DOCSLIB.ORG

Strengthening the Creative Industries for DEVELOPMENT in Mozambique

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Strengthening the Creative Industries for DEVELOPMENT in Mozambique UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT IN COLLABoration WITH THE Government OF THE REPUBLIC OF MOZAMBIQUE STRENGTHENING THE CREATIVE INDUSTRIES FOR DEVELOPMENT in Mozambique MULTI-AGENCY PILOT PROJECT: ACP/EC/ILO/UNCTAD/UNESCO Strengthening the Creative Industries in Five Selected African, Caribbean and Pacific Countries through Employment and Trade Expansion UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT IN COLLABoration WITH THE GOVERNMENT OF THE REPUBLIC OF MOZAMBIQUE STRENGTHENING THE CREATIVE INDUSTRIES FOR DEVELOPMENT in Mozambique MULTI-AGENCY PILOT PROJECT: ACP/EC/ILO/UNCTAD/UNESCO Strengthening the Creative Industries in Five Selected African, Caribbean and Pacific Countries through Employment and Trade Expansion New York and Geneva, 2011 NOTES ---------------------------------------------------------------- Creative industries Country Studies series: No. 1: Strengthening the Creative Industries for Development in Zambia No.2: Strengthening the Creative Industries for Development in Mozambique (English and Portuguese) ------------------------------------------------------------------- Material in this publication maybe freely quoted or reprinted as long as acknowledgement is provided with a reference to the source. A copy of the publication containing the quotation or reprint should be sent to the UNCTAD secretariat, Palais des Nations, CH-1211 Geneva 10, Switzerland. ----------------------------------------------------------------------- The English/Portuguese version of the study is available on the internet at www.unctad.org/creative- programme --------------------------------------------------------------------- http://www.unctad.org/Creative-Programme UNCTAD/DITC/TAB/2009/2 Copyright © United Nations, 2011 All rights reserved FOREWORD iii FOREWORD At UNCTAD's XI Ministerial Conference, held in São Paulo, Brazil, in 2004, more than 150 UN Member States agreed to introduce the topic of creative industries into the international economic and development agenda. Since then, UNCTAD has been shaping a number of international and national policy initiatives in the area of the creative economy and its development dimension. This policy-oriented country report is the first prepared as part of UNCTAD’s involvement in a pilot project on "Strengthening the Creative Industries in Five African, Caribbean and Pacific countries, through employment and trade expansion". This multi-agency undertaking is a component of the ACP-EU Support Programme to Cultural Industries in ACP countries, being jointly implemented by ILO, UNCTAD and UNESCO during 2008-2011. The main purpose of this study is to assist the Government of Mozambique in articulating a development strategy that can optimize the economic potential of the creative sector for job creation, trade expansion and social inclusion. In addition to reviewing current policy in these areas, the report proposes a plan of action to be conducted with the support of relevant United Nations agencies, and an institutional mechanism to facilitate concerted policy actions and interministerial decisions, as a basis for a long-term national strategy. The report responds to the specific objectives of the project, which operates within the framework of national priorities to meet two core objectives: (a) providing policy recommendations at enhancing the institutional and regulatory environment in the county; and (b) fostering the development of productive creative capacities, cultural entrepreneurial skills and trade opportunities. Ultimately, the aim is to boost the number and quality of jobs, generate income, increase trade in creative products while promoting cultural diversity and a more inclusive and sustainable development. Among the expected results are the creation of a participatory methodology, the identification of key creative sectors, and the development of a policy framework to foster creative capacity1. UNCTAD will continue to assist governments to nurture their creative economy in support to the achievement of the Millennium Development Goals. In line with the three pillars of its work: (a) consensus-building, by providing a platform for intergovernmental debates; (b) policy-oriented analysis, by identifying key issues underlying the creative economy and the dynamics of creative industries in world markets; and (c) technical cooperation, by helping developing countries to enhance their creative economies for trade and development gains. UNCTAD renews its commitment to join the European Commission and the ACP Group of States in this endeavour by recommending concrete measures to take better advantage of the creative potential and cultural richness of ACP countries to transform untapped creative resources into socio-economic growth. Supachai Panitchpakdi