The Definition of the Creative Industries

Total Page:16

File Type:pdf, Size:1020Kb

The Definition of the Creative Industries The Definition of the Creative Industries : The Standard Industrial Classification (SIC) Codes of the Nation's Arts-Related Businesses SIC CodeBusiness Description Category Sub-Category Museums and Collections 84120000 Museums and art galleries Museums Museums 84120102 Arts or science center Museums Museums 84129902 Museum Museums Museums 84220000 Botanical and zoological gardens Zoos and Botanical Zoos and Botanical 84220100 Aquariums and zoological gardens Zoos and Botanical Zoos and Botanical 84220101 Animal and reptile exhibit Zoos and Botanical Zoos and Botanical 84220102 Aquarium Zoos and Botanical Zoos and Botanical 84220103 Zoological garden, noncommercial Zoos and Botanical Zoos and Botanical 84220200 Arboreta and botanical gardens Zoos and Botanical Zoos and Botanical 84220201 Arboretum Zoos and Botanical Zoos and Botanical 84220202 Botanical garden Zoos and Botanical Zoos and Botanical 84129901 Historical society Historical Society Historical Society 84129903 Planetarium Planetarium Planetarium Performing Arts 79290100 Musical entertainers Music Music Groups 79290101 Chamber music groups or artists Music Music Groups 79290102 Classical music groups or artists Music Music Groups 79290103 Country music groups or artists Music Music Groups 79290104 Dance band Music Music Groups 79290105 Drum and bugle corps (drill teams) Music Music Groups 79290106 Gospel singers Music Music Groups 79290107 Jazz music group or artist Music Music Groups 79290108 Musician Music Music Groups 79290110 Popular music groups or artists Music Music Groups 79290109 Orchestras or bands, nec Music Orchestras 79290111 Symphony orchestra Music Orchestras Defined by Americans for the Arts, 2004. Page 1 of 25 The Definition of the Creative Industries : The Standard Industrial Classification (SIC) Codes of the Nation's Arts-Related Businesses SIC CodeBusiness Description Category Sub-Category Performing Arts (continued) 89990400 Song writings Music Composing and Arranging 89990401 Music arranging and composing Music Composing and Arranging 36520000 Prerecorded records and tapes Music Recording/Playback Equipment 36529901 Compact laser discs, prerecorded Music Recording/Playback Equipment 36529902 Magnetic tape (audio): prerecorded Music Recording/Playback Equipment 36529903 Master records or tapes, preparation of Music Recording/Playback Equipment 36529904 Phonograph record blanks Music Recording/Playback Equipment 36529905 Phonograph records, prerecorded Music Recording/Playback Equipment 79930100 Music machines Music Recording/Playback Equipment 79930101 Juke box Music Recording/Playback Equipment 79930102 Music systems, coin-operated Music Recording/Playback Equipment 57350000 Record and prerecorded tape stores Music Recorded Music Sales 57350100 Video discs and tapes, prerecorded Music Recorded Music Sales 57350101 Video discs, prerecorded Music Recorded Music Sales 57350102 Video tapes, prerecorded Music Recorded Music Sales 57350200 Records, audio discs, and tapes Music Recorded Music Sales 57350201 Audio tapes, prerecorded Music Recorded Music Sales 57350202 Compact discs Music Recorded Music Sales 57350203 Records Music Recorded Music Sales 59610303 Record and/or tape (music or video) club, mail order Music Recorded Music Sales 73891100 Music and broadcasting services Music Studios 73891101 Music copying service Music Studios 73891102 Music distribution systems Music Studios 73891103 Radio broadcasting music checkers Music Studios 73891104 Radio transcription service Music Studios 73891105 Recording studio, noncommercial records Music Studios 73891106 Music recording producer Music Studios Defined by Americans for the Arts, 2004. Page 2 of 25 The Definition of the Creative Industries : The Standard Industrial Classification (SIC) Codes of the Nation's Arts-Related Businesses SIC CodeBusiness Description Category Sub-Category Performing Arts (continued) 73891107 Audio cassette duplication services Music Studios 79229902 Concert management service Music Concert Management 31619905 Musical instrument cases Music Instruments (Manufacturing/Distribution) 39310000 Musical instruments Music Instruments (Manufacturing/Distribution) 39310100 Keyboard instruments and parts Music Instruments (Manufacturing/Distribution) 39310101 Accordions and parts