Mapping exercise: How could creative industries foster innovation in tourism in the Northern Dimension area?
Country Report – Finland
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 – Finland
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.
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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 – inland
CONTENTS
DISCLAIMERS ...... 2
LIST OF ABBREVIATIONS ...... 4
1. INTRODUCTION AND KEY POINTS ...... 5
2. BASIC COUNTRY INFORMATION ...... 13
3. CULTURAL AND CREATIVE SECTORS/CCIS IN FINLAND ...... 14
4. TOURISM IN FINLAND ...... 25
5. CCI AND TOURISM SECTOR COOPERATION IN FINLAND ...... 30
6. FINLAND’S BILATERAL AND MULTILATERAL CCS/CCI AND TOURISM COOPERATION WITH OTHER ND COUNTRIES ...... 31
7. CASE STUDIES ...... 33
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8. COUNTRY CONCLUSIONS AND OBSERVATIONS ...... 41
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LIST F ABBRE IATI NS
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INTR D TI N AND E INTS
‘ ’ European level has not been taken or is it because we are in a ‘post definitional’ era with certain Is the tourism industry’s use of cultur
5 ountry eport inland
o the brid es that need to be built between Is and the tourism sector include new intermediaries who can identify interpret broker and mana e tourism I I tourism syner ies In the last couple of years there has been increasin interest in lookin at the e istin and potential linka e of the cultural and creative industries to tourism development It however throws up considerable practical and methodolo ical challen es and problems for various reasons and e plains why relatively little pro ress seems to have been made he ma or first hurdle is that the definition of cultural and creative industries is constantly evolvin 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 to ether for e ample in the case of ithuania atvia and Estonia here can also be conceptually uite different national approaches or e ample 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 somethin wider or cross cuttin such as one part of the creative economy or as a part of national innovation entrepreneurship or E policies he third issue flows from the other two ecause of an evolvin and differin understandin in country terms of what the Is constitute there is no common statistical base which allows clear comparisons or benchmarkin somethin which is ur ently needed and is be innin to start bein e plored at European level If one turns to the tourism sector there are similar parallel problems he collection of statistics e number of ni hts’ accommodation may be firmly in place but those statistics are partial and be innin to look increasin ly inade uate as they are often not takin account of revolutionary chan es affectin the tourism and travel industries he continuin rowin importance of s and an emer in peer to peer and sharin economy affectin such areas as traditional tourism accommodation are often not bein captured by the traditional industry information systems ourism cate orisation is also constantly evolvin with the e istence of an increasin number of sub sectors Even cultural tourism a sub sector itself can be broken down into possibly a do en or more sub sectors such as herita e tourism arts tourism creative tourism urban cultural tourism rural cultural tourism indi enous cultural tourism e periential and astronomic tourism ‘dark’ tourism often with overlaps with other forms of tourism e adventure tourism health and well bein tourism and so on ain 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 he complications of identifyin at a eneral level the e istin and potential linka e of Is to the tourism sector is e acerbated by certain tourism sub sectors bein in their own ri ht part of the cultural sector itself for e ample in the case of herita e tourism oth the Is and the tourism sector are not in reality clearly demarcated both are imprecise fluidly defined fast chan in and dynamic areas of comple and
ommittee on Industry esearch and Ener y and ommittee on ulture and Education of the European arliament Draft Report (23 June 2016) ‘On a coherent EU policy for cultural and creative industries’ (2016/2072(INI): ‘Alongside a clear definition that takes into account all sectors related to Is the co rapporteurs believe it e ually necessary to have comparable and reliable statistical data Each ember 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 chan es over time he ob ective should be to identify specific indicators to measure the results of policies for the promotion of the sector.’ nline travel a encies such as E pedia ookin com etc ourism in which visits are made to sites attractions or e hibitions connected with sufferin death disaster and ne ative or macabre events elanie mith in her ‘Issues in ultural ourism Studies’ outled e pp lists thirteen cate ories of cultural tourism which she reduces to nine and later seven broad sub sectors ee ppendi of the e ional eport for a detailed ‘Typolo y of ultural Tourism’.
6 ountry Report inland important economic and social activity. In the case of Is there are other complications. or e ample the arts ‘lo ying industry’ has for many years u i uitously used the terms cultural industries and creative industries interchangea ly in order to protect or olster pu licly funded culture udgets. Although things have moved on and in many countries the importance of the arts for e ample is recognised and understood as a part of the creative industries value chain there is still often a lot of lurring and definitional confusion6. erhaps naively e had the intention at the outset of our ork of trying to ring some clear and overarching definitional discipline to our su ect. This rave intention as eliminated as a result of almost the first day of the first country visit here it as clear that there ere very local and legitimate interests de ates and specificities and that it ould e artificial to impose on countries definitions and categories that might ork for some ut not for others. Imposing definitions ould in some cases have een positively distorting to an understanding of the local I situation. It should also e mentioned as ill e seen from the t o footnote references a ove to a very recent European arliament report that even at EU level here the cultural and creative industries have soared to a position of highest importance in terms of policy terminology is often loose for e ample ith oth the terms ultural and reative Sectors ( S) and ultural and reative Industries ( I) eing used. In the conte t of our ork e therefore felt there as no alternative ut to assess the cultural and creative industries and the tourism sector in the individual countries in their o n terms and then ith the regional/cross country report to try to ring them together. Although it is right to look at ays of increasing the synergies et een the tourism industry and Is it is important to recognise that there is already a su stantial level of engagement. or e ample even a superficial listing of the main Is illustrates ho they are already contri uting to the tourism sector: Soft are and digitalisation this has had a revolutionary impact on many aspects of the tourism industry not least in the role that OTAs7 play (e.g. TripAdvisor ooking.com E pedia Air n etc.) Design especially graphic design ut also right the ay through all aspects of design including son et lumi re spectacles light festivals and events etc. usic for place randing am ience open air concerts etc. Advertising and roadcasting the importance of these areas to the tourism industry are self evident ilm and cinema promos travelogues film location tourism Theatre use of actors as animators or for audio guides staged events historical pageants and re enactments etc. estivals a ma or element in event tourism and place randing rafts and anti ues as part of shopping and souvenirs
6 ommittee on Industry Research and Energy and ommittee on ulture and Education of the European arliament Draft Report (23 June 2016) ‘On a coherent EU policy for cultural and creative industries’ (2016/2072(INI): The European arliament ’Calls on the ommission to design its future policies ased on the follo ing definition of Is: ‘cultural and creative industries are those industries that are ased on cultural values individual creativity skills and talent ith the potential to create ealth and o s through generating value from intellectual property. They include the follo ing sectors relying on cultural and creative inputs: architecture archives and li raries artistic crafts audio visual (including film television video games and multimedia) cultural heritage design creativity driven high end industries and fashion festivals music performing arts ooks and pu lishing radio and visual arts’. 7 Online travel agencies. 7 7 C untr e rt inland
rc itecture t e t uris industr s use uilt erita e and use c issi nin si ni icant uildin s includin as tels u lis in tra el and uide s are still er ular as i n lace i a e and randin l c stu es etc. a in au ented realit and er a s still at an earl sta e ut alread ein used e en i traditi nal t uris erat rs suc as as C d and l cal natural r ducts food festivals, branding (‘appellation’) and gastrotourism in t ur an and rural c nte ts t e real uesti n is c uld and s uld t ere e re interacti n s t ere eit er ar et ailure r under utilised tential and res urces Out ic l t er uesti ns r e a le is e istin CC t uris interacti n ecause e ecti e ertical licies r in s ite t e es a ri ntal c n lan ua e e ist it re ular dial ue r ducin t e de el ent s ared interests et een t e CC and t uris sect rs re t ere articular t uris su sect rs and CC su sect rs re suited t inn ati e interacti n and re a le t r duce ne c erati n et ds dels and aradi s t ere is ar et ailure r under utilised tential and res urces at ind inter enti n r incenti isati n is re uired t a e t e CC sect r and t uris industr interact re e ecti el s illustrated a e a l t is in n et een t e ari us CC su sect rs and t e t uris industr s t ere is n t classic ar et ailure ut rat er ‘under utilisati n’ which warrants and justifies inter enti n. uris and t e CC s s are an c aracteristics. e are ra ented d na ic nu ericall d inated s icr usinesses and s le traders re ccu ied it t e sel es and ten c a tic. e eac a e t eir n a endas. ere is lac a c n lan ua e et een t e r a l attri uta le in art si l t lac ti e. n eneral t ere d es als see t e a lac sa ir aire in ter s t eir en a in it eac t er inn ati el r t er ise r t e CC sect r de el in clusterin a ears t e er el ul ut CC s and t uris act rs a e s ar n t naturall clustered. st i rtantl t ere a e een e ractical easures alt u t ere are s e d e ce ti ns t rin t uris r essi nals and CC act rs t et er ic at t e er ini u re uires acti e lic a er interest inter reters s e undin and artici ati e c it ent. er i rtant uesti n is t at e tent an s ner ies currentl ta in lace et een t e cultural and creati e sect rs and t e tra el and tourism industry are because of, or in spite of, current ‘vertical’ licies. ile litical enti n CC s c ntri utin t t er sect rs is re uent includin s eti es in lic d cu ents it tends n t t e tar eted in an ractical a . ere is r a l re t an ne reas n r t is. t is a act t at t e c nce t CC s is still relati el ne e en i ne traces it ac t t e s and is ssi l art t e e lanati n. One sus ects t at alt u t e r le t e CC s in ter s t eir ec n ic and s cial ene its is increasin l ein rec nised ur ean ern ents t ere is r a l still airl ides read an issue real understandin t e CC en en n and t e nature t eir tential. is is t en at t e litical and lic le el reatl e acer ated t e r le rl ined u ern ent ad inistrati n ic articularl a ects t se areas ic need t e liticall and ec n icall ana ed in a ri ntal cr ss cuttin a . urt er issue in s e c untries is t at ern ents ten are n t i a inati e at r in it and r t e ri ate sect r es eciall in relati n t s icr usinesses and s le traders. urt er re t ere is als an issue ners i . ic inistr r ad inistrati n is res nsi le r CC de el ent Culture c n ndustr nn ati n Business?