Secretary-General of UNCTAD 1 See annex I-1: Logical Framework, from the Project proposal entitled "Strengthening the creative industries in five selected ACP countries through employment and trade". ACKNOWLEDGMENTS iv ACKNOWLEDGMENTS This report was undertaken under the overall guidance of UNCTAD’s Project Coordinator and Chief of the Creative Economy Programme, Edna dos Santos-Duisenberg, co-author of this country study jointly with Dr. Teresa Hoefert de Turégano, UNCTAD international consultant. Together, they carried out a fact-finding mission in Mozambique in July 2008, holding consultations with government officials, and meetings and interviews with stakeholders, visiting relevant institutions, and collecting documentation and factual information. Pedro Pimenta, UNCTAD’s local consultant, provided comments. From the UNCTAD secretariat, Carolina Quintana provided research and statistical assistance, Eleanor Loukass provided editorial support, Sophie Combette designed the cover page and Maria Leonor de Oliveira made the translation into Portuguese of this publication. Experts from the International Labour Organization (ILO) and the United Nations Educational, Scientific and Cultural Organization (UNESCO) involved in the project were invited to provide comments. Many people and institutions contributed to this study with their ideas and information, and UNCTAD is greatly indebted to them all. Special thanks go to the representatives of the European Commission in Brussels and Lusaka, in particular, Mr. Jose Valente and Ms. Cesaltina Bastos, as well as to the officials of the ACP Secretariat, in particular Ms. Aya Kasasa, for their institutional and financial support, which was paramount to move ahead this project. Our gratitude also goes to the Ministry of Education and Culture (MEC), for the support provided to the project and also to the other line ministries that provided comments to this study, including the Ministry of Industry and Commerce (MIC), the Ministry of Labour and Ministry of Foreign Affairs and Cooperation. The large number of institutions engaged in the promotion and dissemination of creative industries includes the National Institute of Cinema (INAC), Mozambican Association of Film Producers (AMOCINE), Association of Mozabican Musicians (AMMO), Mozambican Society of Authors (SOMAS), Observatory for Cultural Policies in Africa (OCPA), Society to Support Small Project Investments (GAPI), National Institute of Book and Records, Centro de Estudos e Desenvolvimento do Artesanato (CEDARTE), Escola National de Artes Visuais (ENAV), Instituto Superior de Artes e Cultura (ISAC), Centro Nairucu Artes, Ekaya Productions and Radio Mozambique. UNCTAD also wishes to thank artists and intellectuals alike, for their creativity and insights which made this exercise a participatory process reflecting the aspirations of the artistic and creative communities and the civil society in general. We look forward to their continued engagement for a successful implementation of the actions proposed and for the sustainability of a creative economy strategy in the long term to ensure development gains and poverty reduction in line with the achievement of the Millennium Development Goals. Finally, UNCTAD expresses its special thanks to key international organizations based in Mozambique that have been supportive of our work in the context of implementing this project, in particular the United Nations Resident Coordinator and the offices of the United Nations Development Programme and the International Labour Organization, as well as representatives of the European Commission and the UNESCO office. LIST OF FIGURES AND CHARTS v TABLE OF CONTENTS FOREWORD ........................................................................................................................... iii ACKNOWLEDGMENTS .........................................................................................................iv TABLE OF CONTENTS........................................................................................................... v LIST OF FIGURES AND CHARTS ......................................................................................vii LIST OF TABLES..................................................................................................................viii LIST OF ABBREVIATIONS...................................................................................................ix EXECUTIVE SUMMARY .................................................................................................... xiii PART 1. GENERAL INTRODUCTION ..................................................................................1 1.1 Country information ...................................................................................................................2
Load more

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]
  • Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
    UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity.