Music Instruments (Manufacturing/Distribution) 39310102 Autophones (organs with perforated music rolls) Music Instruments (Manufacturing/Distribution) 39310103 Blowers, pipe organ Music Instruments (Manufacturing/Distribution) 39310105 Calliopes (steam organs) Music Instruments (Manufacturing/Distribution) 39310106 Concertinas and parts Music Instruments (Manufacturing/Distribution) 39310107 Frames, piano back Music Instruments (Manufacturing/Distribution) 39310108 Hammers, piano Music Instruments (Manufacturing/Distribution) 39310109 Harpsichords Music Instruments (Manufacturing/Distribution) 39310110 Keyboards, piano or organ Music Instruments (Manufacturing/Distribution) 39310111 Keys, piano or organ Music Instruments (Manufacturing/Distribution) 39310114 Music rolls, perforated Music Instruments (Manufacturing/Distribution) 39310115 Organ parts and materials Music Instruments (Manufacturing/Distribution) 39310116 Organs, all types: pipe, reed, hand, electronic, etc. Music Instruments (Manufacturing/Distribution) 39310117 Piano parts and materials, nec Music Instruments (Manufacturing/Distribution) 39310118 Pianos, all types: vertical, grand, spinet, player, etc. Music Instruments (Manufacturing/Distribution) 39310119 Pipes, organ Music Instruments (Manufacturing/Distribution) 39310121 Reeds, organ Music Instruments (Manufacturing/Distribution) 39310122 Strings, piano Music Instruments (Manufacturing/Distribution) 39310123 Synthesizers, music Music Instruments (Manufacturing/Distribution) 39310200 String instruments and parts Music Instruments (Manufacturing/Distribution) 39310201 Banjos and parts Music Instruments (Manufacturing/Distribution) 39310202 Cellos and parts Music Instruments (Manufacturing/Distribution) Defined by Americans for the Arts, 2004. Page 3 of 25 The Definition of the Creative Industries : The Standard Industrial Classification (SIC) Codes of the Nation's Arts-Related Businesses SIC CodeBusiness Description Category Sub-Category Performing Arts (continued) 39310203 Fretted instruments and parts Music Instruments (Manufacturing/Distribution) 39310204 Guitars and parts, electric and nonelectric Music Instruments (Manufacturing/Distribution) 39310205 Harps and parts Music Instruments (Manufacturing/Distribution) 39310207 Mandolins and parts Music Instruments (Manufacturing/Distribution) 39310208 Strings, musical instrument Music Instruments (Manufacturing/Distribution) 39310209 Ukuleles and parts Music Instruments (Manufacturing/Distribution) 39310210 Violas and parts Music Instruments (Manufacturing/Distribution) 39310211 Violins and parts Music Instruments (Manufacturing/Distribution) 39310212 Zithers and parts Music Instruments (Manufacturing/Distribution) 39310300 Woodwind instruments and parts Music Instruments (Manufacturing/Distribution) 39310301 Bassoons Music Instruments (Manufacturing/Distribution) 39310302 Clarinets and parts Music Instruments (Manufacturing/Distribution) 39310303 Fifes and parts Music Instruments (Manufacturing/Distribution) 39310304 Flutes and parts Music Instruments (Manufacturing/Distribution) 39310305 Oboes and english horns Music Instruments (Manufacturing/Distribution) 39310306 Piccolos and parts Music Instruments (Manufacturing/Distribution) 39310307 Recorders (musical instruments) Music Instruments (Manufacturing/Distribution) 39310308 Reeds for musical instruments Music Instruments (Manufacturing/Distribution) 39310309 Saxophones and parts Music Instruments (Manufacturing/Distribution) 39310400 Brass instruments and parts Music Instruments (Manufacturing/Distribution) 39310402 Bugles and parts (musical instruments) Music Instruments (Manufacturing/Distribution) 39310404 French horns and parts Music Instruments (Manufacturing/Distribution) 39310405 Trombones and parts Music Instruments (Manufacturing/Distribution) 39310406 Trumpets and parts Music Instruments (Manufacturing/Distribution) 39310500 Percussion instruments and parts Music Instruments (Manufacturing/Distribution) 39310501 Bells (musical instruments) Music Instruments (Manufacturing/Distribution) 39310502 Carillon bells Music Instruments (Manufacturing/Distribution) Defined by Americans for the Arts, 2004. Page 4 of 25 The Definition of the Creative Industries : The Standard Industrial Classification (SIC) Codes of the Nation's Arts-Related Businesses SIC CodeBusiness Description Category Sub-Category Performing Arts (continued) 