…Shared? Or are the CCIs themselves, much of the time operating in the private sector, res nsi le r t eir n de el ent n t e case t e t er side t e e uati n t uris is res nsi le r de el in t uris ser ices r ducts and e ents es eciall in relati n t an area li e cultural t uris n st cases it is n t 8 Country eport inland government but S s, independent commercial and non commercial entrepreneurs and cultural institutions acting entrepreneurially or imaginatively, not in fact the inistries of ourism It is almost a universal fact that policy ma ers traditionally focus on what they directly control and manage unless lobbied to do otherwise eadership and representation in the CCI sub sectors in many countries is not very well developed so lobbying is wea and the CCI sector as a whole covers such a wide area and diverse interests that lobbying as a sector is most of the time not realistic It should also be recognised that the CCIs have not been noticeably lobbying for more engagement with the tourism industry while the tourism industry, although much better organised in terms of sector and sub sector representation, has not been noticeably developing an agenda for greater joint dialogue and e ploration with the CCI sector gain one needs to as a uestion, this time the uestion is why such an agenda has not been developed in the past? It would seem that it may simply be to do with the comple ity and chaotic nature of the two sectors or e ample, how many sub sectors does the tourism industry have? If one ta es just one of those numerous sub sectors, for e ample, cultural tourism, how many sub sub sectors does cultural tourism in turn have? s for the CCIs how many are they? It depends on the country but in most cases about a do en But again if one loo s at one of them individually, such as design, it becomes comple In one orthern imension country design is officially defined according to about sub sectors In loo ing at how the creative industries could foster innovation in tourism in the orthern imension area one needs to ta e into account all the factors mentioned above It has seemed very clear from our wor that to get the two chaotic and fragmented sectors to begin to wor better together and feed off each other it will be impossible to identify a single unified interface or find a’magic bullet’. This is not of course the answer politicians, policy ma ers and economic planners want It is however the reality If progress is to be achieved in getting the CCS CCI sector to engage more and in a systematic and synergistic way with the tourism sector, there is a need to be selective, realistically focussed and ta e a segmental approach eveloping effective methods, models and paradigms for CCI ourism cooperation and interaction will only come through such an approach Our wor suggests that in being selective, and in relation to the orthern imension region, the most productive tourism target areas are probably going to be heritage tourism, creative tourism (including routes and trails, gastronomy and rural tourism) and events tourism eritage tourism is in many of the countries well developed hat said, there are plenty of sites, many museums but how many apps? Creative tourism, which we define more clearly below, is a natural ground for all types of CCS CCI involvement Cultural routes and trails open up all sorts of innovative opportunities as visitors are there for the e perience and need to move, learn, eat, sleep and interact Cultural routes can of course also be cross border and multi country projects drawing orthern imension countries into mutually beneficial cooperation astronomy or gastrotourism is also booming in parts of the orthern imension area, either as a result of a planned tourism development (e g the joint ordic ood promotion which was launched some years ago, and because of its success, followed by a ordic ashion initiative later) or as a practical research area (as in the case of the wor currently being done in St etersburg at the igher School of conomics) ural tourism s special challenges information, communication and access are also fields of opportunity for CCIs vents tourism, a priority in many of the orthern imension countries, is still not a saturated area, even if it is becoming more competitive, with new festivals of all types mushrooming in the region which are natural meeting grounds for inputs from the CCS CCI into tourism development In the case of tourism based festivals policy in particular, the CCIs could be encouraged to provide the bac ground lin age, depth and continuity for festivals and events that are by their nature often one off, narrowly focussed, sometimes self absorbed and usually of short duration
9 ountry eport inland
hy not classical music festi als with their dying audiences lin ed to co located youth oriented fashion pop ups sing the local resource as year round lin age or continuity is already happening in some places in the orthern imension area. ccepting that the creati e industries already contribute a lot to the tra el and tourism industry but that there could be a more de eloped relationship especially if targeted at a few ery specific tourism sub sectors what ind of inter ention is needed t a policy le el the first steps would seem to be a need for increased awareness understanding and interest in fact the classic ‘Hawthorne Effect’. Policy encouragement of bottom up initiati es and hori ontal engagement combined with top led imaginati e and sensiti e strategic place branding and effecti e destination management mar eting are probably part of the needed formula. wareness of the potential of the tourism relationship needs howe er to be proacti ely promoted in particular by encouraging it to be put on tourism industry agendas and feature as a discussion topic at industry fairs conferences e ents and through industry information channels. wareness raising is also needed in the opposite direction by ma ing s more aware of the importance and potential of the tourism sector as a partner and mar et for creati e industries’ goods and services. This needs to be done through making it a practical agenda item at CCI events and gatherings and through ‘word of mouth’. There is also a need simply to bring tourism and professionals together to create dialogue and some new and practical bridges . s mentioned earlier there is little e idence of a common language and there is probably a need for an intermediary cadre of industry ‘producer interpreters’ from both sectors. hile in many of the orthern imension countries past problems are beginning to be addressed related to finance and in estment for s gi en their non traditional industry attributes this is usually manifesting itself in facilitating their access to e isting in estment inno ation or funding schemes which are non specific and ery general in nature . f real progress is going to be made in drawing the and tourism sectors closer together and more producti ely then there is probably going to be a need for there to be specific and narrowly targeted encouragement and support opportunities and schemes. n practice this probably means that there is a need for specialised agencies e.g. nno ation orway wedish gency for conomic and egional rowth nterprise stonia inland s Te es etc to focus on this. The s and the tourism sector are often tra elling in the same direction but on parallel rails and not on the same trac with shared but perhaps different win win goals something which the specialised agencies could address. The fact is as already mentioned the and tourism sectors are dynamic chaotic sectors and so fragmented that e en within each indi idual sector there are awareness problems nowledge deficits and communication gaps. s suggested abo e a focus should be on heritage tourism creati e tourism including routes and trails gastronomy and rural tourism and e ents tourism as these areas seem to be the most fruitful for synergistic and inno ati e engagement with the sector. eritage and e ents tourism are self e idently understandable but the important and still emerging area of ‘creative tourism’, which we believe perhaps has the most rele ance and potential for many of the s needs some e planation. t is important to elaborate a little on what creati e tourism is or rather what it is becoming. The concept of creati e tourism emerged about fifteen years ago but in the narrow conte t of people tra elling to destinations to follow a course or learn something in a structured setting e.g. to do a coo ery course or to learn a language. n recent times influenced by the dynamism of the sector creati e tourism
particularly interesting pro ect uo a at a is currently ta ing place in inland which is addressing this issue. ew ways of pro iding in estment finance specifically for s is of course being e plored at uropean le el through one strand of the reati e urope programme.
10 Country eport inland development has taken on a much wider meaning and includes any tourism e perience which involves not only formal but also non formal or informal learning. Creative tourism is a ‘work in progress’ in that it is seen by some as also having an important co creation dimension to it i.e. where the tourism provider and the tourism consumer co create the tourism e perience. It is also often seen as embracing all e periences and learning related to a specific place, even those that have not been traditionally perceived as ‘tourism’ e periences. The local dimension and active participation by ‘locals’ is also often considered another essential ingredient. nlike traditional cultural heritage tourism, creative tourism embraces not only historical culture but also very much contemporary culture. inally creative tourism can be seen as a reaction to traditional cultural tourism that has sometimes turned into ‘serial reproduction’ or ‘Gettyisation’ . There is a demand for distinctively individualised and active e perience, not passive consumption of, for e ample, a franchised etty museum. ecognition of the importance of this new form of tourism came in with EC commissioning the first serious non academic study of it. This already important discernible movement to a new form of individualised, co created tourism opens up real and innovative opportunities for the cultural and creative sectors to e plore and establish new and active relationships with the tourism sector. s is made clear in the regional cross country report it will re uire practical intervention and certain types of support as for all their similarities in terms of being uintessential post industrial economic sectors, the CCIs and the tourism industry do not speak the same language. Focussing on how ‘bridges’ can be built between targeted CCIs on the one hand and creative tourism and traditional cultural tourism on the other is probably the best way to start to get the wider tourism industry and the whole spectrum of the cultural and creative sectors travelling more often and more productively on the same track and with mutually beneficial and genuinely shared agendas rather than on separate, parallel paths as seems so often the case. In the country reports we try to take stock of the current state of the CCIs, of the tourism sector, the general climate of interaction between them, and the general degree of the country’s interaction with other orthern imension countries plus we provide some country case studies. It should be said that it may have partly been because of the severe time constraint already alluded to at the beginning of this report but good case studies were not easy to find. e believe that this reflects perhaps two things. The first is that there are not abundant good e amples of the CC CCI and tourism sectors developing together innovatively or that the good e amples are not recognised or particularly well known in the countries concerned. In the regional report we bring things together, present an analysis, draw some conclusions and make recommendations which we hope may help to take things forward. ey points related to inland include or the past decade there has been a consistent and thorough attempt to integrate culture in a practical way into wider conte ts. In inland it is in these wider conte ts and in a holistic manner that culture and the cultural and creative industries are being e plored and debated. Three policy documents can be mentioned to illustrate this approach the terms of reference of the report ‘Culture Future Force. Report on the futures of culture’ (2010); the ‘Cultural Environment trategy 20’ and the ‘Art and Culture for Well being proposal for an action programme 2014’.
