Development and Potential ndustries in Berlin 2008 I Creative 2008 CREATIVE INDUSTRIES IN BERLIN Development and Potential European Union Co-financed by the European Regional Development Fund 2008 CREATIVE INDUSTRIES IN BERLIN Development and Potential Content Preface 1 Introduction 4 1.1 Terms and terminology policy 4 1.2 Creative industries and cultural policies 6 1.3 The complexity of an enabling industry 9 1.4 Education and training in the creative professions 11 1.5 Internationality 14 1.6 Creative industries as a policy field since 2004 15 1.7 Creative industries as a challenge for public policy 20 2 Economic significance of the creative industries for Berlin 22 2.1 Overview 22 2.2 Print media and publishing 28 2.3 Software development/games/telecommunications services 34 2.4 Advertising 39 2.5 Film, television and radio 44 2.6 Art market 51 2.7 Music industry 57 2.8 Architecture 63 2.9 Design industry 67 2.10 Performing arts 73 2.11 Women in the creative industries 77 2.12 Creative Industries in the context of promoting culture 80 3 Income dynamics and forms of work in Berlin‘s cultural and creative professions 86 3.1 Introduction 86 3.2 Supporting data and approach 89 3.3 Results 92 4 Urban development and the cultural and creative Industries 102 4.1 Introduction to the spatial dimension 102 4.2 Basis of data and methods 104 4.3 Locating creative enterprises 107 4.4 Interpretation of business distribution throughout urban space 113 4.5 Creative industries accelerate urban transformation processes 127 5 The most spheres of activity for creative industries 130 5.1 Integration and clustering 130 5.2 Sponsorship and financing 131 5.3 International networks 133 5.4 Accomodation for the cultural and creative industries 134 5.5 Sales increases 135 5.6 Digitalisation 136 5.7 Education and coaching 137 5.8 Platforms for design and fashion 138 5.9 Urban development and creative spaces 138 5.10 Outlook 144 Appendix 146 Imprint Vorwort Berlin, nearly 20 years after reunification, is people from all over Europe and the world once again a respected and treasured loca- come to Berlin to embrace new perspectives tion for the cultural and creative industries. and developments, enriching the city‘s crea- In re-attaining this status, the city has tap- tive potential with their ideas. Berlin relies on ped into its old strengths, some of which date this stream of talent; however, the city in turn back decades. At the same time, while preser- also cultivates many creative minds. ving the special potentials it has engendered, in part due to the profound changes that The following cultural industries report dis- have occurred since 1989, Berlin is poised to penses with the prejudice that culture is develop new qualities. Like other metropoles, merely a “weak location factor“, a cherry on Berlin is benefiting from the growing recog- the cake that is expendable if necessary. Cul- nition of the economic importance of art and ture is the basis for the development of the culture, fashion and media, communication creative ideas that kindle all value creation and creativity. and that literally provide the initial “content“ for fascinating, new technological possibili- Indeed, it is impossible to overlook the crea- ties. To prosper creativity needs the city, the tive industries‘ strategic contribution to the urban milieu. This creative industries report innovative capability of commercial areas: is the first to investigate how urban develop- where art and culture flourish, media and ment influences the spatial unfolding of crea- communications also thrive. Whether adverti- tive industries, and thereby how creative mili- sing, architecture, fashion and design studios eus reproduce themselves within the city. or music, the creative industries feed off one another. The barriers between once separate Creativity needs the city – not the establis- fields are now often difficult to detect. Mo- hed and saturated city, but rather the city of ving at the borders, forward-looking compa- niches and breaches, the dialogue of cultures, nies and exciting cultural projects are taking the excitement of change. Berlin affords all shape. this, which is why it holds such fascination. Culture and creativity are highly significant location and economic factors. The numbers of people working in this area is rising con- tinually. Young and mostly highly qualified Klaus Wowereit Ingeborg Junge-Reyer Harald Wolf Mayor of Berlin Senator for Senator for Economics, Urban Development Technology and Women’s Issues This report provides information on the cre- from politics, research bodies, networks and ative industries in the federal state of Berlin enterprises in the six regions of Amsterdam, and on their development since 2000. Cur- Berlin, Copenhagen, Dublin, Paris