39310503 Chimes and parts (musical instruments) Music Instruments (Manufacturing/Distribution) 39310505 Drummers' traps Music Instruments (Manufacturing/Distribution) 39310506 Drums, parts, and accessories (musical instruments) Music Instruments (Manufacturing/Distribution) 39310507 Heads, drum Music Instruments (Manufacturing/Distribution) 39310508 Marimbas Music Instruments (Manufacturing/Distribution) 39319901 Harmonicas Music Instruments (Manufacturing/Distribution) 39319902 Mouthpieces for musical instruments Music Instruments (Manufacturing/Distribution) 39319903 Musical instruments, electric and electronic, nec Music Instruments (Manufacturing/Distribution) 39319904 Ocarinas Music Instruments (Manufacturing/Distribution) 39319906 Stands, music Music Instruments (Manufacturing/Distribution) 50990600 Musical instruments Music Instruments (Manufacturing/Distribution)
Recommended publications
  • Creative Assets and the Changing Economy
    Creative Assets and the Changing Economy STEVEN JAY TEPPER any arts advocates and policymakers have argued that certain Mchanges in the economy (globalization, digitalization, the rise of the “knowledge” worker, the boom in intellectual property, changes in leisure consumption) are having a catalytic effect on art and culture. In particular, the arts are heralded as engines of economic growth and development. Scholars and pundits have written about the central role of creative cities, creative clusters, creative economies, and the “rise of the creative class.” Governments have begun to measure the size and scope of the creative econ- omy as an important indicator of economic health. In short, there is a grow- ing belief that changes in the economy have pushed creative assets to the cen- ter of economic life.1 In this article I will offer a critical assessment of some of these arguments and suggest ways that scholars and policymakers might usefully approach the notion of the changing economy and culture. My gen- eral point is that rather than spend time calculating the impact or size of the creative economy, we should direct our analytical and policy energies toward better understanding how creative work and institutions are changing and what might be done to foster a more robust, more creative, and more diverse cultural life. Steven Jay Tepper is deputy director of the Princeton University Center for Arts and Cultural Policy Studies and a lecturer at the Woodrow Wilson School of Public and International Affairs. He has written about sociology of art, cultural policy, and democracy and public space and is currently completing a book on cultural conflict in seventy-five American cities.
    [Show full text]
  • Creative Place Reputation in Dutch ‘Ordinary Cities’
    Creative Industries Journal ISSN: 1751-0694 (Print) 1751-0708 (Online) Journal homepage: https://www.tandfonline.com/loi/rcij20 Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’ Yosha Wijngaarden, Erik Hitters & Pawan V. Bhansing To cite this article: Yosha Wijngaarden, Erik Hitters & Pawan V. Bhansing (2019) Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’, Creative Industries Journal, 12:1, 86-104, DOI: 10.1080/17510694.2018.1551712 To link to this article: https://doi.org/10.1080/17510694.2018.1551712 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 12 Jan 2019. Submit your article to this journal Article views: 489 View related articles View Crossmark data Citing articles: 3 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcij20 CREATIVE INDUSTRIES JOURNAL 2019, VOL. 12, NO. 1, 86–104 https://doi.org/10.1080/17510694.2018.1551712 Close to the ‘local cool’: creative place reputation in Dutch ‘ordinary cities’ Yosha Wijngaardena, Erik Hittersa and Pawan V. Bhansingb aDepartment of Media & Communication, Erasmus School of History, Culture and Communication (ESHCC), Erasmus University Rotterdam, Rotterdam, The Netherlands; bDepartment of Arts & Culture Studies, Erasmus School of History, Culture and Communication (ESHCC), Erasmus University Rotterdam, Rotterdam, The Netherlands ABSTRACT ARTICLE HISTORY Creative workers have a tendency to co-locate in creative places, Received 29 June 2018 and their locational decision-making processes have been the Accepted 20 November 2018 topic of numerous studies. Yet, the vast majority of research has traditionally focused on the quintessential creative cities and met- KEYWORDS ropolises.