reg ichards and ulie ilson eveloping Creativity in tourist e periences solution to the reproduction of culture in Tourism anagement , pp . A phenomenon sometimes referred to as ‘Macdonaldsisation’ EC , Tourism and the Creative Economy, EC Publishing, Paris. I http d .doi.org . en 11 Country Report Finland
his wider conte t approach rather than a narrowly sectoral approach has also been reflected in funding. uring the period 200 2014 for e ample a considerable amount of funding was allocated to culture related pro ects from E tructural Funds. he activities of the E tructural Funds and those of the European Agricultural Fund for Rural evelopment have in fact had an impact on the Finnish cultural sector ever since Finland oined the E in 1 and have become important instruments for cultural policy especially at regional and local levels. here are national policies clearly focussed on intangible value creation creative entrepreneurship innovation design and intellectual property rights promotion of business and entrepreneurship in the creative industries. hese areas have been incorporated into a olicy rogramme for Intangible alue Creation (2014 2020). he current Finnish policy debate related to CC CCI is about innovation and intangible value creation focussed on wider multidisciplinary perspectives rather than on simply the culture and creative industries as a sector. In Finland much attention is being given to entrepreneurship with a specific development strategy established for entrepreneurship in the creative industries sector to improve the country s competitiveness. he strategic ob ectives of the development of entrepreneurship in the creative industries sector established in 2015 are ‘to create a favourable operating environment for creative companies and encourage innovation. It is understood that CCIs need an operating environment at both regional and national level in which their special characteristics are not a threat but an opportunity and so that new kinds of products and services can be created for various sectors’. ery interesting CC CCI initiatives have also been developed outside of elsin i. ome of the activity which has ta en place in ur u for e ample are particularly relevant. ne included creation of a ourism and E perience Management Cluster under a national Centre of E pertise rogramme (2011 1 ) which involved ur u elsin i Rovaniemi avonlinna and yvas yla. his cluster pro ect concentrated mainly on developing cultural tourism from a local perspective and from a national perspective. in ed to it was the ulmat.fi pro ect and site. he site is dedicated to the development of ‘cultural business’ providing information to tourism culture and creative industries actors. here is a clear sophisticated and now well established understanding in Finland of the creative economy and at the policy and strategy level understanding and commitment that the CC CCIs are a very significant part of the national economy in their own right and are of potential ma or critical importance in terms of strengthening the competitiveness of other sectors. he country has a consciously adopted and Finland specific definition of cultural tourism which is that it is about the specifically Finnish way of life in all its aspects. he target mar et is similarly defined in an original way as people who are modern humanists . his target mar et of ‘modern humanists’ is not offered the traditionally mar eted cultural travel destination but a uni ue offer of cultural elements Finnish way of life heritage and cuisine. Finland has a wealth of e perience and research on which to draw and much can be learnt from what they have already e plored and achieved in relation to CC CCI development innovation entrepreneurship and lin age of the CC CCI sector to other sectors including tourism.
12 12 ountry eport inland
BASI NTR INF R ATI N
inland was a province and later a grand duchy under weden from the 12th to the 1 th centuries becoming an autonomous grand duchy in the ussian mpire after 1 0 . t gained complete independence in 1 1 . uring orld ar it defended this independence through cooperation with ermany resisted subse uent invasions by the oviet nion but lost territory to it. ince orld ar it has transformed itself from a farm forest economy to a diversified modern industrial country with per capita income among the highest in estern urope. inland oined the in 1 5 and was the only ordic state to oin the euro single currency when it was introduced. ontemporary inland is an impressive modern welfare state characterised by high uality education and promotion of e uality. t consistently features very high in international comparisons related to uality of life democracy and social development. inland covers an area of 1 5 s km and has a population of 5 211 uly 201 estimate . innish and wedish are the official languages and are spoken by an estimated and 5. of the population respectively. ussian is spoken by 1. of the population and other languages by . . he urban population represents about 5 of the total population. wo main challenges are inland’s ageing population about a third are over 55 years old and its e port driven economy which has been vulnerable since the 200 financial crisis and more recently as a result of the ussian ederation’s economic problems and kraine related sanctions it being a ma or trading partner. inland was one of the best performing economies within the before 200 . ven though its banks and financial markets avoided the worst of the global financial crisis the subse uent global slowdown caused inland’s economy to contract from 2012 201 . rade is important for inland with e ports accounting for over one third of . here is about unemployment. gainst the economic background ust described both s and the tourism sector are seen as very high priority growth areas. hey are taken fully into account in the conte t of wider national policies related to the development of the creative economy innovation competitiveness and internationalisation. inland now has one of the leading knowledge based economies in the world and according to the orld conomic orum lobal ompetitiveness eport 201 2015 ranks second in urope in terms of competitiveness. t is also the world leader for innovation probably reflecting the fruits of the importance given to investment which for many years has been more than of . bout of the work force a very high percentage by world standards is involved in the sector. mongst many other positive features it is appropriate to note that inland consistently ranks high in terms of ease of trade and doing business and has been identified by ransparency nternational as the least corrupt country in the world. he population of inland is concentrated in the south. fter elsinki with a population of 55 5 spoo 25 and antaa 1 0 05 are the biggest population centres but are in reality part of reater elsinki. he other main cities are ampere 202 urku 1 5 5 and ulu 12 1 . ll other cities have populations of under 100 000.
1 13
LT RAL AND REATI E SE T RS IS IN FINLAND
Future Force. Report on the futures of culture’ – – –
14 ountr Report F nl n
e reco en t ons concern n the on tor n of the e sures propose n the report. n llustr t on of the nte r t on of culture nto other re s s the n str of uc t on n ulture s rt n ulture for ell e n – propos l for n ct on pro r e – ’. h s follo e on fro the F nn sh o ern ent e elop n ol c ro r e for e lth ro ot on h ch n resulte n prep r t ons for pro r e to enh nce the contr ut on of rt n culture to he lth n ell e n for the per o – . he of the rt n ulture for ell e n pro r e s to pro ote ell e n n he lth throu h rt n culture n to enh nce soc l nclus on t the n u l co un t n soc et l le els. he three pr or t re s ere culture n pro ot n soc l nclus on c p c t u l n net or n n p rt c p t on n l l fe n l n en ron ents rt n culture s p rt of soc l elf re n he lth pro ot on n c rt n culture n support of ell e n n he lth t or . here ere e hteen reco en e ct ons e t pro ot n he lth n ell e n throu h rt n culture h ch co ere le sl t on n str t on n fun n cooper t on et een the pu l c pr te n th r sectors rese rch n the no le e se e uc t on n tr n n n nfor t on pro s on. he n str of uc t on n ulture n n str of the n ron ent s ultur l n ron ent tr te – s l rl pl ces culture cle rl n pr ct c ll n the nstre of en ron ent l pl nn n . he po nt of ent on n these reports port nt s the h e een n the r o n r ht s to e fl our of the er conte ts n h ch culture n the cultur l n cre t e n ustr es re e plore n e te n F nl n . h s er conte t ppro ch r ther th n n rro l sector l ppro ch h s lso een reflecte n fun n of culture n the s. n t on to the fun n co n fro the nstre n t on l culture u et ur n the per o for e ple cons er le ount of fun n s lloc te to culture rel te pro ects fro tructur l Fun s. he ct t es of the tructur l Fun s n those of the urope n r cultur l Fun for Rur l e elop ent h e n f ct h n p ct on the F nn sh cultur l sector e er s nce F nl n o ne the n . tructur l Fun s n the r cultur l Fun h e eco e port nt nstru ents for cultur l pol c n F nl n espec ll t re on l n loc l le els. ne p ece of rese rch h s est te th t there h een such F n R F pro ects. t s thou ht th t these pro ects th n st te fun n rece e o er € ll on. n t on there ere cultur ll or ente r cultur l Fun rur l pro ects th n est te pu l c n pr te sector spen of out € ll on. ost of the F cultur l fun n s lloc te to pro ects rel te to cre t e econo n cultur l entrepreneursh p ppro tel € ll on. R F fun n s lloc te to cre t e econo n cultur l tour s e ch ppro tel € ll on n ppro tel € ll on to cultur l nfr structure cultur l en ron ent n cultur l her t e pro ects. he support fro the r cultur l Fun s lloc te nl to loc l n re on l cultur l nfr structure en ron ent n her t e pro ects. s n f c nt nu er of the F pro ects ere c rr e out un ers t es n ssoc t ons n ost of the R F pro ects ere ple ente un c p l t es n un c p l o es. he cultur l pro ects of the r cultur l Fun ere c rr e out nl rel t el s ll th r sector ssoc t ons h ch represente ne rl of ll the cultur l pro ects. s n other countr es h t the sector enco p sses s so et es flu n epen s on conte t. the n po nt s the ener l pol c of ncorpor t n the funct on ll nto er en s such s n t on l cre t e econo pol c ener l e elop ent the role the c n pl n nno t on pol c n so on.