and Bucha- rent results of policies by the state agencies rest. The aim of the project is to improve the are presented, problems are analysed, best knowledge transfer and research & develop- practices are illustrated and future areas of ment activities in the field of new media in activity are specified. order to strengthen the innovation capacity and future competitiveness of the partnering In this regard, Berlin makes an important con- cities. tribution to the discussion and on-going work in two European projects: CREATIVE METRO- Only since the fall of the Berlin Wall just 20 POLES and REDICT, two interregional net- years ago can Berlin again assume the role works funded by the European Commission. that large cities typically play in internatio- nal collaborations. The networking of Berlin CREATIVE METROPOLES – Public Policies and with other urban and cross-regional commer- Instruments in Support of Creative Industries cial centres and the evolution of a decidedly (INTERREG IVC) links together 11 large Euro- international orientation require time. Both pean cities. The core metropoles are the capi- projects show that Berlin has since become an tals of the Baltic nations, cities that for years accepted partner in international and cross- have worked in close collaboration on various regional cooperation. projects. This network is being expanded to include the cities of Amsterdam, Barcelona CREATIVE METROPOLES and REDICT both and Birmingham. The collective goal is the es- address Berlin’s strengths: the creative indus- tablishment of a well-functioning, focussed, tries and digital technologies. The collabora- flexible and efficient public support system tive projects developed in Berlin by regional for the creative industries in the participating institutions and companies help to develop cities in order to stimulate the growth and new solutions to economic and social challen- development of the creative sector. ges. REDICT – Regional economic development We are similar enough to learn from each by ICT/New media clusters (FP7, Regions of other and we are different enough that it Knowledge) brings together 18 partners makes sense. Klaus Wowereit Ingeborg Junge-Reyer Harald Wolf Ingrid Walther Mayor of Berlin Senator for Senator for Economics, Head of Division Communication, Urban Development Technology and Women’s Issues Media, Creative Industries 1 Introduction Cultural products such as concerts, books, from a social, infrastructural and urban de- exhibitions, newspapers, films, matches and velopment perspective. art objects, all make up important compo- nents of people‘s everyday lives. As a rule, it The cultural and creative industries are dis- is only somewhat relevant to the consumer tinguished by a high percentage of female whether these products are provided by a employees. The present report examines commercial enterprise, a community organi- in particular the standards of both gender sation or by a state-supported cultural ser- mainstreaming and gender-equitable lan- vice. guage. As far as is possible, this text will em- ploy gender-neutral phrasing, dual-gender This report concerns itself with all cultural- usage as well as combined-gender formu- ly oriented industries and explores, as tho- lations (i.e. he/she). However, especially in roughly as is possible, the entire value chain chapters 2 and 3, the use of gender-equi- of creative efforts from production to distri- table language might hinder the clarity and bution. Particular attention will be given to readability of the text. Therefore, when re- creators and artists. The cultural and crea- ferring to personnel in these chapters, mas- tive industries are considered not only from culine- or combined-gender designations the standpoint of economics, labour-mar- are predominantly used. ket policy and cultural significance, but also 1.1 Terms and Terminology Policy To date, there exists no authoritative defini- In 2008, the Conference of Economic Minis- tion at the European or international levels ters of the German Federal States incorpora- for the term “Kulturwirtschaft“. The desi- ted official statistics to agree upon a national- gnation “kulturwirtschaft“ is principally and ly standardised and potentially Europe-wide commonly used in Germany while in the An- acceptable definition of creative industries. If glo-American realm the term “creative indus- this term is adopted, German economic and tries“ is used, for the purposes of reaching a employment statistics will become compara- broader cultural understanding. ble for the first time. As agreed upon by the states and as applied in this report, the de- finition of the terms “cultural and creative industries“ will correspond to the definition understood in the final report of the Commit- tee of