    [Show full text]
  • New Business Models in the Cultural and Creative Sectors (Ccss)
    New Business Models in the Cultural and Creative Sectors (CCSs) EENC Ad hoc question June 2015 1/17 The present paper has been prepared, at the request of DG EAC, by the European Expert Network on Culture (EENC). This paper reflects the views only of the EENC authors and the European Commission cannot be held responsible for any use which may be made of the information contained therein. Background Being at the crossroads between arts, business and technology, the cultural and creative sectors find themselves in a strategic position to trigger innovation and spill-overs in other sectors. The 2012 Communication on promoting cultural and creative sectors for growth and jobs in the EU contributed to mainstreaming their potential into other EU policies. Beyond possible spill-overs, innovation is also vital within the cultural and creative sectors themselves in order for them to further grow and to adapt to a constantly evolving technological and financial environment. The decreases in public funding, the challenges of globalisation, the opportunities of digitisation or the increasing empowerment of audiences have already pushed the cultural and creative sectors to test new approaches and to explore new business models. These innovative approaches can be powerful drivers for the strengthening of cultural diversity and for the development of entrepreneurship, as well as for growth, jobs or social inclusion. As specified in the Regulation establishing the Creative Europe Programme 2014-20, in order to promote transnational policy cooperation, the Cross Sectoral Strand shall support "transnational exchange of experiences and know-how in relation to new business and management models, peer- learning activities and networking among cultural and creative organisations and policy- makers related to the development of the cultural and creative sectors, promoting digital networking where appropriate".
    [Show full text]
  • Download the Creative Industries Strategy
    Creative Industries Strategy An industry-led Strategy produced by the Department for Innovation and Skills, in collaboration with Department for Trade and Investment and various industry representatives. 2020 GROWTH STATE Spider-Man: Far From Home - Visual effects by Rising Sun Pictures. © & TM 2019 MARVEL. © 2019 CTMG. All Rights Reserved. Credit: Rising Sun Pictures. The Department for Innovation and Skills acknowledges Aboriginal people as the state’s first peoples and Nations of South Australia. We recognise and respect their cultural connections as the traditional owners and occupants of the land and waters of South Australia, and that they have and continue to maintain a unique and irreplaceable contribution to the state. Ngarrindjeri designer Jordan Lovegrove at Ochre Dawn. Credit: Ochre Dawn Creative Industries. CREATIVE INDUSTRIES Strategy Table of Contents Message from the Minister 4 Message from the Creative Industries Ministerial Advisory Group 5 Section 1: Background 6 Executive summary 6 Growth State 6 The Creative Industries Strategy 7 What are the creative industries? 9 Advertising and Communication Design 11 Broadcasting: TV, Radio and Podcasts 11 Design 12 Design – Urban, Architecture, Interior and Landscape 12 Design – Industrial and Product 13 Fashion 14 Festivals (Creative and Cultural) 15 Music 18 Performing Arts 21 Visual Arts and Craft 21 Screen 22 Screen – TV and Film Production 23 Screen – Post Production, Digital and Visual Effects (PDV) 24 Screen - Game Development 25 Writing and Publishing 26 Technology and
    [Show full text]
  • How to Make a Living in the Creative Industries © WIPO, 2017
    How to Make a Living in the Creative Industries © WIPO, 2017 World Intellectual Property Organization 34, chemin des Colombettes, P.O. Box 18 CH-1211 Geneva 20, Switzerland Attribution 3.0 IGO license (CC BY 3.0 IGO) When content published by WIPO, such as images, graphics, trademarks or logos, is attributed to a third- party, the user of such content is solely responsible for This booklet was written by BOP Consulting clearing the rights with the right holder(s). on behalf of the World Intellectual Property Organization. BOP is an international consultancy To view a copy of this license, please visit specializing in culture and the creative economy. https://creativecommons.org/licenses/by/3.0/igo/ Established for 20 years, it is a leading authority on mapping and evaluating the socio-economic Printed in Switzerland impact of the cultural and creative industries. Table of contents 1. Introduction 4 2. What is copyright and why does it matter? 4 3. Protecting and exploiting your rights 5 What rights do you own? 6 Identifying yourself as the rights holder 6 Exploiting your rights 6 Licensing and assignment 7 Protecting your copyright 7 4. The creative industries 8 Defining the creative industries 8 Diversity of the creative industries 9 What is the global value of the creative industries? 9 Employment in the creative industries 10 Copyright in the digital age 10 5. How do different creative sectors use IP? 13 Advertising 13 Film and television 13 Music 14 Publishing 14 Video games 15 Monetization of copyright assets by creative enterprises 15 Managing creative enterprises 16 6.