ll onen n R t tchell t on l lue of tructur l Fun s n the urope n r cultur l Fun for F nn sh cultur l pol c upore e pu l c t ons
15
preference to refer to and focus on the ‘creative economy’
16 ountry eport in and
et or ed peratin ode hich as pu ished at the end of and set out the direction for many measures to deve op usiness activities in the creative industries and to promote cu tura entrepreneurship he inistry of ducation and u ture a so aunched durin this period the very important eve opment ro ramme for usiness ro th and nternationa isation of reative ndustries for the period – n the same year they additiona y aunched a u tura ports romotion ro ramme for the period – he atter set a ood e amp e hich has een fo o ed ever since in that the u tura ports ro ramme as deve oped oint y y the inistry of mp oyment and conomy the inistry of ducation and u ture the inistry of orei n ffairs and ith fu consu tation ith other interested parties and e perts he inistry of mp oyment and conomy durin this period as a so producin the eve opment trate y for the reative conomy for the period – of these e ements sho the emer in importance of s at that time and the innish oined up overnment approach riven y the inistry of mp oyment and conomy administered y the inistry of ducation and u ture the important eve opment ro ramme for usiness ro th and nternationa isation of reative ndustries for the period – as coordinated and mana ed y reative ndustries in and reative ndustries in and as set up in as a pro ect to act as coordinator for the nationa deve opment pro ramme pro ects nti its recent demise it provided information and services for creative industries deve opers po icy ma ers and ey interest roups pu ished ne s facts and fi ures to support deve opment of the creative economy and contri uted to foresi ht research and p annin t or anised annua events provided p atforms for net or in and coordination of deve opment activities nationa y and internationa y and ran or shops as part y funded out of money and as run y the ma usiness enter of a to niversity choo of conomics in co operation ith the i e ius cademy the ities of e sin i ampere and ein o i and yv s y e iona eve opment ompany a so direct y supported professiona y severa pro ects funded y the ro ramme he eve opment ro ramme for usiness ro th and nternationa i ation of reative ndustries for the period – funded some thirty pro ects of hich a out t enty ere su stantia ones he ro ramme had as its main o ectives deve opment of usiness activities stren thenin of c usters and net or s internationa mar etin and promotion operatin environment for cu tura e portation cu tura cooperation and e chan e deve opment of cu tura e ports structures coup e of the pro ects under the ro ramme ecame de facto part of the ro ramme itse f ne ent throu h t o phases and focused on internationa cooperation and e port re ated trainin eemed successfu it addressed an education no ed e ap in the sector he trainin a so inc uded p acements a road for a ee up to a month in other countries inc udin apan nother pro ect hich ecame a de facto strand of the ro ramme as the i anra enta at rid e ui din rainin ro ramme for ents and port rofessiona s in the u tura and reative ndustries his pro ect addressed the ap in asic arts and cu tura education at tertiary eve here itt e or no attention as ein iven to the essentia ro es p ayed in the cu tura and creative sectors y producers mediators a ents and those ho ro er internationa partnerships nother overnment pro ramme the u tura port romotion ro ramme as deve oped in and imp emented et een and y a partnership of the inistry of ducation and u ture 17
18
’ ’
19
CCS/CCI sector. The goal of Finland’s current Design Programme ‘ ’ ’
20 Countr e ort Finland net or ing usiness de elo ment financing and ro ect financing as ell as de elo ment ro ects targeted at s ecific fields. The result seems to ha e een that almost ne usinesses started do ens of de elo ment ro ects ithin s ecific fields ere im lemented thousands of entre reneurs coached and trained as ell as de elo ment of or ing models and ractices for ad ising training and coaching enter rises ithin the creati e industries. The Cit of Tam ere financed this rogramme ith a out million uros. The cit ’s financial in ut as used to seed fund ro ects arrange usiness ad ice and de elo ment ser ices and for communications and administration. The o erall udget for the ro ects during the si ears of the rogramme’s e istence has een estimated to e o er million uros hich is uite an im ressi e ‘multiplier’ figure. The rogramme as the most ide reaching regional de elo ment rogramme for the creati e econom in Finland as ell as the first ser ing as an e am le for other regional de elo ment rogrammes oth in Finland and a road. The si ear en Tam ere Programme is oth a successor of Creati e Tam ere and a continuation of a small scale rogramme started in hich as targeted at o en inno ation and usiness en ironments. Tam ere is situated ilometres north of elsin i and after reater elsin i elsin i s oo and antaa it is the iggest Finnish cit . The current rogramme is managed and coordinated Tam ere egion conomic De elo ment genc Tredea. The rogramme aims to hel ring into e istence ne gro th com anies create internationall su stantial usiness and romote controlled structural changes of traditional industr in such a a that in Tam ere is still the most attracti e cit for ersatile usiness. Its goals include creating ne talent intensi e usinesses and ne o s and usinesses that ha e gro th otential su orting controlled structural changes of the ICT industr and traditional industr and ser ice usiness no ho attracting enture ca ital in estments and ne funding solutions de elo ing en ironments for o en inno ation acti ities and inno ation latforms promoting the region’s attractiveness, profile and brand The rogramme o erates through three inno ation factories . The factories are s aces o erational models and communities that ermit fast inno ation et een different o erators and creation of ne usinesses. The three inno ation factories are edia olis a centre and net or for content roduction and digital industries launched in and offering a ariet of roduction ser ices and o ortunities. It is a gro ing media ecos stem o erating on an international scale. Its content roduction and ICT cam us hosts more than thirt com anies and other organisations. The single largest grou consists of roduction com anies including the Finnish roadcasting Com an le . e Factor an inno ation centre and usiness incu ator that connects entre reneurs students researchers mentors in estors and e erts from arious fields into alue creation through fast inno ation and de elo ment of start u s. onela hich has e ol ed from a technolog centre to ecome a leading inno ation com an accelerating the gro th of local usiness as ell as contri uting to national and international no ho and com etence. It offers roduct de elo ment and inno ation ser ices as ell as commercial e loitation of no ledge gained from interdisci linar research. s mentioned else here in relation to the use of the gricultural Fund for culture lin ed ro ects rural areas ha e not een neglected. cultural rogramme for rural areas entitled ‘Countr side of creati e contrasts’ as de elo ed.
21 ountr eport inland
n addition to focussing on provision of cultural services, on rural cultural heritage and the supporting of ‘livel and innovative communities’, its fourth area of priorit as creating a productive operating environment for the creative econom and for cultural entrepreneurship uring the period up to there ere other significant milestones hich have shaped inland’s current and creative econom landscape, t o of hich ere ur u, uropean it of ulture in and elsin i orld esign apital in ithin the frame or of preparations for being uropean it of ulture and ithin the evelopment rogramme for usiness ro th and nternationalisation in the reative ndustries described above, local leaders in ur u ere able, as their counterparts in ampere also did, to develop initiatives hich laid the foundation or contributed significantl to the development of national and replicable initiatives, including isit inland’s current ‘ ulture inland’ umbrella programme see belo hese initiatives included creation of a ourism and perience anagement luster under a national entre of pertise rogramme hich involved ur u, elsin i, ovaniemi, avonlinna and vas la his cluster pro ect concentrated mainl on developing cultural tourism from a local perspective and from a national perspective in ed to it as the ulmat fi pro ect and site he site is dedicated to the development of ‘cultural business’, providing information to tourism, culture and creative industries actors nother initiative, hich too place under the ourism and perience anagement luster initiative, ‘ hain of ulture’, as a pro ect carried out in partnership ith elsin i, antta and ovaniemi and created a ualit rogramme for ultural estinations hese pro ects developed b ur u ouring, since renamed isit ur u, too place in the conte t of a conscious, ell managed and structured effort to create discussion and co operation bet een cultural sta eholders and tourism entrepreneurs and organisations ne of the things to emerge from this activit as the critical need for mediators producers ho can ma e the lin age bet een cultural content and the tourism sta eholders he legac of this activit in ur u still includes a uarterl forum organised there for cultural sta eholders and tourism organisations isit ur u is involved ith cultural tourism productisation, mar eting and net or ing issues and participation ithin different pro ects in research and education ne area of productisation relates to innish lifest le hich as mentioned else here see belo is at the core of the national strategic definition of cultural tourism ithin the uropean apital of ulture conte t, ur u ith allinn, also a uropean apital of ulture in , or ed ointl on a pro ect focused on service design and productisation of cultural destinations substantiall based on mar eting learnings based on this pro ect are posted on the site ulmat fi ust mentioned above elsin i orld esign apital as a huge event t opened the a to a ne innish national design programme in he ‘ esign inland rogramme roposals for trategies and ctions’, alread mentioned above, although focussed heavil on industrial design, ith the inistr of abour ta ing the lead in the follo up, did elaborate and establish further in inland the concept of ‘immaterial value creation’ hich as has alread been e plained is a central plan of inland’s polic and thin ing in relation to the creative econom and s urrentl there are several organisational pla ers driving inland’s creative econom and development part from the various ministries there are various agencies including reative inland r , a registered association, the reative nclusive inland pro ect and established funding bodies such as e es
funded through the entre for conomic evelopment, ransport and nvironment of outh est inland and administered b ur u ouring 22
’ networking and information being handled by a new 'knowledge centre' or ‘observatory’. The latter would ‘ ’
23 ountry e ort inland
lied rts and will be a ma or communication facility focusing in articular on networking coo erative activity and what is being termed the 'fourth sector' i.e. networked organisations. ne of the recommendations resulting from our work see the regional re ort concerns the desirability of a targeted voucher scheme for s s ecifically in relation to working with tourism businesses. f such a recommendation were taken u the vouchers could either be a ring fenced art of an e isting scheme or a se arately funded new scheme. oucher schemes can be very effective in raising awareness among com anies of otential service roviders such as universities or s. earning to collaborate with service roviders may lead to to e tended collaboration once sufficient trust has been built using the voucher. The advantage of establishing a voucher scheme s ecifically linked to s is that they can often rovide close to market services for e am le through design. The key is ensuring that the re uest is coming from business driven demand. The danger is creating a scheme which encourages service driven su ly and is erceived as an e tra source of funding and interesting work for s and universities but which does not meet the real needs of the tourism businesses. oucher schemes e ist in inland and seem to work effectively. n inland there is also already very well develo ed e erience of su orting business start u s and com any develo ment through various agencies and schemes like rowth Track. rowth Track ran for five years and was an nter rise inland rogramme administered by Tekes the entres regional entres for conomic evelo ment Trans ort and the nvironment the ational oard of atents and egistration and other agencies. t targeted s with the aim of stimulating their growth and internationalisation through hel ing them to ta e isting e ertise and financing sources. ach business that took art in the scheme was given a ' rowth ilot' who found for them the right e ertise and finance and ' iloted' them through what was available in the system. ince rowth Track has been absorbed into Team inland's o erations. There is no intention in the com iling of the eleven country re orts and the regional re ort that in looking at the eleven orthern imension countries there should be some kind of ‘beauty contest’ but inland has a wealth of e erience and research on which to draw and much can be learnt from what they have already e lored and achieved.
