nature, 6,000 at the same time it is a culturebased activity he tourists who are attracted by tourist attractions and conducted mostly cultureoriented activities at destinations are often called “culture Total Creative Industries Exports tourists”. “Culture tourism” is distinguished by its nature with “nature oriented tourism” and In millions USD 3,000 Total Creative Industries Imports “mass tourism”.

0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Creative goods, imports by product Creative goods, exports by product In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 2,000 3,000 2003 2003 1,500 2,250 2012 2012 1,000 1,500

500 750

- 0 - 0 ts ts ts ts isuals isuals t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V Per Per Creative industries goods and services reached $4, 094 million in 2012. Imports amounted to $4,171 million,

industries, with exports worth $2, 565 million, accounted mainly by Interior design (furniture and industrial design), representing for more than half of creative industries total exports. Audiovisual sectors, particularly

30 M Country eport – enmar

ppendix . ey acts and igures

COUNTRY PROFILE - Denmark

Creative Industries Trade Performance, 2003 and 2012

Denmark 2003 2012

Value ( in Million US$) Value ( in Million US$)

Exports Imports Balance Exports Imports Balance

All Creative Industries 2,823.61 2,120.93 702.68 4,094.58 4,171.13 76.55

All Creative Goods 2,823.61 2,120.93 702.68 3,506.01 3,209.25 296.76

All Creatives Services -00 -00 0.00 588.57 961.88 373.31

Denmark: Creative Industry Trade Performance, 2003-2012. 12,000

9,000

6,000

Total Creative Industries Exports In millions USD 3,000 Total Creative Industries Imports

0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Creative goods, imports by product Creative goods, exports by product In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 2,000 3,000 2003 2003 1,500 2,250 2012 2012 1,000 1,500

500 750

- 0 - 0 ts ts ts ts isuals isuals t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for New Media Publishing V New Media Publishing V Audio V Audio V Per Per Creative industries goods and services reached $4, 094 million in 2012. Imports amounted to $4,171 million,

industries, with exports worth $2, 565 million, accounted mainly by Interior design (furniture and industrial design), representing for more than half of creative industries total exports. Audiovisual sectors, particularly

31 M –

Creative goods exports by Creative goods exports by geographical region, 2003. geographical region, 2012. 1% 7% 5% 3% 3%

89% 90%

Africa Europe America Africa Europe America Asia Oceania Asia Oceania

TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012

2003 2012

Values in Million US $ Values in Million US $

Rank Country Exports Imports Balance Country Exports Imports Balance

1 Germany 686.33 346.53 339.80 Norway 620.53 58.90 561.62

2 Sweden 513.74 381.23 132.51 Sweden 583.67 531.38 52.29

3 United Kingdom 368.16 128.78 239.38 Germany 491.33 434.75 56.58

4 Norway 290.01 61.86 228.15 United Kingdom 220.70 200.67 20.03

5 United States 147.37 31.42 115.95 France 151.11 71.07 80.04

6 France 128.14 55.45 72.69 United States 106.07 41.94 64.13 orce httpnctad.orenlicationsirareditctedden.pd 7 Netherlands 93.98 123.99 30.01 Finland 104.62 32.51 72.11

8 Finland 60.88 66.35 5.47 Netherlands 104.17 211.39 107.22

9 Spain 49.78 18.54 31.25 Poland 49.64 59.73 10.09

10 Austria 41.35 26.88 14.46 Switzerland 49.08 21.65 27.43

Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf

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Creative goods exports by Creative goods exports by R geographical region, 2003. geographical region, 2012. 1% 7% 5% 3% 3%

89% 90%

Africa Europe America Africa Europe America Asia Oceania Asia Oceania

TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012 2003 2012 Values in Million US $ Values in Million US $ Rank Country Exports Imports Balance Country Exports Imports Balance

1 Germany 686.33 346.53 339.80 Norway 620.53 58.90 561.62

2 Sweden 513.74 381.23 132.51 Sweden 583.67 531.38 52.29

3 United Kingdom 368.16 128.78 239.38 Germany 491.33 434.75 56.58

4 Norway 290.01 61.86 228.15 United Kingdom 220.70 200.67 20.03

5 United States 147.37 31.42 115.95 France 151.11 71.07 80.04

6 France 128.14 55.45 72.69 United States 106.07 41.94 64.13

7 Netherlands 93.98 123.99 30.01 Finland 104.62 32.51 72.11

8 Finland 60.88 66.35 5.47 Netherlands 104.17 211.39 107.22 9 Spain 49.78 18.54 31.25 Poland 49.64 59.73 10.09 10 Austria 41.35 26.88 14.46 Switzerland 49.08 21.65 27.43

Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf

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enark

oncil o ropearts opendi o ltral olicies and rends in rope th edition

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B e docents on anish ltral policies

he ordic ltral odel ltrens politik olitics o ltre in enark en danske kltrodel – enark in the ltre and perience cono anon o anish rt and ltre.

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36 NOTES

37 NOTES

38 39 The content of this publication is the sole responsibility of PROMAN and the Implementing Partners for this Contract of the PROMAN Consortium and can in no way be taken to reflect the views of the European Union.

40