    [Show full text]
  • United Nations Educational, Scientific and Cultural Organization (UNESCO)
    United Nations Educational, Scientific and Cultural Organization UNESCO 2016 Cover The recent large-scale, systematic destruction and looting of cultural heritage has been the dominant theme at UNESCO throughout 2016. One of the Organization’s responses to these attacks on cultural heritage and cultural pluralism is the #Unite4Heritage campaign, a global movement that calls on everyone to harvest the power of culture to bring people together and to celebrate the places, objects and cultural traditions that make the world such a rich and vibrant place. This image produced for the campaign combines past and present, with the head of Buddha Shakyamuni and the face of an Erbore tribe warrior from Ethiopia. © Public Domain LACMA - Los Angeles County Museum of Art/Rod Waddington Published in 2017 by the United Nations Educational, Scientific and Cultural Organization (UNESCO). 7, place de Fontenoy, 75352 Paris 07 SP, France © UNESCO 2017 This publication is available in Open Access under the Attribution-ShareAlike 3.0 IGO (CC-BY-SA 3.0 IGO) license (http://creativecommons.org/licenses/by-sa/3.0/igo/). The present license applies exclusively to the text content of this publication and to images whose copyright belongs to UNESCO. By using the content of this publication, the users accept to be bound by the terms of use of the UNESCO Open Access Repository (http://www.unesco.org/open-access/terms-use-ccbysa-en). The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries.
    [Show full text]
  • Sources and Resources for a Culture of Peace in Africa; Pan-African Forum
    Proceedings of the Pan-African Forum © Paulino Damião Group picture - Participants of the Pan African Forum “Sources and resources for a culture of peace” 26-28 March 2013 • Sources and Resources for a Culture of Peace in Africa « Since wars begin in the mind of men, it is in the mind of men That the defences of peace must be constructed.” UNESCO Constitution “Any human life is a life. It is true that a life appears with the existence before another but a life is not older, More sizeable than another life, Just as a life is not better than another one.” Manden Charter Kourukan Fougan (13th Century) “Peace is reverence for life. Peace is the most precious possession of humanity. Peace is more than the end of armed conflicts. Peace is a mode of behavior.” Yamoussoukro Declaration (1989) • 26-28 March 2013/Luanda, Angola “I am because you are.” Ubuntu Proverb “In the forest, when the branches quarrel, the roots embrace.” African Proverb www.unesco.org/africa4peace Des_Actes_COVER_EN.indd 1-3 14/12/13 09:08 © Paulino Damião Opening ceremony – 26 March 2013 Mr Septime Martin, African Development Bank – Ms Bineta Diop, President of Femmes Africa Solidarité – Ms Irina Bokova, UNESCO Director- General – H.E. Mr Eduardo dos Santos, President of the Republic of Angola – Mr Erastus Mwencha, Vice President of the African Union – H.E. Mr Joaquim Chissano, Former President of the Republic of Mozambique – Mr Federico Mayor, UNESCO Former Director-General Malino ........................................ Tonga .......................................... Amharic M’tendere .................................. Chi Nyanja/Chichewa Alaáfía ....................................... Yoruba Murettele .................................... Emakhuwa Alher .......................................... Songhaï Mutenden ................................... Bemba Amahoro ...................................