24
T RIS IN FINLAND
’ ’ ’ ‘ ’ – – Achieving More Together’. The ambitious aim of The strategic priority areas of the tourism development ‘Roadmap’ are as follows:
25 ountry Report inland
eveloping competitive and comprehensive offerings from the interfaces of tourism and other fields ncreasing the effectiveness of mar eting activities and ma ing the travel services easier to buy reating a competitive operational environment for tourism that supports growth and renewal asy accessibility A number of different measures will be ta en to promote the achievement of the ob ectives laid out in the ‘Roadmap’. The strategic projects supporting growth and renewal for 2015– are being launched first. unding for them is coming from various sources within the Ministry of mployment and conomy orbit and the areas to be developed include: inrela turning inland into a top country for wellbeing tourism Ma ing the innish archipelago internationally nown inland topover ma ing inland a leading stopover country i.e. from Asia Ma ing digital tourism services easy to find and buy reation of a demonstration pro ect targeting sustainable waterway tourism and utilising bioeconomy cleantech and digital technology. ublic subsidies for the development of the tourism industry include funding from the uropean Regional evelopment und R uropean ocial und uropean Agricultural und for Rural evelopment A R Te es programmes and direct grants provided by ministries. Tourism was made a high priority sector in the new structural fund and rural programmes launched in . ublic subsidies granted for tourism related pro ects between and totalled about R million. usiness subsidies accounted for more than a uarter of this total one third went to such purposes as product development while the rest was allocated to the development of services and infrastructure supporting tourism. The public subsidies granted to tourism are roughly e ual to the proportion of the tourism cluster of the . rowth oriented and networ ed tourism enterprises with e panding international operations have priority when public subsidies are provided. unding is also directed at areas providing the tourism industry with stronger operating prere uisites such as transport connections improvements in energy efficiency and the maintenance of national par s and hi ing routes. mplementation of the Roadmap is seen as a collective responsibility through the already functioning MiniMat a or ing roup although the Ministry of mployment and the conomy is the lead ministry. The MiniMat a or ing roup meets several times a year to e change information at inter ministerial level. At the ne t level down below national strategy incoming tourism is the responsibility of isit inland which operates worldwide and this includes ten mar eting representatives posted in ey regions and countries. isit inland is one part of inpro a public organisation consisting of port inland isit inland and nvest in inland. inpro s remit includes helping innish M s go international encouraging foreign direct investment into inland and promoting travel to inland. t has representation in Trade entres in over thirty countries and si offices in inland. inpro in turn is part of Team inland . Team inland brings together for cooperation all state funded internationalisation services promoting inland’s e ternal economic relations country brand the internationalisation of innish
ee http: www.tem.fi en enterprises tourism minimat a wor ing group Team inland. hat is Team inland ee http: team.finland.fi public default.asp nodeid contentlan culture en
26 ountr Report inland companies and foreign in estment directed at inland. The core of the Team inland networ consists of the inistr of mplo ment and conom the inistr of oreign ffairs and the inistr of ducation and ulture as well as the pu licl funded organisations and o erseas networ s whose performance the o ersee. Team inland has representati e offices in se ent countries. t regional le el the nineteen innish Regional ouncils are responsi le for tourism. Regional ouncils pro ide support for tourism de elopment projects general mar eting ad isor ser ices training and research. lso wor ing at a regional le el are the entres for conomic e elopment Transport and the n ironment entres . entres grant support to enterprises for in estments de elopment of usiness operations and the operating en ironment and for training and research. The also pro ide ad isor ser ices for tourism enterprises and manage matters related to the local infrastructure in their areas. sector manager for tourism acts as a national e pert on tourism for all entres. Te es mentioned elsewhere in this report see also the case stud and which pro ides inno ation funding for enterprises research organisations and pro iders of pu lic ser ices also supports the tourism sector as part of its roader remit especiall in relation to growth oriented s e panding their international operations. s with the case of Te es there are other agencies which can support tourism de elopment as part of a wider rief. inn era a state owned finance compan and inland s official e port credit agenc for e ample helps innish enterprises in the de elopment of their domestic operations20. t also promotes the e port and internationalisation of companies with funding such as loans guarantees and e port credit guarantees which can e utilised enterprises including those in the tourism sector. nother e ample is nterprise inland. ts online ser ice is intended for all enterprises entrepreneurs and those planning to set up a usiness pro iding information on the esta lishment growth de elopment and internationalisation of enterprises. n important period for inland’s tourism was etween 200 and 2011 when tourism grew nearl four times faster than the rest of the innish econom which with the economic challenges of 201 2015 e plains go ernmental interest and the high priorit now eing gi en to it. t is howe er a sector uite ulnera le to international conditions and de elopments. or e ample while 2012 was a good ear with growth at more than four per cent mainl generated foreign demand particularl from the Russian ederation there was a slight decline in 201 . ince then sanctions and the pro lems of the rou le ha e er se erel affected inland’s tourism sector. s just mentioned inland’s econom faced challenges in 2015 leading to fiscal tightening and structural reform. t is particularl within this conte t that tourism is seen as an increasingl important sector with potential for supporting the creation of new jo s. n the conte t of current tourism polic inland’s tourism comparati e strengths are percei ed to e in the contrast etween its modern culture and its nature ased cultural heritage the meeting of east and west technolog the innish wa of life and creati it . inland has some more or less uni ue assets not least apland for which a special polic was issued in 2015. s far as cit tourism is concerned in addition to elsin i other popular ur an tourist destinations include as la Tampere Tur u ulu Ro aniemi and or oo. s e plained a o e the national agenc for tourism is isit inland. ne of its core functions is the de elopment of inland’s demand oriented products and ser ices offer including ensuring that the products and ser ices e perienced incoming isitors meet isitors e pectations and le el of re uirement. The products and ser ices themsel es are for tourism usinesses to de elop ut isit inland
20 n 201 for e ample inner a pro ided financing to o er 500 start up usinesses. 27 2 ou tr e ort i
e s tourism com ies i t eir or t rou i orm tio ro isio cre ti use u too s ro i i u e riorities c m i s ic im ort t c t tic ro e i ro uct e e o me t e st u re ie o ro uct e e o me t str te ies s i e curre t o er ro uct e e o me t str te co sists o t o isit i o term tio um re ro r mmes us our ro uct e e o me t t emes e tter our re ’ e ei cu ture i ter summer t e t o um re ro r mmes o e is to romote summer cti ities is e e ut oor i t e t i to its seco se i i c u es u i rom t e ricu tur u i e m cou tries i s m i tourist se so is i ter so i cre si t e tourist o i summer is riorit e ot er um re ro r mme is e e o me t str te or cu tur tourism e e u ture i er ot t ese ro r mmes ttem t is m e to stimu te irect coor i te e e o me t work in the country, improve company networking, ensure the quality and ‘e ortability’ of what is e e o e t e u it m r e sure e er t i meets t e tourism im e i is is i to ro ect e u ture i m re ro r mme re ects co scious o te i s eci ic e i itio o cu tur tourism ic is t t it is out t e s eci ic i is o i e i its s ects e t r et m r et is simi r e i e i ori i s eo e o re mo er um ists is t r et m r et o ‘modern humanists’ is ot o ere t e tr itio m r ete cu tur tr e esti tio ut u i ue o er o cu tur e eme ts i is o i e erit e cuisi e is u e t e i istr o uc tio u ture isit i o or c ose to et er it t e im o usi t e ro r mme to i cre se cu tur tourism it i to i e st te o s o t e ro r mme re o rticu r i terest i t e co te t o t e ro ect o ic t is re ort orms rt e re cre se co or tio et ee ctors it i tourism cu ture cti tio o ro ects me sures i rticu r ere cu tur e eme ts tourism meet e c ot er re tio o e ue i come or ctors it i tourism cu ture re tio o e ue or tourists e use o et or i to com i e t e resources o ctors it i t e i co ere t ie s o cu ture tourism s ee i e ti ie s cruci er ti e o s so i c u e i e ti i i i ti oc stre t s er ti it i t e et or ro uct e e o me t c i m r eti s es e es t e e imi tio o u ic tio i e e erts i uts im t oi t s eci ie e e o me t o i cre se t e e ecti e ess o t e e i er o t ese o s re io et or o te coor i tors s set u i to su ort t e um re ro ect m er it t ese re io coor i tors or i out t o s er mo t it seems t t t is mo e or e e ortu te it s o sto e seemi ec use o t e u i comi to e isit e si i is t e or is tio res o si e or tourism e e o me t s eci ic re te to t e c it e or is tio ’s isio i c u es e si i s o e o t e most com etiti e cit esti tio s i t e o tourism m r et ossessi stro u i ie u i ue r e r rou ttr cti e esti tio or eisure tr e
Culture Finland’s very accurate adjectival description of the two sectors. 28 Country eport Finland
elsinki as the leading congress city in the ordic region and the highest quality congress city in urope elsinki as an essential cruise destination in the altic ea. Helsinki is Finland’s most important travel destination, and the importance of tourism to elsinki’s regional economy and business life is clearly understood. t is interesting to note however that culture and creativity are not e plicitly mentioned in isit Helsinki’s official vision, strategy, tasks, activities and performance indicators.