    [Show full text]
  • Creative Industries
    KEY INDUSTRY CREATIVE INDUSTRIES Colorado is a global leader in the creative INDUSTRY FACTS industries, which include six creative sub-groups: design, film and media, heritage, literary and publishing, performing arts, and visual arts and crafts: • Design applies artistic content to commercial products, services and the $300 environment, and includes companies that purchase fabrics, design, cut, sew and assemble garments and other sewn products ranging from footwear to handbags and luggage. Companies that provide design-related services (such as architectural, MILLION home interiors, graphic, and advertising-related agencies) are also included. EXPORTS 2013 TOTAL • Film and media companies provide technical and distributive elements of EXPORT Colorado’s entertainment industry, including companies that provide technical TOP 3 MARKETS production support systems such as sound, lighting, digital art, animation, sets and studios, broadcasting and distribution channels via motion picture, video and music 1. Canada production companies. • Heritage includes Colorado’s historical sites, museums and botanical gardens. 2. Mexico • Literary and publishing companies print newspapers, books, labels, stationary 3. Japan and other materials, and perform support activities such as data imaging and bookbinding. Companies that wholesale and publish newspapers, magazines, books, directories and mailing lists, and software are also included. • Performing arts includes actors, musicians, promoters, producers and directors and the venues at which they perform. Musical instrument and supply stores are also NUMBER OF included. COMPANIES • Visual arts and crafts companies manufacture metal, wood, jewelry, silverware, dolls and stuffed toys, games, musical instruments, wholesale toy and hobby goods, jewelry and precious metals. Photography studios, galleries, photofinishing laboratories, fine arts schools, art dealers, and sewing and needlework stores are also included.
    [Show full text]
  • Global Game Industries and Cultural Policy, Palgrave Global Media Policy and Business, DOI 10.1007/978-3-319-40760-9 1 2 A
    CHAPTER 1 Introduction Anthony Fung In 1997, Tony Blair, the British Prime Minister at that time, proposed the term “creative industries.” Since then, not only has the term become an inspirational and overarching concept in Britain and Europe but also it has been accepted worldwide. Hence, all countries have the potential to use creative industries to strengthen their global competitiveness through various cultural means, such as exporting games, movies, design, fashion, and so on. In intellectual terms, the concept of creative industries captures “those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property” (Department for Culture, Media & Sport, 2001, p. 5). The formulation of this concept to describe the economic function of intellectual property was elaborated by the United Nations Conference on Trade and Development (UNCTAD) as “any economic activity producing symbolic products with a heavy A. Fung (*) School of Journalism and Communication, The Chinese University of Hong Kong, Shatin, Hong Kong Beijing Normal University, China Jinan University, China e-mail: [email protected] © The Author(s) 2016 1 A. Fung (ed.), Global Game Industries and Cultural Policy, Palgrave Global Media Policy and Business, DOI 10.1007/978-3-319-40760-9_1 2 A. FUNG reliance on intellectual property and for as wide a market as possible” (UNCTAD, 2010, p. 7). Thus, digital games and many other forms of games that embody the element of creative content and that rely strongly on intellectual property and authenticity constitute conceptual models of creative industries (Throsby, 2008a, b).