    [Show full text]
  • Facts & Figures
    Last update: April 2021 UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND: KEY FACTS AND FIGURES 1. Membership in UNESCO: founding member, 4 November 1946 (withdrew on 31 December 1985 and returned on 1 July 1997) 2. Membership on the Executive Board: not currently (last term 2014-2019) 3. Membership on Intergovernmental Committees, Commissions (by year of end of term): 2021: Intergovernmental Council for the International Hydrological Programme (IHP) (Vice-Chairperson: Mr Alan Jenkins) 2021: Intergovernmental Bioethics Committee (IGBC) 2021: Intergovernmental Council of the International Programme for the Development of Communication (IPDC) 2021: Legal Committee (member from the beginning of the 40th session of the General Conference until the beginning of the 41st session) Permanent Membership: Intergovernmental Oceanographic Commission (IOC Executive Council Member State) 4. The Director-General’s visits: 2 2019: London, participation in the Global Conference on Media Freedom, hosted by the UK and Canada on 10-11 July 2018: London, participation in the CEB session on 3-4 May and bilateral meeting with Lord Bates, Minister of State for International Development 5. The former Director-General’s visits: 19 (1 in 2010, 3 in 2011, 4 visits in 2012, 3 visits in 2013, 2 in 2017, 2016, and 2015) 6. Permanent Delegation: Permanent Delegate: Ambassador Matthew Lodge (since 12 September 2017) Deputy Permanent Delegate: Mr Maxim Polya-Vitry Previous Permanent Delegate: Ambassador Mathew Sudders (2010-2016) 7. National Commission: Chairperson: Mr Colin McInnes (since April 2019) Vice-Chairperson: Mr Kiran Fernandes (since January 2018) Secretary-General: Mr James Bridge (since October 2011) 8. Personalities linked to UNESCO’s activities: 6 Ms Christiane Amanpour, UNESCO Goodwill Ambassador (since 2015, renewed until July 2022) Ms Sarah Brightman, UNESCO Artist for Peace (since 2012, renewed until July 2022) Mr Nasser D.
    [Show full text]
  • Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
    Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice.
    [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]
  • FINAL REPORT of the Terminal Evaluation of the Niger COGERAT Project PIMS 2294 Sustainable Co-Management of the Natural Resources of the Air-Ténéré Complex
    FINAL REPORT of the Terminal Evaluation of the Niger COGERAT project PIMS 2294 Sustainable Co-Management of the Natural Resources of the Air-Ténéré Complex Co- gestion des Ressources de l'Aïr et du Ténéré Evaluation Team: Juliette BIAO KOUDENOUKPO, Team Leader, International Consultant Pierre NIGNON, National Consultant Draft Completed in July 2013 Original in FR + EN Translation reviewed and ‘UNDP-GEF-streamlined’ on 16 Dec 2014 STREAMLINING Project Title Sustainable Co-Management of the Natural Resources of the Air- Ténéré Complex (COGERAT)1 Concept Paper/PDF B proposal (PIF- GEF Project ID PIMS # 13-Nov-2003 2380 equivalent) UNDP-GEF PIMS # 2294 CEO Endorsement Date 14-Jun-2006 ATLAS Business Unit, NER10 / 00044111 / 00051709 PRODOC Signature Date 22-Aug-2006 Award # Proj. ID: Country(ies): Niger Date project manager hired: No info. Region: Africa Inception Workshop date: No info. Focal Area: Land Degradation / Multiple Planned planed closing date: Aug-2012 Trust Fund [indicate GEF GEF Trust Fund If revised, proposed op. closing date: Aug-2013 TF, LDCF, SCCF, NPIF] GEF Focal Area Strategic OP15 (Land Degradation / Sustainable Actual operational closing date (given TE 31-Dec-2014 Objective Land Management – of GEF3) harmonisation and mgt response finalisation) Exec. Agent / Implementing 2 Partner: Ministry in charge of the environment portfolio Decentralised authorities, particularly Communes and local communities, users of the Reserve, occupational groups and NGOs, Land Commissions, traditional chiefs, other opinion leaders, the Regional Governorate and decentralised technical services. In addition, there is the Ministry for Water and the Environment (MH/E) Other Partners: (providing the institutional basis of the project), UNDP as the Implementing Agency for the Global Environment Facility (GEF), the Technical and Financial partners, the Steering Committee, the Partners’ Forum, the management unit and operational units of COGERAT, the office of the Aïr and Ténéré Nature Reserve, and the Scientific Committee.
    [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]