29 o ntry e ort Finland
I AND T RIS SE T R ERATI N IN FINLAND
n addition to references in olicy doc ents a o t s or creative enter rises as is t e ter often sed in Finland and t e to ris sector orking toget er, t ere ave een ractical atte ts nder certain rogra es and t ro g individ al ro ects to enco rage to ris sector coo eration artic larly o erf l e a le is of co rse t e lt re Finland rella rogra e descri ed a ove t t ere are ot er ast and c rrent initiatives t is of co rse ro a ly c easier in a co ntry it a s all o lation to coordinate and i le ent efficiently national olicies and activities t it does see t at Finland as very i ressively anaged on t e asis of solid, ongoing researc and develo ent rinci les to create ell develo ed, long ter olicies to nder in ot to ris and creative ind stries develo ent t as also een very s ccessf l in rod cing not st ‘vertical’ olicies t ‘horizontal’ ones too orking cross sectorially is increasingly eco ing art of Finland’s national t ro g its strong and visionary olicies related to innovation, t e creative econo y and ality of life and its ractical strategies related to develo ent, entre rene rs i , invest ent, ed cation and training Finland is already a ‘la oratory’ in ter s of looking at o t e s can ork it t e to ris sector and e refer to t is e erience and c rrent Finnis activity in t e regional cross co ntry re ort
30 o ntr ort inlan
FINLAND’S BILATERAL AND LTILATERAL S I AND T RIS ERATI N IT T ER ND NTRIES
inlan a an o n o ntr an ith a lot to o r i an ll nt ‘t a la r’ an in t r o int rnational oo ration it i a riorit in irt all all o it national oli i an ro ra n a ition to that n ral a a it an oti ation to oo rat it ha r lo or in r lation hi ith oth r orth rn i n ion o ntri or lt ral an oth r r a on it ha a r ial r lation hi ith tonia not l a t in r lation to to ri an on r t a l o i i oo ration ar too n ro to li t t n in to ri h r th r o l an l nt o o tition ith n i h o r or a l attra tin to ri t ro rtain ar t it n rth l i a l to n a in ‘ in in’ oint nt r n a l i th lo nt o a an ina ian o o ration ro t ‘ hina ia ’ th l in i it o ri t an on ntion r a to th r ith on r l o nha n to hol i itor oar an t n or o h ai a to ain r no l o hina a a ar t o th tation o hin i itor an th rr nt r a in o th iti in ol to r th a lon t r oal thi ro t that a lo rin ai to attra t an in attra tin a r at r n r o hin i itor to an ina ia inlan or hi tori al o ra hi al an o oliti al r a on al o ha r lo ti to th ian Federation and particularly the North West Region. Currently much of the North West Region’s cultural an to ri lin ith th orth rn i n ion r ion in ol inlan all a th ain artn r
B R r hi la o a r a orth ar lian S a lt ral tr o ti r ronz rial it o a allah n i rla ro n oo an oar ill t i l h r h ortr o o nlinna l a a at ral ar n r hi la o i h oa t inlan n ntati i t ai aa i lin n a t ai io o ital or rl ai io anatori h ol la o or hi o on aari th a i o l at nari h o aintin o t an al i at i tiina h lar ton r in o a t lli at atti o i h ar in ro hi tori ti at th i lan o a tar n a n oli I L non
31 Country Report Finland
R inscriptions olt mi illage of uon el uen el su mitted y elarus in cooperation ith Finland ithuania oland Russian Federation and raine Radzwills’ Archives and Niasvizh (Nieśwież) Library Collection (2009) . . Nordens i ld Collection N elsin i N C City of esign E D E EDEN aimaa oliday Wild aiga L ratified and non ratified Con ention on the afeguarding of the ntangi le Cultural eritage acceptance Fe ruary nternational Con ention against oping in port acceptance ecem er Con ention on the rotection and romotion of the i ersity of Cultural pressions acceptance ecem er Con ention on the rotection of the nder ater Cultural eritage non ratified N Finland is th
32 Country Report Finland
ASE ST DIES
7.1 Games and Gamification
he gaming industry is a young industry and gro ing ery healthily in the Northern imension region. lo ally the industry stood at illion in ith estimated gro th to illion in . Finland’s . illion game usiness continues to gro more rapidly than the rest of the glo al game usiness. While glo al gro th as an impressi e . in in Finland it as e en more impressi e at . he Finnish game industry gre y a out ne game studios in . Nor ay is also ecoming richer through gaming. et een its launch in uly and eptem er of that year o emon the orld’s fastest selling app of all time produced for the Nor egian go ernment illion Nor egian rone or the e ui alent of Nor egian rone for each and e ery citi en of the country as a result of its in estment in Nintendo. ma or re olution too place hen gaming ent mo ile. Not least a change in its former image of eing simply an acti ity for teenage oys ho spent hours in their edrooms on their computers or on games playing de ices. No of course ith a smartphone anyone can access games any here. Research on ho no plays games is increasingly surprising not ust in num ers ut in terms of oth gender and age. o ile games are the fastest gro ing game industry segment ith re enue increasing from to from to illion. Rapid ad ances in mo ile technologies ha e moti ated game designers to create inno ati e games for di erse purposes and for multiple conte ts. f e ual rele ance to the tourism and tra el industries games mechanics and game design thin ing are eing increasingly used in non gaming conte ts – hat is no no n as gamification. n Finland there are already esta lished and acti e games industry representati e odies. his includes the Finnish ame e elopers’ Association hich as the name suggests is the national association of Finnish game studios hose mission is to ser e as a cooperati e ody promoter and trustee of the Finnish game de eloper studios. here is also the Neogames Finland ssociation a mem ership non profit game industry organi ation. ts mission is to accelerate coordinate and support the de elopment of the Finnish games cluster. Neogames’ mem ers represent all sectors of the game industry from usiness to education and research. heir aim is to pro ide a solid and gro th oriented operating en ironment for the Finnish game industry as a hole. here are other associations hich represent a particular segment of the industry for e ample the erious aming Cluster Finland ssociation. he Finnish ame e elopers ssociation and Neogames Finland ssociation ha e ointly for the last t o years organised the Finnish ame ards hich is a gala e ent recognising the est in arious game industry categories. n there ere nine categories of a ards. From the point of ie of the tourism sector the most interesting of the game categories is possi ly the serious gaming segment. erious games are a gro ing industry in themsel es. he current industry definition of serious games is that they are games or game li e elements that ha e a primary purpose other than pure entertainment. n for the first time at the Finnish ame ards the pplied ame ard as gi en as recognition not only to the a ard inning game and its de elopers ut also to the entire serious gaming sector. he inner as oney Flo Challenge the first educational game in Finland targeted at students that helps them understand personal finances. i en the itality of the games industry in Finland and else here in the Northern imension region and the huge potential of gamification in the tourism sector this is a huge mar et ith potentially spectacular gro th potential. t needs ho e er a clear practical strategy and some incenti ising in estment plus other stimulation. ala a ards create a lot of interest ithin industries and more idely and are e cellent
33 o nt o t in an
a s o o otin in o ation an n stan in o a s cto at a o t nationa o iona a a s o to is a i ication i as o nts an n o cts ot it in istin a a a a st ct s s c as t innis a A a s t o a o i o tant s cia in o nin t ot ntia as a s cia cat o in t an sta is t a an to is a a an si i a a a co titions an c oni s at s can on A s t to is s cto n stan t ot ntia o a i ication A s t a in s cto n stan its ot ntia in t s o t to is s cto an i t o o t n stan t n s o an o to o it t to is an t a in st i s at is n is s io s sin ss action s c as st ct nco nt s t n actition s an a s in a s ns s in ot in st i s in ot o s o atc a in ations i s
7.2 Refinery (Jalostamo)
in as s t as a nation i ana nt cons tanc s ic o t c ati s cto n t a is o in an ’s inist o o nt an cono ts ai is to s o t c ati s cto o in i o in t i sin ss o ations an a in t o o ita ts c i nts a s a s in i i a s associations o co niti s annin to sta is a co an in t c ati s cto ts os as n to st n t n an o t sin ss acti it co t nc o ct o nt an n t o in s i s o c ati s cto s an to inc as t int nationa i nsion co titi n ss an on t o anc o t i o ations s ic is n in ts o s o sin ss o ations in t c ati s cto o a s cia s i s in nt n s i sin ss o ations o nt o sin ss o ations an in inics o asic cons tation an a ic a o n o on no a s o t on to on an a a o s o c a i ia sona tin cons tation on t t on i o n otiation A t a in inic t c ati s cto c i nt is ta n to t n t sta a in ons tation in ons tation consists o t o o in at s it is an a a s ssion it is co an s ci ic o sona it contains cont nt at a ic it is isc tiona io s att n anc at a in inic is o i ato it costs € 100 + A t o s s inc sona tin i o n otiation tc A t t in inic an ons tation t c i nt is ta n to t n t sta ic is to t into t co o at s ic s st an to t o ctis s ic s o t nt o cono ic o nt ans o t an t n i on nt o to si i a o nt an inancin a nci s an s ic s in t co nt isit an ositi co nts a a o t t conc t o in a osta o an at it i s t is o anc an ot ntia int st o tsi o its innis cont t o t o asons i st is t at a t o in an at a o ic t ats t c ati in st i s as an cono ic s cto t at s o co t an t at i an ot s cto in t s o acc ssin inno ation o t an