    [Show full text]
  • Creative Industries
    CREATIVE INDUSTRIES: A NEW ECONOMIC GROWTH OPPORTUNITY FOR THE GREATER MILWAUKEE REGION DECEMBER 2010 PREPARED FOR: Cultural Alliance of Greater Milwaukee PREPARED BY: Beth Siegel and Michael Kane, Mt. Auburn Associates Stu Rosenfeld and Jenna Bryant, RTS, Inc. Bill Bulick, Creative Planning, Inc. Surale Phillips, Decision Support Partners, Inc. Preface This report provides the analysis and The purpose of this project was to define, strategic plan for Creativity Works!, a joint inventory, and measure the economic project of the Cultural Alliance of Greater contribution of the region's creative Milwaukee and the Greater Milwaukee industries as well as to position the creative Committee. The roots of this creative industries as a cohesive economic cluster. industries project were established in 2008 Also, the goal was to capitalize on the when the Cultural Alliance of Greater region’s highest economic development Milwaukee completed a regional study on potential by elevating the identity, value, the arts and culture sector that was and contribution of the creative industries commissioned by the Greater Milwaukee to help ensure a globally competitive Committee. This Cultural Asset Inventory of regional economy. the seven-county region made clear that the Milwaukee 7 region has outstanding The Mt. Auburn team used several different arts and cultural assets — and a fragile methodologies and approaches to collect infrastructure. The study recommended a and analyze creative industry data and to planning process for the creative get a well-grounded understanding of the community incorporating for-profit region, its creative industries, and the businesses, nonprofit arts and culture, and creative industries support system. Data in individual artists and creatives.
    [Show full text]
  • Skills, Scope, and Success: an Empirical Look at the Start-Up Process in Creative Industries in Germany
    DISCUSSION PAPER SERIES IZA DP No. 11650 Skills, Scope, and Success: An Empirical Look at the Start-up Process in Creative Industries in Germany Karsten Kohn Solvejg A. Wewel JUNE 2018 DISCUSSION PAPER SERIES IZA DP No. 11650 Skills, Scope, and Success: An Empirical Look at the Start-up Process in Creative Industries in Germany Karsten Kohn KfW Bankengruppe Frankfurt and IZA Solvejg A. Wewel Boston College JUNE 2018 Any opinions expressed in this paper are those of the author(s) and not those of IZA. Research published in this series may include views on policy, but IZA takes no institutional policy positions. The IZA research network is committed to the IZA Guiding Principles of Research Integrity. The IZA Institute of Labor Economics is an independent economic research institute that conducts research in labor economics and offers evidence-based policy advice on labor market issues. Supported by the Deutsche Post Foundation, IZA runs the world’s largest network of economists, whose research aims to provide answers to the global labor market challenges of our time. Our key objective is to build bridges between academic research, policymakers and society. IZA Discussion Papers often represent preliminary work and are circulated to encourage discussion. Citation of such a paper should account for its provisional character. A revised version may be available directly from the author. IZA – Institute of Labor Economics Schaumburg-Lippe-Straße 5–9 Phone: +49-228-3894-0 53113 Bonn, Germany Email: [email protected] www.iza.org IZA DP No. 11650 JUNE 2018 ABSTRACT Skills, Scope, and Success: An Empirical Look at the Start-up Process in Creative Industries in Germany* Creative industries comprise enterprises focusing on the creation, production, and distribution of creative or cultural goods and services.