34 o t o t i co ti it s ic s it so co is s t t t s cto s s t to o t t i i o ic t is o s ci s ci ic too s co o ot ti c o t o o t its t tio co i s c co s t c s ic co s t i co t i s it s t t s t t t s ci ic t t to is s cto s cto i co t t t co s t ts o i i t s ic s to c ti i st i s s cto si ss s o st t it to is i sio o o t to is s cto t os o i i t s ic s to to is s cto si ss s it s i sio o o t c ti i st i s s cto
7.3 Tekes and Innovation Support
s is t ost i o t t ic o is tio i i o i ci s c o t i o tio o co i s s c o is tio s ic s cto s ic o i s o o i i i 1 it is c o t i is i ist o o t t co o s o ot s o s i o i o tio si s i t c o o ic t o s o co i s s c o is tio s ic s cto s ic o i s it sis s t si i ic c o s ic t si si ss soci i o tio s s i c s so 1 00 si ss s c o t o cts o t 00 ic s c o cts t i siti s ot s c o is tio s 01 s o i 0 i io os o co i s s c o is tio s i o tio o cts ci ic it s o ts t t s t is s s o i i t i t tio ts s t is s t t t t si s c i iti s to o t i si ss oost t i o ts co i s ot co o tio s i c co i s oot ot co i s co i s t t o o t 0 o i c co i s co i s it i t o o € 00 i io s i to t s s o o si s s c o is tio s s c o is tio s s c o s s i to co ci is t i s c s ts coo t it si ss s ic s ic s ic s ic o i s s c s ici iti s citi s os it ist icts sti c i o t o i coo tio it t c sto t s ti c s o ct o t to oc s t o ct it t i s o t s s o t is so s so o s o s i t o os i oti s ost co o i i st t o s c is o cts c i o t i siti s o t c ics s c i stit t s i is t t t s c o cts t t c t co t c so tio s o i ti i s o si ss s i st i s t t ic s c o i s c t i co t c s i s ct to i o t t o si ss s i t t s i co s 0 o t o ct costs o i s t t i o cts i t o t o ct costs o tici ti i t o ct s st i o o ct s ts ic t o it s so io it t s c t i it is tio io co o c t c t i i is o to i o ti co – so i t tio – o ti i i itio s s t os i o i o 0 0 i s si s oo i st t sc i is co i s tic oo i t i it so tio s i i t i s c s s t s t o o t iti s s t i it is tio s io s c s t it i
35
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7.4 VR in the Tourism Sector
36
‘ ’
7.5 Slush – Europe’s Largest Investor and Start-up Event
‘ ’ ‘ ’ ‘angels’ ’
37 n e nlan
n s e a e nese e e e ang ang an ss ne a a nen an e s all a ng a ea an es s e e n es na le s ess e e a e e en as een a n a ne ng e as e ea s n e ea en ne a e e ee ngs e e el a l s e een n es s an an es s s a a es e ge ga e ng s an an s ess l n a a en ees s a s en e a al n es s an nal s s a n e n es e al an n es en a a e en e a al n es s an ‘angels’ e els n l s s s ess e e a le e e s l n alle ’s el a ne s e e ea l n es s n a e an a e eg la a en ees as a e l e n a s ess e n es en n a al s g a n al e n es s a en l s a e s e ll n s en e a al e n es s l s en en e ene an s a es ee e ne n ne an a esen a ns n e sea a an l e e ell e nn s ga ng an a as een al e a a s agge ng ll n s a anese n es s e nn s an es a e al ea a e n e s e leag e n e ga ng l a a e ell e e s als ’s ng s l s s e ng n es e ne e s an s alle la e s a ga ng e e a e an e n en e n s es a l s n l ng e s e se an as en ne a e e a n l s e e n s e s n s Slush also has numerous ‘side’ events which are becoming annual features in the programme. For example n en ea e an s e e s ase n e na nal l ens ng a ne s n e s an ens ng a e e en s n e en e n e l s g a e se n l ens ng an s n e ea e n s es ga es es gn an a n l ele s n s l s ng an l e s le e a as n ne a e s an s ness els gl all an s n ne essa l as a a n e e e e s n eas n e e l n e ea e a eg la la an s e e a l s s n a es an s a s l e an an n n an a e an an n e en al e en e se an s n s al g e n a en e a al n es en n e
7.6 Finnish Food and Tourism Strategy
nan e e n s g l e an es an aaga el a n e s l e en es Finland’s Food Tourism Project started in 2012. In e s ase e e een an es e e s e an es a es esea e e s en s e e n l e n s s ase ga n ng e eal l e e e en e l e se n e sse a n e a e s ase as ea e a al an se l ls s en e ene s s a es l e esea ase e s nn s an s a eg as e el e se e al e a s ng s nlan an e n s g l e an es n a e aaga el a n e s l e en es na e e s a eg e a s e e e el a e na nal ne s e ne e les e a s e a s en s a e n g als e e e el s e es s n a e el all a an s e a s an s e s a e s an esses
38 ountr eport Finland
to organise a national food and tourism competition to promote the Food and Tourism Strategy ‘Hungry for Finland’ especially to tourism operators. The latter tas promotion and understanding of the Food and Tourism Strateg is being continued during 201 201 through wor shops in all the regions of Finland. uring this period there will also be a particular focus on developing the food offer of Finnish museums and events. This is being done in partnership with the Finnish useums ssociation and the Finland Festivals organisation. In general the current phase has as its priorit implementation of the strateg and active productisation. s part of the project a ver practical publication was produced in 201 22 which covers subject areas such as ‘ uilding reat xperiences for Food Tourism’, ‘ nderstanding the ustomer’ Productising emember the xperience lements’ and ‘ reating xperiences Food Tourism odel’.
7.7 Luova Matka (Creative Travel) - 'Culture Creators Go Tourism Programme’ 2015-2018
This project brings together the creative industries and tourism operators to develop export oriented cultural tourism business in a new wa . uilding on earlier Finnish experience this SF funded project part of a creative s ills programme financed b ame egional entre goes to the heart of the challenge of ma ing the S Is respond to the needs and opportunities that exist in the tourism sector. Project managed b isitFinland Finpro the three ear programme officiall started in late 201 and has a budget of 00 000 uros. It has various elements within it and is targeted at producers and actors in the I sector in order to encourage them to wor within tourism to develop new ideas and products and new business models. In particular it is tr ing to address the problem mentioned several times in the regional and individual countr reports of the understanding gap between the S I sector and the tourism industr . The problem of different languages and the need for intermediaries to help develop dialogue and cooperation models is central to an progress in harnessing parts of the I sector to tourism innovation in a mutuall beneficial wa . ne e element of the project is therefore development of a cadre of producers who are people who understand both sectors. This is being done through tailor made training sessions which will cover an understanding of cultural tourism and the mar et in which it operates product development and testing mar eting sales distribution and pricing legal and IP issues and so on. nother element of the project is providing trade stud tours for international tour operators. This project the experience gained b it and an evaluation during its life c cle or after its completion is going to be of utmost importance in developing a deeper grasp of how the S Is can foster innovation in tourism in the orthern imension.
7.8 Visit Finland National Umbrella Programme ‘Culture Finland’
escribed in the bod of this report, the ‘Culture Finland’ programme is particularly interesting in many contexts, not least that of the emerging phenomenon of ‘creative tourism’. It is also an interesting example of how polic and practice are developed in Finland b extensive careful if sometimes slow appraisal and development of appropriate practical action in the form of serious experimental programmes and projects.
22 ristiina avas and ristiina damsson ungr for Finland esearching and anal sing food tourism in Finland est practices and tools 201
39 Country eport Finland
The development, scope and current nature of creative tourism is descri ed early in this report ut isitFinland’s move away from conventional national tourism destination market and its focus on basically selling various forms of the Finnish ‘Way of Life’ is in the mainstream of what creative tourism is all a out. It is interesting to note that in this, as in other things, Finland may e a real innovator and ahead of its time. In late , ir n , announced it as to move in a completely ne and expanded direction in practice em racing the creative tourism concept and producing products and services accordingly.
40 ountry e ort Finland
NTR N L SI NS AND BSER ATI NS
here is a struggle going on in many countries to find the right a roach to the combined develo ment of creativity innovation culture and economy and on the basis of that creating the linkages between different economic sectors and business areas n Finland they have reached an advanced stage of that struggle and their a roach is clear reativity and innovation are seen at all levels as a central issue in the develo ment of the economy and of the country he stage Finland has reached is the result of an e cellent amount of research inter sectoral discussion and widely targeted awareness measures n this res ect Finland re resents an e cellent model and has a de th of e erience from which others in the orthern imension region even the most successful ones can learn t is im ressive what has been going on in Finland in the ast decade in terms of general e loration of new a roaches to creativity innovation and entre reneurshi which olicies try to link together at all levels While there may well be much still to be done one can see that the country is now building on the e erience of the eriod and from e erience in all arts of the country n the case of the latter the initiatives that took lace in urku and am ere mentioned earlier in this re ort were good e am les Finland also seems to be at the forefront of oined u government with seemingly e cellent inter ministerial coo eration across traditional sectors and silos For e am le creative industries were art of the inistry of m loyment and conomy s and inistry of nterior’s egional entre rogramme which set u a cultural network in the Finnish regions in he network was active in develo ing training and thinking including in relation to the develo ment of regional s ecialisation n similar cross ministerial fashion the inistry of rade and ndustry had a develo ment strategy for entre reneurshi in the creative industries for onstraints of time as much as anything have not allowed e haustive e amination of all the relevant elements that can serve as background to develo ing to a greater degree of innovative synergies between the and tourism sectors on which we focus in the regional re ort imilarly not all the relevant layers have been mentioned earlier in this re ort such as the reative Finland ssociation which romotes coo eration between the business and culture sectors Finland has been addressing seriously the linkage between the and tourism sectors through various ast initiatives including the current ulture Finland mbrella rogramme and the Luova atka ro ect ne area given that games develo ment is already a Finnish strength that seems to offer huge otential in general but also can have a very s ecific tourism industry dimension is games and gamification see case study and in articular develo ment of the serious games sector for the tourism industry he Finnish erious ames ndustry e ort commissioned by ekes suggested that the value of the Finnish serious games sector was nine million uros in n the value is e ected to climb to seventeen million uros here are a ro imately serious games com anies in Finland but currently the focus seems to be on develo ment of serious games in relation to education and well being argeting the tourism sector also seems to be an obvious riority he most im ortant sources of su ort for develo ment of the Finnish serious games sector in relation to tourism would be ekes and the regional L entres Finally it is worth mentioning Finland’s Independence Centenary being celebrated throughout t has two main themes civil society and creativity nder the creativity theme there will be erha s a chance to further highlight the s and their otential to contribute more e tensively to tourism development, one of Finland’s ambitious economic riorities
41 Country eport Finland
ppendi ey Facts and Figures COUNTRY PROFILE - Finland Creative goods exports by Creative goods exports by geographical region, 2003. geographical region, 2012. Creative Industries Trade Performance, 2003 and 2012 1% Finland 2003 2012 3% 12% Value ( in Million US$) Value ( in Million US$) 4% 19% Exports Imports Balance Exports Imports Balance All Creative Industries 1,855.19 3,909.74 2,054.55 774.80 1,673.30 898.50 3% All Creative Goods 1,042.58 966.29 76.29 774.80 1,673.30 898.50
All Creatives Services 812.61 2,943.45 2,130.84 -00 -00 0.00
Finland: Creative Industry Trade Performance, 2003-2012. 11,000 83% 75%
8,250
Africa Europe America Africa Europe America 5,500 Asia Oceania Asia Oceania Total Creative Industries Exports TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012
In millions USD Total Creative Industries Imports 2,750 2003 2012
Values in Million US $ Values in Million US $ 0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Rank Country Exports Imports Balance Country Exports Imports Balance
Creative goods, imports by product Creative goods, exports by product 1 Russian Federation 157.26 23.23 134.03 Sweden 176.00 253.78 77.78 In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 900 700 2 Sweden 149.42 143.87 5.54 Russian Federation 135.71 24.32 111.38
2003 2003 3 United Kingdom 128.39 65.36 63.03 Norway 48.72 14.91 33.81 675 525 2012 2012 4 Denmark 65.40 48.93 16.48 Estonia 36.58 83.73 47.14 450 350 5 Germany 62.54 109.47 46.93 Germany 35.87 119.05 83.18
225 175 6 Norway 53.19 17.65 35.55 Turkey 33.19 13.27 19.92 7 - 0 - 0 Spain 43.30 13.98 29.33 United Kingdom 28.73 50.36 21.63 ts ts ts ts 8 isuals isuals France 41.63 19.04 22.60 Denmark 28.62 67.62 39.00 t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for 9 New Media Publishing V New Media Publishing V Estonia 35.36 38.56 3.20 Spain 19.75 10.44 9.31 Audio V Audio V Per Per 10 Netherlands 32.67 52.52 19.86 France 17.36 51.21 33.85 (newspaper and books) is a leading sector which stood at $321 million dollars in 2012 followed by design (interior design and fashion) which reached $246 million. New media and audio visuals combined are the g roup that grew the most. The Ministry of Employment and the Economy has a Government Programme to boost cent) and America (3 per cent). Top 5 creative goods export partners are Sweden, Russian Federation, Norway, Estonia and Germany. business and entrepreneurship in creative industries.
Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf
42 Country eport Finland
COUNTRY PROFILE - Finland Creative goods exports by Creative goods exports by geographical region, 2003. geographical region, 2012. Creative Industries Trade Performance, 2003 and 2012 1% Finland 2003 2012 3% 12% Value ( in Million US$) Value ( in Million US$) 4% 19% Exports Imports Balance Exports Imports Balance All Creative Industries 1,855.19 3,909.74 2,054.55 774.80 1,673.30 898.50 3% All Creative Goods 1,042.58 966.29 76.29 774.80 1,673.30 898.50
All Creatives Services 812.61 2,943.45 2,130.84 -00 -00 0.00
Finland: Creative Industry Trade Performance, 2003-2012. 11,000 83% 75%
8,250
Africa Europe America Africa Europe America 5,500 Asia Oceania Asia Oceania Total Creative Industries Exports TOP 10 EXPORT PARTNERS FOR CREATIVE GOODS, 2003 AND 2012
In millions USD Total Creative Industries Imports 2,750 2003 2012
Values in Million US $ Values in Million US $ 0 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Rank Country Exports Imports Balance Country Exports Imports Balance
Creative goods, imports by product Creative goods, exports by product 1 Russian Federation 157.26 23.23 134.03 Sweden 176.00 253.78 77.78 In millions USD groups, 2003 & 2012. In millions USD groups, 2003 & 2012. 900 700 2 Sweden 149.42 143.87 5.54 Russian Federation 135.71 24.32 111.38
2003 2003 3 United Kingdom 128.39 65.36 63.03 Norway 48.72 14.91 33.81 675 525 2012 2012 4 Denmark 65.40 48.93 16.48 Estonia 36.58 83.73 47.14 450 350 5 Germany 62.54 109.47 46.93 Germany 35.87 119.05 83.18
225 175 6 Norway 53.19 17.65 35.55 Turkey 33.19 13.27 19.92 7 - 0 - 0 Source:Spain http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf 43.30 13.98 29.33 United Kingdom 28.73 50.36 21.63 ts ts ts ts 8 isuals isuals France 41.63 19.04 22.60 Denmark 28.62 67.62 39.00 t Crafts t Crafts Design ming Ar isual Ar Design ming Ar isual Ar Ar for Ar for 9 New Media Publishing V New Media Publishing V Estonia 35.36 38.56 3.20 Spain 19.75 10.44 9.31 Audio V Audio V Per Per 10 Netherlands 32.67 52.52 19.86 France 17.36 51.21 33.85 (newspaper and books) is a leading sector which stood at $321 million dollars in 2012 followed by design (interior design and fashion) which reached $246 million. New media and audio visuals combined are the group that grew the most. The Ministry of Employment and the Economy has a Government Programme to boost cent) and America (3 per cent). Top 5 creative goods export partners are Sweden, Russian Federation, Norway, Estonia and Germany. business and entrepreneurship in creative industries.
Source: http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf
43 Country eport Finland
ppendi ey documents and sources
B
ri ei o nttiroi o Creative city concept in local economic development the case of Finnish cities niversity of ampere, http mpra ub uni muenchen de
City of elsin i conomic and lanning Centre trategy rogramme pril,
Creative Industries Finland CIF in cooperation with the inistry of ducation and Culture Creative conomy Insights from Finland and eyond
evelopment trategy for ntrepreneurship in the Creative Industries ector for
oman Fedorov outh arelia as a Competitive ourist estination eo economic Insights for ourism evelopment from the Finnish ussian order niversity of empere, hesis,
Finland ational nowledge ociety trategy
ristiina avas and ristiina damsson ungry for Finland esearching and analysing food tourism in Finland est practices and tools
elsin i usimaa egional rogramme
lli a onen and itva itchell dditional value of tructural Funds and the uropean gricultural Fund for Finnish cultural policy Cupore webpublications ,
aavo ipponen trategic ision for the orth Finland s prospects for economic growth in the rctic region Finnish Confederation of Industries, arch,
I en fast facts about tourism in Finnish apland n infograph of tourism in apland
aura e ala Cultural pro ects in programmes Culture in the ’s tructural Fund pro ects and in the ural evelopment rogramme for ainland Finland in Finnish inistry of ducation and Culture,
inistry of conomy and mployment and inistry of ducation and Culture of Finland esign Finland ew rowth from esign
inistry of conomy and mployment aths to a Frictionless Finland
inistry of conomy and mployment Finland s ourism trategy to Four ood easons o romote ourist Industry evelopment
inistry of conomic ffairs and mployment chieving more together the oadmap for rowth and enewal in Finnish ourism for – http tem fi documents ummary oadmap for rowth and enewal in Finnis h ourism for – pdf aaf ecb af a c b fed b
inistry of conomic ffairs and mployment Inspiring Innovation, meeting the necessity for renewal
inistry of ducation and Culture and inistry of the nvironment Cultural nvironment trategy –
inistry of ducation and Culture and inistry of mployment and conomy Creative economy and beyond Insights from Finland
44
– –
–
–
‘Finland’
– customer‐based
–
45 NOTES
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.
48