    [Show full text]
  • The Development of Creative Industries: the Case of Lithuanian Fashion Design Companies
    ISSN 2029–2236 (print) ISSN 2029–2244 (online) SOCIALINIŲ MOKSLŲ STUDIJOS SOCIETAL STUDIES 2014, 6(1), p. 34–66. THE DEVELOPMENT OF CREATIVE INDUSTRIES: THE CASE OF LITHUANIAN FASHION DESIGN COMPANIES Mindaugas Laužikas International Business School at Vilnius University Saulėtekio av. 22, LT-10225 Vilnius, Lithuania E-mail: [email protected] Rasa Mokšeckienė International Business School at Vilnius University Saulėtekio av. 22, LT-10225 Vilnius, Lithuania E-mail: [email protected] Pateikta 2013 m. liepos 25 d.; parengta spausdinti 2014 m. gegužės 25 d. doi:10.13165/SMS-14-6-1-03 Abstract. The analysis of creative industries and, in particular, the specificity of managing creative companies require not only understanding of concepts, such as the creativity, arts and business, but also understanding of creative industries in a broader sense, which varies from one country to another; thus, to get a comprehensive image of creative industries, various classifications, activities and further development possibilities should be examined. There should be the international trade in creative goods and services and its added-value scrutinized. A proportionally large part of this publication is oriented to the analysis of data regarding the demand for arts in global markets and the international trade, as well as the evaluation of contributions of arts to economy, its profitability, regional growth trends, employment and increasing competition among local companies. The research question of the present article is as follows: are development and management of companies that belong to creative industries efficient, and what Socialinių mokslų studijos / Societal Studies ISSN 2029–2236 (print), ISSN 2029–2244 (online) Mykolo Romerio universitetas, 2014 http://www.mruni.eu/lt/mokslo_darbai/SMS/ Mykolas Romeris University, 2014 http://www.mruni.eu/en/mokslo_darbai/SMS/ Societal Studies.
    [Show full text]
  • The Value of Culture and the Creative Industries in Local Development © Oecd 2019
    OECD Handbook The Value of Culture and the Creative Industries in Local Development Summer Academy on Cultural and Creative Industries and Local Development November 2018 FOREWARD AND AKNOWLEDGMENTS │ 3 Foreword and acknowledgments Capacity building and peer learning processes have increasingly become key elements in complementing national, regional and local governments’ policy development and implementation. This attention has resulted in a major effort by the OECD Trento Centre for Local Development (hereafter the OECD Trento Centre), whose mission is to build capacities for local development in OECD member and non-member countries, in undertaking a number of initiatives aimed at propagating projects to support capacity building in a number of fields of local development. More recently, the OECD and its Trento Centre have embarked on a series of capacity building seminars and conferences aimed at raising awareness of the importance of culture and the creative industries (hereafter CCIs) in local development. A key example of this programme of events is the Summer Academy on Cultural and Creative Industries and Local Development (hereafter SACCI). The Summer Academy — which ran between 11–15 June 2018 in Bolzano and Trento, with a total of 34 participants recruited nationally and internationally through a selection of written applications — is the first event of a three-year capacity building project which will conclude in 2020. The second edition of SACCI will take place from the 17 to the 21 of June 2019. The key objectives of the
    [Show full text]
  • Buenos Aires: a Creative City?
    Buenos Aires: A Creative City? November 2016 Prepared by the Creative Class Group Forward from Richard Florida Buenos Aires has been through a lot of transformations in its history. It started as a colonial outpost in a rural hinterland and grew into the industrial, financial, and commercial capital of a nation. Now, as Argentina enters a new period of stability, prosperity, and growth, it is shaping up as a leader in the post-industrial creative economy. Like every big city, Buenos Aires faces vexing challenges, among them poverty and brain drain. Fortunately, it has an incredible set of assets in its great universities, a government that is prepared to make the investments in quality of place that it needs—and most importantly of all, a diverse, dynamic, and highly-creative citizenry. If any global city is well-positioned to make the most of an Art Basel Cities, it is Buenos Aires. 2 Executive Summary Simply put, how well does Buenos Aires measure up as a global creative hub? What are its strengths and weaknesses according to the Creative Class Group’s proprietary metrics for urban creativity? How can the city use Art Basel to help cement its status as an emerging creative hub while bolstering its on-going place-making efforts? In the report that follows, we address these questions and offer our key findings and recommendations. Buenos Aires’ Creative Assets and Industries Key findings: • Buenos Aires has 142,213 jobs in creative industries (design, technology, audio-visual, and arts and culture) and creative employment is growing at a faster rate than overall employment for the city.
    [Show full text]